Star Wars: Shadows of the Empire is a story from the pre-Disney Legends continuity.
Telling the story of events that transpire between The Empire Strikes Back and Return of the Jedi, it follows Luke, Leia, Lando and Chewie in their adventures to recover Han Solo from the clutches of Boba Fett before the bounty hunter can deliver his prisoner to Jabba the Hutt. They are joined by the Corellian smuggler Dash Rendar, who shares suspiciously similar characteristics to Han Solo, except he has an even bigger ego, and a slightly newer ship.
On the opposing side is Darth Vader, still obsessed with finding young Skywalker and seducing him to the Dark Side of the Force. Also joining the ranks of Star Wars villains is Prince Xizor, the Falleen leader of the Black Sun crime syndicate, who believes that he is a rival to Vader for the Emperor’s favour, and who has a personal vendetta against the Dark Lord of the Sith.
My history with this book goes back to 1996, when it was one of the earliest of the second wave of Expanded Universe novels (that began with Heir to the Empire). Shadows of the Empire was conceived as a “multimedia” project, to encompass a full symphonic CD soundtrack, a videogame on PC and N64, a graphic novel, and this novel. I bought the PC version of the game, but my computer was too underpowered to play it (I lacked a 3D accelerator!), so I never got to play it. I thus had to settle with just the novel and the soundtrack. (Actually, I’m pretty sure I bought and read the book before I tried the game, but it’s more than twenty years ago and no-one reading this will give a damn!)
This book is ... not as good as I remember it being. It is tremendously clichéd, and feels almost like a ‘paint by numbers’ space adventure. That’s not to say that there isn’t stuff to enjoy. The plot moves at a fair pace, and there are action scenes aplenty that satisfy my Star Wars craving (after recently having read Star Wars: Queen’s Shadow which has zero action, it was good to get back to ‘proper’ (!) Star Wars storytelling). However, it suffers from early-expanded-universe-itis—by which I mean that he author’s creativity is severely circumscribed by only really relying on the original trilogy of movies as a source of inspiration. This is not completely the writer’s fault, as there were no doubt constraints due to the nature of the project, but it does end up making the universe feel more cramped than, for example, the Thrawn trilogy or the X-Wing series. Still, we do get a nice evocation of Coruscant, way before we’d even seen it in the Special Editions, let alone The Phantom Menace.
This is the least of the book’s problems. First of all, and reading it as a middle-aged man in 2019, it is striking how much the book has ‘male gaze’ written all over it. No opportunity to describe a woman in terms of physical attractiveness is missed, and that is exemplified in the form of the android (gynoid?), Guri, who is clearly the author’s favourite kind of woman—flawlessly beautiful in a conventional American way, and utterly obedient and characterless. Star Wars meets the Stepford Wives.
Too often Leia is treated as luggage, or as a prize to be won, or as a problem to be solved. This is done by both the heroes and the villains, making it a writing problem. To all those that criticise George Lucas’s writing, he always wrote Leia as a powerful personality who took control of her destiny. This is not on show here—like Dave Wolverton before him, Steve Perry has a fundamental misunderstanding of what makes Leia a compelling character: the force of her personality and her unwavering determination to fight for what she believes in, not how beautiful she looks in a frock.
I’m going to ignore the rapey implications of Xizor’s seduction techniques—he’s a pantomime villain, so that’s to be expected. But no, actually I can’t ignore it—Leia deserves a better opponent than someone who just sees a beautiful woman and wants to grab them by the pussy. At least she gets to give him a good kick in the gonads.
Beyond the portrayal of women, there are other negatives that should be mentioned. The characterisation of Luke is all wrong—he acts more like Wormie from the original Star Wars novel, not like the Jedi Knight-in-training who learnt from Yoda and survived a duel with Darth Vader. There is a world of difference between a naïve 19 year old boy who’s never set foot off Tatooine and the 23 year old maimed war veteran that Luke is during this story’s timeframe. In some passages Luke’s internal monologue is more like a tween than a grown adult. It is hard to credit that this is supposed to be the character who, in less than a year, will show maturity enough to resist the pull of the Dark Side when facing the Emperor.
The portrayal of the Emperor also feels off—Palpatine shouldn’t be so easily manipulated by a duplicitous villain as obvious as Xizor. Further—the Emperor seems to be written as if he is some sort of hippy youth group leader. Sample dialogue, “Lord Vader. How are things there?” It doesn’t really have quite the grandeur of Palpatine’s typical speech patterns.
It’s not all bad, but every time, just as I’m settling down to enjoy the story, the author comes up with a fresh way to irritate me.
Example A: we are introduced to a side character who has two features described, 1. He is bald. 2. He has teeth made of polished black chrome. I don’t know about other readers, but for me the teeth are by far the more interesting and distinguishing feature. Yet, from that point forward, the author refers to the character as “Baldy”. This is both lazy and a juvenile attempt at a slur, and unnecessarily mean-spirited.
Example B: I’m not sure that a sensible writer these days would create a species called ‘Epicanthix’, and then compare them negatively to a blonde, blue-eyed character as being ‘ethnic’. Hmm. Especially considering the character mentioned later called Mayli Weng, who represents the Exotic Entertainers Union—the author is wearing stereotypes on his sleeves for all to see.
It’s not all bad, though. The scene of Vader inside his hyperbaric chamber using the Dark Side to heal his injuries is a great concept that really gets to the heart of who Darth Vader is—powerful enough to restore himself, but still Anakin enough to feel elation and joy at the rejuvenation, which paradoxically breaks the Dark Side spell and returns him to his ruined state.
Also, while Xizor is a totally hokey villain, he is also really enjoyable as someone with Olympian levels of self-confidence who is happy to crush all opposition with a fat wad of cash and a sexy android. He fits into Star Wars well, given its origins in the Flash Gordon/Buck Rogers style that inspired George Lucas. He is certainly refreshing after having Hutts as the bog-standard gangster in every other Star Wars tale.
Still, the good points of the story aren’t enough to add it to the pantheon of Legends must-reads. It is far too flawed for that.
The character of Dash Rendar, the Han Solo stand-in, was necessitated by whole Shadows of the Empire media project. He is a character who needs to be plausibly incredible at all the various skills a Star Wars hero should have because he is the player’s avatar in the game world. This makes him a great videogame protagonist, but an insufferable character in a novel.
The much vaunted Bothan spy network makes an appearance, sending a secret message to Leia secured with the almost inconceivably difficult-to-guess password: “Alderaan”. No wonder so many of them died bringing news of the second Death Star if that is all the cunning they can muster.
A further thought—towards the end of the novel there is a scene where Rogue Squadron show up, and three of them are described as being distraught or disabled, and Perry writes Wedge as totally unbothered. I guess nameless X-wing pilots don’t matter in this story. It certainly is a difference from the X-wing novels where Wedge (quite rightly) agonises over every loss to his squadron. Star Wars books can be tonally weird.
So, enjoyable despite some eye-rollingly bad moments. Not a trainwreck, but certainly not a triumph. Recommended for fans of Star Wars, as well as fans of space opera in general.