: I imagine pacing would be tricky, too.Ĭhuck Wendig: Super tricky, because you're breaking it up and it's not meant to be broken up into multiple pieces. Because those moments are so critical and so key, you can't lose them and you have to build up to them properly, so that means things that aren't building up to those moments are not as important as the things that do. : When you're in the formulating stage, how do you cherry pick the important beats and sequences?Ĭhuck Wendig: You have to go through and, you know, for me the biggest tent-pole pieces of the comic were looking through the film and the script of the film and saying which moments of these are the ones where you get chills - or you have to have the ones that are captured in memes, or the ones that you talk about all the time, or the moments they see the Falcon, or Rey gets the lightsaber - and then how do you build bridges between those scenes. You don't have a lot of extra oxygen to do different things with it, to take the adaptation in a new direction exactly, so the goal is to refine down the purity of what you get on the screen and utilize the resource and the advantages that the comic format provides, and to really tell a kickin' version of that. I mean, I think it's a safe assumption to say people have probably seen the film, but at the same time, I want the comic to stand on its own. You can't just kind of hastily run past them and hope everyone's seen it. Certainly, you want to have these certain action beats, these certain really huge moments from the film, and you want to give them their due.

And things like dialogue in a film take up a lot more room in a comic.

What were the biggest challenges of adapting the story?Ĭhuck Wendig: It's tricky because it's not page for page.

But with a comic, it seems challenging because you don't have nearly as much space. : With a novelization, more thoughts and depth can be added because we can get inside characters' heads.

Chuck wendig star wars