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Long after the original Incredible Cross-Sections book revolutionized Star Wars "nonfiction", Dorling Kindersley continues to publish amazing resources revealing the secrets of vehicles, equipment, and locations. The latest offering is Inside The Worlds of Star Wars Attack Of The Clones: The Complete Guide to the Incredible Locations from Episode II. Illustrated by the veteran team of Richard Chasemore and Hans Jenssen, this was written by series editor Simon Beecroft, in consultation with Dr. Curtis Saxton.
While this book deals with locations rather than vehicles, the challenge remains the same, in Beecroft's words: "to accurately rationalize what's seen in the film and then extend the universe that little further." Many locations in the Star Wars galaxy are nothing if not big. Fortunately, the artists were prepared for the challenge. "One thing they've learned: never to underestimate the scale of the task," says Beecroft. "Richard and Hans put in hundreds and hundreds of hours doing a vehicles book. For a locations book, they must double that, at least. Some of these artworks are just enormous: look at the Geonosian Droid Factory or the Outlander Club."
Beecroft is emphatic about the crucial role of Dr. Saxton's participation. "He worked with me all the way, holding down a day job and then exchanging e-mails with me all night. His academic background, general breadth of knowledge, and understanding of Star Wars lore underpins everything in the book. His work in rationalizing the Geonosis battle map, in particular, must be mentioned. With Dr. Saxton working with us, we can be sure that there is a real scientific basis to all our explanations." Curtis Saxton, who wrote the Attack of ther Clones Incredible Cross-Sections book, has a PhD. in theoretical astrophysics along with a deep knowledge of, and a love for, the Star Wars saga.
Note that the DK library is referred to as Star Wars "non fiction". The article is supported by comments made on starwars.com.2 And again, a shot from the webcam on the set of Episode 3 offers even more confirmation, showing one of the DK books being used by Richard Mueck, a Creature Shop artist for Episode 3, for reference during production. Hyperspace members can find the image on the webcam page on June 25 , 09:36:40
Während der Produktion wurden DK-Bücher als Reference-Quelle benutzt.
Yet another quote from Dr. David West-Reynolds' "Vision Quest", Star Wars Insider #68 article further solidifies the DK books into the canon:
, pg.43:
As Richard [Chasemore] and Hans [Jenssen] got into the Star Wars universe, they became more comfortable creating new elements. Richard produced the cross-section of Slave I almost entirely on his own, for example. By the time of the Episode I book, I was contributing mainly conceptual guidance and occasional details on ship layouts. It?s a testament to the Star Wars sensibility that Hans and Richard developed that their work eventually was referenced by the Production Art Department and ILM. During the Episode II Cross-Sections book project, Richard asked concept design supervisor Doug Chiang about the weapon systems on Episode II's Slave I. Doug told him, "You should know, you put them there." ILM had followed Richard's illustration in creating the digital Slave I.
Doug Chiang hat sich bei der Bewaffnung der Sklave 1 in AOTC an den Vorgaben des ICS orientiert.
Wenn du dir das Interview (siehe Link oben) nochmal durchliest wirst du auf eine Stelle stoßen, wo Curtis Saxton die Zusammenarbeit mit den LFL-Leuten beschreibt: So saßen er und die Zeichner des ICS einen ganzen Tag mit den Design/SFX-Leuten zusammen. Name und Aussehen der endgültigen Version des AT-TE basieren z.B. auf ihrem Input und zumindest in Bezug auf den Acclamator kommt der Name Rothana direkt von GL.
Siehe hier:
5. What types of suggestions did Doug Chiang give on the book?
He was kind enough to meet with us for much of a day and we discussed most of the tentatively chosen topics of the book. We talked about his qualitative impressions of the role and capabilities of each object. He was able to tell us about many of the key structural details that were not obvious in the concept art that was available at that time. This gave us a crucial head start and saved us from some potentially false leads.
Who else did you work with?
Simon Beecroft and John Kelly were DK's editors for textual and artistic development of the book. However that understates their participation in what was a marvelous ongoing interdisciplinary discussion with the artists and I.
Iain Morris, Jonathan Rinzler, Chris Cerasi and Leland Chee at Lucasfilm graciously answered our many requests for additional reference imagery and information. They ensured coordination with the rest of the emerging body of AOTC work.
Lucy Wilson (who leads LF's publishing efforts) joined the most important discussions, and she facilitated the project at the highest levels.
Richard and Hans developed good relations with their peers in the Art Department and the Ranch. I recall that this was important when DK was granted the initiative to develop the AT-TE walker, which at that stage existed as only two concept pictures, and was not due for modeling or filming until months after our deadline.
Was George Lucas involved?
Ultimately everything in the Star Wars literature is inspired by or deduced from the work of George Lucas. Hans, Richard and I had no direct contact with him. However the important people at LF Licensing meet with Lucas frequently and they were able to obtain answers to questions raised during the development of our book. For example, I understand that the planet Rothana was named in an intervention by George Lucas.
