Obi-Wan sees this as a chance for Anakin to undergo the Jedi trial that his former apprentice never had to face: the Trial of the Spirit. After interrupting a rite of passage ritual on the planet Nelvaan, Anakin is tasked by tribal shamans to find out why their planet is ailing. When Anakin lets out a scream of primal rage, it rings with meaning for both the character and the audience.Ītmosphere also came into play when Anakin’s dark future was tackled in the second season of Tartakovsky’s series. The audience sees nothing else for the three episodes in which the duel occurs, and the conclusion really pays off. This careful use of sound ratchets up the tension in the duel, a conflict made all the more harrowing by the singular focus of the battle. The whooshing through tree canopies and the sound of a lightsaber blade sizzling in the rain allowed the viewer to truly feel like they were in the jungle watching the two in combat. Nearly wordless, the sounds that are heard serve to frame the action and develop atmosphere. Take the extended duel between Anakin Skywalker and Asajj Ventress on Yavin 4. Tartakovsky’s series knew when and when not to employ dialogue. A tense standoff occurs mid-duel between Anakin Skywalker and Asajj Ventress. While Filoni’s series made everything explicit and detailed, Tartakovsky’s Clone Wars used restraint when portraying everything from combat to prophecy. Each show had its own strengths and weaknesses in various regards, but when it came to storytelling, Tartakovsky proved that less is more. Filoni’s response to the cancellation of The Clone Wars showcases Filoni’s passion for what really was his slice of the Star Wars universe.īoth of these men brought their unique set of skills to the table when crafting their respective takes on the Clone Wars. Regarding the second series, George Lucas was credited as the creator, but it was Dave Filoni, the supervising director and executive producer of the series and the director of the 2008 film that kicked it off, who really gave the show its heart. Despite garnering huge acclaim, Tartakovsky was not involved in the production of any further Star Wars material. The first series was created in 2003 by Genndy Tartakovsky, of Samurai Jack fame. The root of these differences can be attributed to the creators of the different programs. While the first series was fluent in the visual and dramatic language made iconic by the original trilogy, the second series was marked by how it talked down to a younger audience. The differences in the shows are more telling than the similarities, though. Both shows, made years apart, covered the same time period, the same kinds of stories and, usually, the same pool of characters. The two animated series chronicling the Clone Wars, named Star Wars: Clone Wars and The Clone Wars, are prime examples. While Star Wars has arguably always targeted younger audiences, some attempts to reach kids have stood out more than others. Luke’s vision on Dagobah, the Han-in-carbonite cliffhanger and the duel between father and son all managed to be thematically rich examples of filmmaking that entered the cultural consciousness. At the same time, though, there was a kind of darkness that the franchise hasn’t felt in a long time. There was comic relief with C-3PO and R2-D2, a funny psychic puppet and even screwball physical comedy aboard the fugitive Millennium Falcon. Look at Empire Strikes Back, the pinnacle of the franchise. He shouldn’t have worried there’s nothing wrong with making a film that skewed younger. There’s no rule that says that something made for a younger audience has to be dumbed down. Comparing Clone Wars Cartoons: How to Treat the Audience Republic and Separatist characters face off in the traditionally animated Star Wars: Clone Wars.Ī long, long time ago, George Lucas was dismayed at the result of the first Star Wars film.
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