Index The Seedy Side V. 2.0 (An Underworld Index/Discussion Thread - disc. crime lords)

The same logic is behind OC fics, mystery fics, Mas Amedda centered epics, Jawa angst, etcetera etcetera.

Jawa angst? I hope someone writes that. Hey, I might even do it...

 

JadeSolo, you really should. I'd be there.

Okay, I didn?t write an original argument for the workshop, but I have an excerpt that will help make my points. [face_shame_on_me] I?m a rule-breaker and a renegade.

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Jav and Remy dove behind the same cart for cover as the shooting started. A thermal detonator dropped quietly into the Corellian?s lap. Remy looked back at the cart they had chosen and saw a bin full of the things. He exchanged a glance with his partner, and then the two detectives sprinted in opposite directions, finding new protection on either side of the explosives vendor.

?If Sonar?s idea of a joke is to send us to our untimely death in a convention of assassins, I need to have a word with him about his sense of humor,? Remy moaned.

?I don?t think he would do that, not with us helping him out on this case. Having us killed would be both unhelpful and completely out of profile for him,? Jav replied across the aisle. The banner behind him was ripped to shreds by a stray repeater blast over his head.

Remy shook his head. ?It wasn?t a serious hypothesis, Jav. I?m just a little stressed out by the big melee of professional killers over there. The lack of caf doesn?t help either.? He peeked over the top of his cover and shouted over the sounds of combat, ?Can I get a caf over here? Service!?

?Why do I ever take you seriously? Actually, I don?t know why I listen to you at all,? Jav said. A wounded Nimbanel staggered by, leaving a trail of blood.

Remy swallowed bile at the sight before speaking. ?Hey, Mr. Senile, you?re conveniently forgetting all the times I?ve been the Voice of Reason.?

?One, you?re the older one of us; and two, I don?t count examples during which the laws of the galaxy were repealed.?

?You?re in denial,? Remy sneered as a dagger imbedded itself in the table he was hiding behind. ?The i?Lenmef case. I didn?t want anything to do with that one. I didn?t want to dive into that river for evidence on that pirate, Gunmetal Gellak. I didn?t want to go into that cantina on Duro during the Justice Killer case. I??

?Yet who?s the one whose mid-life crisis got us into this?? Jav asked.

?Don?t you dare say those words,? growled the other.

?It?s you, Remy! We?re too old for this! But you, nerfherder, grabbed me and Naoe and tossed us into it.?

?As I recall, you two were volunteers. So who?s the bigger fool, follower??

Jav put a hand to his ear. ?What?s that? Oh, apparently the sight of your goatee sent that Trandoshan into a rage at the misuse of pretentious facial hair. I hear the Empire?s working on a new kind of laser to take that thing off your face from a hundred meters.?

?You?re going a long way for poor insults, clean freak.?

?And your primitive comments are so incredibly witty you must have hired at least ten Kowakian monkey-lizards to bang on keypads to come up with them!?

?I guess I have better things to do than come up with biting remarks ? oh that?s right, it?s called having a life.?

?That can be remedied.?

?Are you threatening me??

?Do I have to, or would you vomit just thinking about fighting back??

Remy threw his blaster down. ?Then come over here and let?s settle this like physically unremarkable middle-aged men!?

. . . .

Jav stood up to his full height and took a step forward, pressing his chest into the barrel of a heavy blaster pistol. Remy?s wife and long-time friend of the two detectives stood between them with one weapon aimed at each.

?Do I have your attention?? she hissed. ?Not only did you two bags of dead weight ? no offense, honey.?

?None taken,? Remy said.

?Not only did you just miss the entire battle, but you create a fight with each other??

?Well??

?That is??

?He??

?Yes.?

?Definitely.?

?If you two don?t get over this right now, the women in your lives will sit you down? and have a long talk about feelings. Are we clear??

?Jav, I love you.?

?You?re the best, Remy.?

Messuni holstered her blasters. ?Thank y

 

Note to self: don't eat cake and read Face's stories at the same time...

Now that I've stopped choking and cleaned the keyboard (oh, it was worth it ), here are my thoughts:

Banter banter banter, I absolutely agree. Assuming the conflict isn't taking place in the form of a staring contest. People say horrible things when they're riled up, the kind of insults that later they'll defend with "I didn't mean that" - when in fact everyone knows that on some level they did, else why would it come out? But because the heroes are so close, they're able to move on (or are they?!?! Ohhh, the drama).

An argument between the heroes should have at least one of those zingers. Depending on the situation, maybe one from each side. These are milder examples, but the former: in ANH when Luke says to Han, "Well, take care of yourself, Han. I guess that's what you're best at." Complete with that little sneer. Han's got no beef with Luke, so there are no zingers from his side.

An example of the latter: oh, just about every fight between Han and Leia.

?Not only did you just miss the entire battle, but you create a fight with each other??

I think that's a great way to show how intensely the heroes are fighting - they forget everything else around them, forget the perils of their current situation because they're too busy sniping at each other.

And I've already started working on that Jawa angst. I couldn't help myself.

 

Master, do let me know when you post that Jawa Angst piece, wont you?

Face! Those tips on writing arguments were really awesome I've always admired your ability to string together a wonderful argument that is both inappropriate to what's going on and entirely relevant to the plot at the same time My favourite points were the ones about the low blow and the 'hold back without holding back'. They make so much sense when you lay them out like that, but they're things that are easy to overlook while you're actually writing an argument.

Sticking with mixed fandoms, because you can't have enough firefly I think as an inverse to your 'hold back without holding back' point, bringing up an issue seemingly from nowhere can be very effective if the context is right. One of my favourite arugments from that wonderful Space Western is when Mal and Wash are trapped by Niska. They are calmly trying to figure out how to escape from the room they are being held in, until Wash suddenly screams without warning, "Mal, she's my wife". But because of the context of the situation, it worked perfectly. And then mal tops it off with the low-blow, "She married you,". Great stuff. If I could write an argument half that good during one of my fics, I'll die a happy man

Wow, I hope ya'll have seen that episode, or that whole paragraph would just be confusing. Bah, who am I kidding, this is the Seedy Side. Of course you've seen it

 

That episode's a perfect example, especially once the torture starts. They're fighting over something that has no bearing on the situation (except some sick pleasure for Niska). But they're also fighting to keep each other awake, which later makes Wash's determination to save Mal all the more heroic. Awww.

To me, the killer moment is when Zoe walks in, pays the ransom, and without hesitation picks Wash - you realize that while she would gladly risk her life for Mal, Wash is her husband. End of argument.

But if you were a real cynic, you could say that she chose Wash because she knew Mal could handle a few more hours of torture.

 

Hello all. Just popping in to say I'm not dead. (always nice thing to know, I say) Good example, Nathan! I love Remy and Jav...'specially in a fire fight. Teehee

 

Also popping in to say I'm not dead. Us seedy siders, we gotta do this sorta thing once in a while. Not exactly an average-lifespan guarantee in our job contracts, after all.

Great guidelines, Face!

One additional piece of info about arguments - and this I'm going to derive straight from your own excerpt - is a trick for making your fight as funny as it is hurtful.
Background Noise (explained through example)
By moving his main characters off center stage, Face has given this argument - which, to these two guys, probably seems like a genuinely serious dispute - a certain absurd irrelevancy, as people fight and die just off screen, periodically interfering with the two arguers the same way flies bug picnicers. He then later has one of his characters address this absurdity, confirming that, no it wasn't just you the reader, everyone else thought their agrument was ridiculous too.
So any time your characters start bantering about trivialities, keep what's going on around them in the back of your mind. If you find the chance to imply that something of vast, biblical importance is going down just off screen, you'll up the hilarity tenfold, easy.

 

It seems to be a recurring problem with my fics. Just off the top of my head, I made talkingbanana's jaw drop eating spaghetti, oqidaun "snarf Dayquil", and several more besides. No food or drink in the readership, please. Thank you.

Well, I think this is a legitimate point. I mean, imagine a seedy-sider in a conflict with a doctor withholding medicine from his pal, or a nuclear arms standoff. Silence can be excellent conflict, under the right circumstances and execution.

Excellent...

Thank you very much. "War Stories" is a fantastic episode, and it was watching that scene with Wash and Mal that actually inspired me to cast Alan Tudyk as Remy.

JediEruanne, very glad you are not dead.

Or in jail.

Excellent point, Yodimus! That is great advice. My characters tend to argue more when they are being shot at. It's completely inappropriate, and that tickles me. The version of this scene that's in the fic includes what Messuni was doing (actually fighting), and how the fight stops. But here, it's all totally offscreen, which amps up the humor many notches. I actually did that trick in a different fic with these characters. They looked up and all the stormtroopers were gone. Who knew?

 

Ah, but that's far less permanent. There'd be no way to know.
As such, I will go on record as neither confirming nor denying allegations of jailtime. Draw your own conclusions.

 

Eighteenth Update

Believe your eyes; it is a gen-u-ine, honest-to-goodness (or honest-to-moral-relativism, if you prefer) Seedy Side update! We start out with a couple one-post fics, both from Luton_Plunder.


1. Ones and Zeroes

Timeline: Intertrilogy

Genre: Intrigue, crime, one-poster

Main character: CorSec (Droids and Data division) officer Taban Maitland

Summary: CorSec officer Taban Maitland is charged with tracking down a notorious Droid thief. Gets sidetracked at a bar.

Status: Complete


2. A Devil Who Despairs

Timeline: Intertrilogy

Genre: One-poster, crime, suspense

Main characters: OCs

Summary: Response to the January 2007 "Essential Guide to OC's" challenge. The challenge was to base the entry around the quote "Without friends no one would choose to live, though he had all other goods". Hopefully this one is a bit of an unusual take on it.

Status: Complete

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And we round out the update with a new topic!

[b][color=teal]?No Disintegrations.?[/b][/color]

We?ve talked about seedy-siders and killing, but now let?s talk about seedy-siders and [i]dying[/i]. Character death isn?t necessarily a factor for pure canon writers (though I guess you could write a viggie about Greedo as he dies, or something), but OC and AU authors deal with it ? or don?t, as the case may be. The underworld is not conducive to long, healthy lives. It?s time to discuss character death and how it relates to the underworld.

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Now read and reply to the fics, discuss the topic, and maybe send me some more suggestions for the index.

...Please? [face_wink]

[b]SeedySider[/b]

 

I'm actually working on a fic right now that deals with copious amounts of death in a...slightly...serious manner. Granted, it's about Sith Lords and not soldiers of fortune, but I think in this rare case, alignment isn't all that important. I mean, death is the end after all, even for the nigh-all-powerful. When facing the abyss, I think it stops being important whether you killed the cargo ship full of orphan nuns because it was a necessary part of a greater mission, or for your own sick pleasure. Either way the maggots get their meal, and that meal is you. Hard to argue ethics with bleached bones.

Which of course, leads right into the most important detail you have to keep in mind when planning any and every death you write: It's not the victim you have to worry about. It's everyone else. In the complex and slippery world of relationships - especially underworld relationships - the most perfect and brutal test of connection is to see how a given character acts when another character dies. I've found myself, coming from a serious take on the narrative, writing much, much more about each character's history and life than I ever have in the past, just so I have a better grasp on how they might respond emotionally, and how that response would take shape outwardly to everyone else.

Because that's another very important point: how people really feel about someone's death, and the feelings about that person's death that they show, almost never coincide. Sometimes, they're even opposites. Simply 'knowing' your character wears their heart on their sleeve, or bottles things up, isn't enough. Because you might find, that tough-as-steel, engine fluid drinkin', testosterone-sweating Scourge From The Outer Rim you thought you crafted so well, is the one who breaks down into tears. See, it might be that he looked like he bottled up his emotions and welded the lid, only because his priority list of emotional response was just so strict, and his normal responses so subtle. He might not even know that's the reason. But kill his best friend, man, and you'll see. Same goes for the 'sleeve'ers. How can you be absolutely certain that isn't a form of bottling up? You can't. Not without going back and learning who your character really is. And when you do that, you find it's not their tendency toward outburst or shyness that dictates their response, it's stuff that's much deeper, yet much less complicated, than you ever expected. I can't tell you any more than that. I'm afraid it's your characters that have to tell you the rest.

Really, I think it's good for writers to kill a cool character every once in a while. If you really liked that character, then you'll care enough to make it the best damn scene you've ever written. That honestly makes it the only reliable way you'll know you'll do enough legwork to get it somewhere close to right. Then you'll have a decent sounding for next time, when maybe the character isn't so major. After the first time, you might even find yourself in a position later where a very short scene early in a story, one that you'd originally assumed would be a throwaway with some cannon fodder, has become a very emotional pivot point, setting the tone for your entire narrative.

Or it'll just be a really neat explosion. I guarantee nothing.

("Sounding" here, is used in the victorian sense of 'taking a measurement', rather than the modern sense of "Sounding like what, you idiot? Proofread your freakin sentences for cryin' out loud." )

 

Great update, Face/Seedysider! Thanks for the inclusion in the index

What a fortuitous topic to talk about, and what a fascinating response from Yod (if I may call you that, of course )

Your points are all extremely excellent, and going through them there is hardly anything I can really add. I haven't really written many death scenes before, but I think I have a good handle on how they ought to play out. They're extremely difficult - you can dwell on them for far too long and make the whole thing seem over-the-top melodramatic, or you can undersell it and have everyone seemingly coast over the issue. Either one can be disconcerting, and actually they are both open to interpretation by the reader. I think that entire point ties in with another one you made:

Exactly. Exactly exactly. I think it's the best way to make your readers really buy the death of your characters. Make them love the character, then bump 'em off. They did it to Anakin in Star by Star, and I nearly stopped reading the NJO after that because he was my damn favourite one of the whole bunch. "How could you, Troy Denning?" I yelled. "He was the only jedi that didn't want to talk about his feelings all the time! Bah! Jacen can't carry the series on his own. What a poor literary decision." Of course, sometime later I realised I was reacting the death itself rather than the actual literary issues behind it. And then I fully appreciated the impact that it caused, and was suitably blown away.

As we speak I have finished the detailed plotlines for my fic series and am in the process of typing the stories themselves, and as it happens I have to kill someone that I really don't want to. Seriously, I considered altering the entire fic because I wanted this character left alive. But I had to rationalise again, just like with Star by Star, that it isn't the poor storytelling decision that's making me want to change it, it's the fact that I won't ever get to see that character again. Who'da thunk this would be such a difficult thing to do

Anyway, I didn't really add anything to that discussion but I felt I needed to agree with you, heh. Those are my thoughts on death in general when writing fics. As for how it relates to the underworld specifically, well. That's a whole other matter that I hadn't thought much about until now.

Death is doled out so easily in Star Wars. People get shot with blasters, slashed with lightsabers and nobody bats an eyelid. Generally in literature the good guys get a sad, poigniant death scene and the baddies get to have a cool one-liner before they shuffle off their mortal coil But here we have the grey area in the middle. What do seedy characters get when they die, from a writing perspective?

Seriously, that's a question All depends on context, I suppose. But as you can all see I'm much better at agreeing with people than coming up with my own insights, haha - so I'll hang around and wait to see what everyone else has to say

 

So will I. That's a good question.

"Yod" is perfectly acceptable, by the way.

 

In keeping with their grey area middle location, seedy characters get a mediocre one-liner and a laughable death scene.

I'm only partially joking. Seriously, Boba Fett's last line was a girly scream, followed by a Sarlacc gulp. Okay, he wasn't really dead, but at the time we all thought he was.

Greedo - in the original ANH, he trash talks, gives a one-liner that goes perfectly with death, and gets fried. In the (blasphemous!) "Han Shoots Second" version, he completely misses Han when he shoots. That's a pretty pathetic way to live your last few moments.

Jango didn't even get a line. And then he got his head lopped off by Mace, who made it look like the act took no effort at all.

Don't forget Zam! She died as Jango's pawn, though she did manage a "sleamo" before she croaked.

But maybe this is just a pattern among bounty hunters. Smugglers might have a little more luck.

 

Actually JadeSolo, I once made note of two of those deaths in my response to the first Seedy Side challenger, Tradition. The character, however, opted for a tone more... reverent, I suppose you could call it.

The seedy sider has to think about death, whether he or she is dealing it, or running from it. If they're at all realistic with themselves, they've got to have spent some time thinking about what happens if they cross the wrong person. And maybe their reaction to that is to shove their feelings to the back and just get on with the job. Maybe it's to be ready at any moment. Or maybe they're not realistic about it at all. But the actual act of dying is probably the most powerful, and definitely the most sincere, moment a typically dishonest seedy sider can have about that kind of thing. Nothing to gain by lying at that point.

 

Very cool index guys!

Thanks for pointing me in this direction!

 

OOoooo, interesting topic, Nathan! Well, as anyone who knows me knows that I HATE it when characters I like die. But I do know the power and nessecity (sp?) of killing off a character when the time is right...I don't LIKE it, but I know that sometimes it just has to be.

Anywho, I think that the I-Don't-Think-About-Anyone-But-Me kind of seedy-sider would be very afraid of dying, as their whole world revolves around making themselves feel comfortable and happy (if not in the conventional sense of comfortable, I mean, look at Boba Fett--living in a pent-house he was not). So I think when they knew they were dying they would either, reach out to everyone for help, or just die is silence and pride.... I guess, the problem with trying to steriotype things like this is that's all it will be, a steriotype....I'm not a huge fan of steriotypes, I like thinking outside of the box. Meh, that's my thoughts on this subject at this hour (time for bed, for me).

 

Well, recently I decided when and how one of my characters will die. And since I'm a girl (and she , too and its 1st person PoV) it will be all sad and teary eyed, preceeded and followed by some big massacre.
I think the circumstances of a death are rather important. People will approach it differently if they know it's probably gonna happen, are caught by surprise, sacrifice themselves or get a long painful span of time to consider their approaching end (that's called torture).
And you have to keep the character in character. It's his last chance to be him/herself and if you have a cynical character and suddenly a melodramatic end... might not work out too well. Maybe it would, if you put a looong story with a credible explanation before it.
Since most of my fics are from the first person's PoV I don't have much trouble with the ones that are left behind. It's hard to continue a story when the narrator is dead and not able to do the force ghost stuff. I know I'm taking the easy way out.





And now for something completely different...

...did I already submit 'I, Boba' and 'When I was still me'? The latter is more about the way down to the seedy side, does that count?
And in the Diary Challenge I use a character from the seedy side as well.
Truth be told, I can't think of any of my characters that is not on the seedy side. *shakes head* What would Freud say about that.

 

The best seedy character death I can think of isn't from Star Wars, its from Scarface. Tony killed Manny. That was big.

 

Firstly, Jade_Max, welcome to the Seedy Side! We only bite if it?s profitable.

Such great responses! Really appreciate the angles everyone?s bringing here.

Yod, you brought up many excellent points, and I applaud you. I think any good character death needs to have Impact. That?s usually the impact it has on that person?s comrades, or killer, or other associates. The death of one is usually ripe for the development of the others.

Really, I think it's good for writers to kill a cool character every once in a while.

You should do PR for me. If none of the popular ones die, or if the good guys always survive, there?s no jeopardy. And yes, it forces you to step up your writing to do that character the proper honor. Which just may be a really neat explosion. *sniff* That?s what he would have wanted!

(Backstory: Face kills liked characters rather regularly.)

LP: Balance is definitely important, so as not to go in either extreme in the death scene (long or brief, overly or under-emotional, etc.).

But the type of death a seedy-sider gets? This is where I have the easy part of just asking the questions and hoping there?s some good answers or quality debate within the topic. Yes, it?s true, I ask things just hoping something interesting comes of it.

Anyway, I don?t think you can really say there?s one right way to kill off a seedy-sider. The underworld characters are in fact one of the most diverse subgroups of the GFFA. You can make generalizations much more easily about the Jedi, or Sith, or NewRep soldiers, or whatever. But I think part of the appeal of these rogues is that they are so very diverse. You can?t peg them down. Even if you think you know your gruff but lovable merc, he may just sell you to the enemy when you?re not looking. We run the gamut from the most vile and senselessly violent mobster to the rakish smuggler who turns out to have a heart of gold.

When writing a death, write one that fits the character, and what you want to do with that character. This is, of course, the final step in his/her character arc and maybe the turning point of it. I find that death, in fact, is the only thing that makes sense for a character?s development, odd as that seems. A recent death in my Galaxy Noir series of a major character there was an example. Sometimes tragedy is the right answer; a happy ending may in fact go against the good of the story. Since I do action fics, I believe in happy-endings-at-a-price. All those blaster bolts flying, yet the good guys come out perfectly fine, and all the baddies end up in coffins? I don?t think so. Again, you need jeopardy.

Once your seedy-sider?s about to bite the dust, something?s probably going to change. Do they throw their last moments into taking as many people with them as possible? Finally take some potshots at the Empire? Weigh themselves down with regret? Turn their lives around and stop the violence? Face up to their true feelings? Explode? Can? can they explode? That?d be pretty okay?

My point, of which I have lost track is that the death scene is a product of the plot and of the character arc you?ve crafted until then. Which is not to say you won?t have options on which direction to go (Remorse or no?). Whatever you do, it should be well-written. If that?s an ?oh bugger? and unglamorous decap, there you go. If that?s twenty-seven angsty clichés, well, I?m afraid you?ve lost me.

Oh, and if you?re gonna do an offscreen death, do it right and do it for a reason (raises eyebrow at X-men 3).

Now where was I? Back to responses to other people, rather than my own rants.

JadeSolo: That does seem to be a running trend. And I like what Forcefire did with them in Tradition. When you think about the situation Jango was in, it?s not half-bad. Greedo I see as gutsy. Incompetent, but gutsy.

Forcefire: Wow, you said a lot of stuff I

 

Oh, and if you?re gonna do an offscreen death, do it right and do it for a reason (raises eyebrow at X-men 3).

Scott! On the one hand, he was killed by the very woman he mourned (hmm, kind of like Anakin...), and you get an idea of what happened when Jean does the same thing to the Professor - or so we assume. On the other hand, if Scott's not going to marry a Jean look-a-like in this storyline, at least give him a good send-off.

Scarface is a great example of death. I like the Godfather trilogy as well. There's a huge difference between the deaths of Sonny and Michael. Sonny dies in a manner befitting his personality - violent, sudden, enraged, caught up in something he can't bully his way out of. Michael dies old, alone, and decrepit - goes with the way he lived his life.

And what if death isn't a problem, if you can be rebuilt? I recently finished Ilium by Dan Simmons and am on part 2 of the story, Olympos. In Ilium one of the major characters is eaten by an allosaurus (long story), but his body's rebuilt through the science mojo they've got. His death is perfect for his character at the time - he's a pudgy, whining, womanizing weakling. But in Olympos, for me that death wouldn't work at all because he's changed so much - now he's a leader and a warrior. And the funny thing is that when death isn't an issue for him, it doesn't really affect him except to make him a bit more wary of dinosaurs.

That doesn't really work with the GFFA because of the science, unless you're reading Children of the Jedi, a book I hate. But I think it's interesting to look at how many near-death experiences a seedysider can be in - not because he's lucky and always gets away, but because he's just not in the right situation. And even more so, how much those experiences would change him, if at all.

 

And what if death isn't a problem, if you can be rebuilt?

Not too long ago, in my fic Escape from Perdition and my collaboration with Mjsullivan (both indexed here), I used a mob enforcer character named Zelvyn Judas who was a Gand, but had been so seriously injured so many times, he was now mostly machine (it's a recurring Star Wars theme, I guess ). Judas couldn't seem to die; everything he did just ended up in another implant, another replacement part. So he finally decided he'd had enough, and spent most of his time trying to go out in a bang, to take on more and more impossible missions hoping to get killed, but only becoming harder and harder to kill. He was just completely broken by all he'd been through.

So cyborgs can open up that can of worms, and maybe some aliens, if you wanna invent a super-regenerative species.

Update coming.

 

Nineteenth Update


We start this update with some new fics. First, we have a number (three) of stories from Jade_Max centering on an AU Padmé who became not a senator, but a scoundrel. It?s definitely not the politician we know from the films, but she?s definitely more fun in a firefight.

1. It?s the Little Things That are Worth Saving

Timeline: post-RotS

Genre: AU, one-poster

Main character: Padmé Naberrie

Summary: What if Padmé chose a different profession? Namely, smuggling.

Status: Complete


2. Smuggler?s Price

Timeline: post-RotS

Genre: AU, challenge response

Main character: Padmé Naberrie

Summary: Captain Padmé Naberrie, smuggler extraordinaire, aids the struggling Jedi survivors ? for a price.

Status: Complete


3. Lady Luck

Timeline: Post-RotS

Genre: AU, adventure, romance, drama

Main characters: Padmé Naberrie, Anakin Skywalker, Barriss Offee

Summary: Employed by Bail Organa, with Jedi Master Anakin Skywalker as her reluctant co-pilot, Captain Padmé Naberrie is on a dangerous mission to locate and rescue the Jedi that Emperor Mace Windu has decreed to be a threat...

Status: In-progress


Next up is a fic that welcomes The_Mandalorian to the Seedy Side index. If you haven?t guessed, it?s about the underworld?s most prolific Mandalorian, Boba Fett himself, not to mention Mara Jade in a more grey period of her life.

The Chronicles of Boba Fett: The Faceless of the Empire

Timeline: Before ANH

Genre: Action

Main characters: Boba Fett, Mara Jade, and the Death Watch

Summary: The Emperor dispatches his most lethal tool to team up with the galaxy?s greatest bounty hunter to eliminate forces that threaten Imperial plans.

Status: Complete


And finally it?s Vivid_Scripts with a new vignette in the same style as his featured underworld fic Data Retrieval.

The Power of a Credit

Timeline: Pre-AotC

Genre: Vignette

Main characters: OC gun-for-hire Alanta

Summary: An assassin reflects on a recent hit, the life of a soldier of fortune, and tending bar.

Status: Complete

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And next up it?s a brand-new topic for discussion!

[b][color=teal]?You Old Smoothy.?[/b][/color] The latest in our series of character studies brings us to a guy who I?m pretty sure is the only man other than Vader to wear a cape in the movies. That?s right; it?s Lando Calrissian, one-time owner of the [i]Millennium Falcon[/i], sabacc player, general scoundrel, and? traitor? This is your chance to discuss Han?s pal ? his place in the Star Wars mythos, what he brings to the films and to fanfic thematically, how to write him, and how he fits into the GFFA underworld.

******

Please read the fics, drop ?em some replies, and especially [i]discuss the Lando![/i]*

*That?s right. ?The? Lando. [face_wink]

[b]SeedySider[/b]

 

*peeks in, peering at the challenge* - uh oh...

I thought I'd pop in and just mention how cool this index looks... awesome job guys!