By George & Josh Bate
For its past two volumes, Star Wars: Visions has represented a galaxy far, far away arguably at its most creative and ambitious. Unimpeded by restrictions to adhere to canon, the animated anthology series blends core tenets of the Star Wars franchise with features of Japanese art and culture, culminating in shorts cinematic in scale and powerful in emotion. After last volume encompassed shorts created by animation studios around the world, Visions Volume 3 returns to Japan for a run of nine diverse, visually astonishing, and exhilarating installments that collectively are more consistent in quality than the preceding two volumes and, therefore, comprise the best Volume of the series to date.
Anthology shows like The Twilight Zone and Black Mirror and anthology movies like V/H/S/ and Paris, je t’aime are consistently inconsistent. That is to say, anthologies almost always exhibit incredible variability in the quality of their installments, often ranging from spectacular to painfully misguided even within the same movie or show. Star Wars: Visions Volume 3 certainly follows suit in having shorts that differ in their quality, but, remarkably, the show excels where other anthologies stumble in not having a single weak link in the bunch. Even the shorts that do not land as well and will not warrant much rewatchability compel and intrigue, something you couldn’t necessarily say about Volumes 1 or 2, which included a few weaker installments amongst otherwise spectacular shorts.
The selling point of Visions has always been the potential for accomplished animated studios to play within the vast sandbox that is Star Wars, while retaining their trademark styles and tones. Without exception, every Visions Volume 3 short does exactly that. In just nine episodes, viewers are treated to a black-and-white Akira Kurosawa-inspired fusion of samurai films and Star Wars, a droid with a split personality, a psychedelic and bizarre trip through the mind of a Stormtrooper in his last moments, the craziest lightsaber you’ve ever seen, Anzellan crime lords, AT-ATs bursting through ice, an adorable teddy bear droid, Steve Buscemi in Star Wars (!!!), and so much more. The creative swings taken by the studios this time around are greater than ever and a testament to executive producers James Waugh, Josh Rimes, and Jacqui Lopez’s unwavering trust in the studios to create distinct stories unlike anything seen in a galaxy far, far away before.
Three of the nine shorts of Visions Volume 3 are sequels to shorts from Volume 1. Such was the fandom surrounding various shorts of the past that demand to see what happens next in select chapters has been high and, thankfully, Waugh and company were listing. “The Duel,” “The Ninth Jedi,” and “The Village Bride” all receive follow-ups this time around and will likely satisfy anyone who has been eagerly awaiting the next chapter of these stories. While none of them quite reach the quality of their predecessors, the three sequels nonetheless showcase very succinctly and clearly why Visions is so enchanting.
The Duel: Payback
Kamikaze Douga + ANIMA’s “The Duel: Payback,” probably the most anticipated of the new crop of shorts, retains the distinctive visual storytelling and quiet tone of the acclaimed “The Duel.” Even though this is the second short featuring the Ronin, there’s still something undeniably effective about seeing a Star Wars story designed to mirror the Akira Kurosawa films George Lucas was inspired by. As such, “The Duel: Payback” is once again a beautiful full circle moment for the franchise, filled to the brim with gorgeous black-and-white visuals, selective bursts of color, amazing character designs, and clever use of core fixtures of Star Wars. The use of the feet of a flipped over AT-AT as a battleground for a lightsaber duel is easily one of our favorite visuals from the Volume.
The story, meanwhile, interestingly expands upon the lore of Ronin (voiced by Brian Tee and Masaki Tersaoma) and pits him against a formidable foe (voiced by Will Sharpe and Daisuke Namikawa). This foe, known as the Grand Master, is unique from other Star Wars villains and even from other fallen Jedi in that he truly doesn’t believe he has fallen to the dark side. Grand Master is relentlessly driven by revenge, a pursuit that stands antithetical to Jedi principles, and yet he is blind to the corruption of his values. It’s an interesting take on an antagonist and, ultimately, one that leads to an inversion of the Sith and Jedi’s standing in the Force in a way we’ve never seen from a Star Wars story before.
You add in an Anzellan (the same species as Babu Frik from The Rise of Skywalker) gambling hall owner/Yakuza leader and the wildest lightsaber in Star Wars history (think Rose McGowan’s character from Robert Rodriguez’s Planet Terror if she was in Star Wars) and you arrive at a short as stylish as it is transfixing and one more than worthy as a successor to “The Duel.”
The Ninth Jedi: Child of Hope
Production I.G. also follows their praised short from Volume 1 with “The Ninth Jedi: Child of Hope.” The original “The Ninth Jedi” featured one of the best plot twists in Star Wars history, revealing that all the Jedi who came to gather were not actually Jedi, but, rather, Sith. It remains arguably the most shocking moment across Volumes 1-3 and set the stage for a sequel fans have been begging for. In another surprising turn, “The Ninth Jedi: Child of Hope” subverts expectations in opting for a smaller, more intimate story, as opposed to one that continues the grand tale of Lah Kara and the Margrave re-starting the Jedi Order and finding Kara’s kidnapped father.
The story finds Kara (voiced by Kimiko Glenn and Chinatsu Akasaki) blasted into space away from her newfound Jedi colleagues, after which she lands on an abandoned planet and helps a kind-hearted droid. As a result, the short seems to stall the overarching narrative of interest, which may come as a disappointment to some (although we do have a full-fledged series dedicated to “The Ninth Jedi” coming soon).
However, “The Ninth Jedi: Child of Hope” eventually finds it footing and evolves into the most moving installment of Volume 3. This is thanks to Kara’s growing bond with Teto (voiced by Freddie Highmore and Akira Ishida), an endearing relationship that conveys the strength in being able to acknowledge our weaknesses. It’s moving, gut-wrenching, and exactly what the best Star Wars stories deliver – fusing style and spectacle with genuine, resonant emotion.
The Lost Ones
The final follow-up short in Volume 3 is “The Lost Ones,” which serves as a sequel to “The Village Bride.” Kinema citrus Co. excelled in Volume 1 with a methodically paced story about a Jedi who stops bandits from kidnapping the chief’s daughter. The story here follows F (voiced by Karen Fukuhara and Asami Seto) as she rescues refugees from an environmental disaster before coming face-to-face with her former master Shad-Rah Varcanella (voiced by Mark Strong and Hirofumi Nojima). Unfortunately, this narrative proves less compelling than its predecessor’s, in part due to the lack of Haru here, the titular bride from the Volume 1 short who is absent here. In Haru’s place are various refugees that F comes to protect, a plot that doesn’t quite grip the way “The Village Bride” did.
Things certainly pick up in the latter half as F duels her former master in what ends up being one of Volume 3’s most stunning action set-pieces. The scene reminded us of the throne room battle in The Last Jedi, with a red floor and holographic walls that break down to reveal the space beyond the ship. Unfortunately, by the conclusion of all nine shorts, “The Lost Ones” was the weakest of the bunch for us. Of note though, that isn’t to say the short is weak as we don’t think there’s a weak installment this Volume.
The Song of Four Wings
Beyond the three sequels, Visions Volume 3 features six original shorts that excite and intrigue in a variety of ways. The first of the original shorts is Project Studio Q’s “The Song of Four Wings,” which chronicles a princess-turned-rebel named Crane (voiced by Stephanie Hsu and Manaka Iwami) who protects a child named Woopas (voiced by Aki Toyosaki) from the Empire.
While the story itself has been seen various times in recent Star Wars (e.g., The Mandalorian, The Bad Batch), “The Song of Four Wings” possesses a singular visual and sonic flavor that make it stand out. Crane’s liking for funky electronic music plays a key role in the short and sees her key her loyal astromech Tor-Tu with her at all times, as he can play the music she adores. The music by Towa Tei isn’t the kind of music you’ve come accustomed to hearing in a Star Wars story but somehow fits so seamlessly into this particular story (and had us desperate to buy the soundtrack for Visions Volume 3 afterward).
Beyond the music, the short has some of the most memorable visuals of the nine new shorts, namely stunning imagery of AT-ATs bursting through ice from underground and subsequently dropping seismic charges to eliminate Crane. The child under her protection, meanwhile, will be the latest cute little creature added to the pantheon of cute little creatures in Star Wars. And, like the franchise’s most popular cute little creature Grogu, Woompas packs an emotional punch through the bond created between him and his found family Crane. Come the end, “The Song of Four Wings” shows that even the most tried-and-tested stories can breathe new life when in the hands of daring creatives like Project Studio Q.
The Bounty Hunters
Switching gears stylistically and narratively is the next original short, “The Bounty Hunters.” Created by WIT Studio, the short follows Sven (voiced by Anna Sawai and Ai Fairouz), a bounty hunter who takes on a job with a shady industrialist named Jin-Sim (voiced by Joseph Lee and Daisuke Ono). This short was definitely our biggest surprise of the nine as, after the Visions panel at Star Wars Celebration Japan, it seemed to be the least striking of the lot. Boy, were we wrong.
There’s so much to enjoy about this short, starting with the lead character Sevn. Brief glimpses of a tumultuous past suggest she’s been through great hardship (involving a Force user as well), while conversations with other characters imply she betrayed the bounty hunter group she used to work for, thus limiting the jobs she’s able to take now. Star Wars is no stranger to bounty hunters, but, with Sven, we’re immediately introduced to a likable rogue gunslinger shrouded in secrecy. Just as George Lucas did starting back in 1977, everything is not revealed right away (or even at all), but seeds are planted that make the characters and the worlds they inhabit feel real and lived-in.
Sevn isn’t the only compelling character to feature in “The Bounty Hunters” though. Her sidekick IV-A4 (voiced by Ronny Chieng and Tomokazu Sugita) may be one of the most unique droids to be introduced in recent years given that he struggles with a split personality. One second, IV-A4 is an attentive, albeit blunt medical droid, while the next he is a ruthless assassin droid (who even says, “Hell no!”). IV-A4’s split personality makes him a multidimensional character in more ways than one and also offers different routes of humor originating from the same character.
The short also bolsters Jodie Turner-Smith, who previously played Mother Aniseya in The Acolyte and now returns as En O, the leader of an exiled resistance group desperate to reunite with her missing story. Sevn’s character is tested when she must decide between aiding an industrialist who promises her secure employment and aiding En O and others to rescue enslaved children. The subsequent story unfolds rather predictably, although thankfully not at the detriment of the message championing kindness and redemption, and culminates in an ending that had us eager to see Sevn and IV-A4’s next adventure.
Yuko’s Treasure
In addition to crafting “The Lost Ones,” Kinema citrus Co. also helm “Yuko’s Treasure,” Volume 3’s most heartwarming installment. The short follows an orphan named Yuko (voiced by Liam Karlsson and Momoka Terasawa), who is taken care of by BILY (voiced by Harvey Guillén and Mitsuru Houfu, a teddy bear-like droid, on the planet Tatooine. Yuko and BILY’s peace is disrupted when a group of pirates led by Fox Ear (voiced by Steve Buscemi and Kenichirou Matsuda) arrive in search of a long-lost treasure hidden by Yuko’s parents.
The highlight of Yuko’s Treasure (arguably the cutest droid we’ve ever seen in Star Wars history) is BILY, whose name is an acronym standing for ‘Baby I Love You.’ It actually took us a few minutes into the short to even realize that BILY was a droid and not the member of a teddy bear-looking species we’ve yet to be introduced to. In the wake of the deaths of Yuko’s parents, BILY serves as an all-loving caregiver for Yuko, who reciprocates BILY’s care with unconditional love. Their bond is beautifully realized by the voice actors and the animators at Kinema citrus Co., with the short filled to the brim with endearing moments of the two lovingly interacting with one another. Found family has been a theme in Star Wars dating back to the original trilogy, but “Yuko’s Treasure” plays with this theme in a warmer and kinder manner than we’re used to.
When threat arrives at their front door step, in the shape of the humanoid fox-like alien Fox Ears, the stakes ramp up considerably and, given the audience’s swift emotional investment in Yuko and BILY, the danger is felt palpably. Hearing Steve Buscemi’s unmistakable voice in a Star Wars story, voicing an extremely distinctive antagonist no less, makes the short all the more gripping.
When the danger finally subsides, the short concludes beautifully with an ode to Yuko’s deceased parents and details about their sacrifices to make Yuko’s life as happy and safe as possible. Even the most cynical of viewers will be hard pressed to not be moved by this ending and pleased to see Yuko and BILY’s bond grow even stronger than it already was.
The Smuggler
TRIGGER, the animation studio behind “The Elder” and “The TWINS” from Volume 1, return for Volume 3 with another exhilarating short. “The Smuggler” takes place during the reign of the Empire and on a planet whose royal family have been eliminated due to their defiance to Imperial rule. The sole remaining member of the royal family, Prince Arloo (voiced by Tanner Buchanan and Yuuki Shin), remains hidden as Imperial forces and a deadly bounty hunter desperately attempt to apprehend him. A headstrong young smuggler named Chita (voiced by Emma Myers and Ami Maeshima) enters the fold when she is hired by a mysterious woman named Gleenu (voiced by Judith Light and Yasuiko Hatori) to smuggle her and Prince Arloo off world and away from the Empire’s reach.
“The Smuggler” kicks off with a brilliantly and succinctly scripted introductory narrative that lays the foundation for the forthcoming story. Immediately, the story that unfolds largely forecasts itself to the audience, and yet its predictability never once dampens upon the excitement of the journey.
Brought to life with gorgeous animation, “The Smuggler” propels forward at a breakneck pace as danger, in the form of Imperials or bounty hunters, lurk around every corner. Chita, Arloo, and Gleenu need to find a way off world quickly, but they are surrounded by stormtroopers, AT-STs, contract killers, and, not to mention, civilians who are incentivized to turn in the outlaw prince if he is spotted. TRIGGER, led by director Masahiko Otsuka, superbly imbues every scene of their short with striking tension and suspense, especially as the audience comes to appreciate Chita and her moral compass more and more.
The short doesn’t subvert any expectations as it proceeds toward its conclusion, although there are a number of satisfying pay-offs in the final moments, namely one involving the mysterious Gleenu. Perhaps more than any other entry in Volume 3, “The Smuggler” concludes on a note that genuinely feels like it was intended to be a backdoor pilot for another short or even a full-fledged series, neither of which we could complain about.
The Bird of Paradise
Visions Volume 3 saves its two trippiest and most abstract shorts for last, starting with “The Bird of Paradise.” The short from Polygon Pictures chronicles the tribulations of a Jedi Padawan Nakime (voiced by Sonoya Mizuno and Tomoyo Kurosawa) after she is blinded in battle by a Sith lord. As she wanders aimlessly in the wilderness after her injury, Nakime experiences a test of faith that sees her reckon with her belief in The Force and conquer her deepest fears.
“The Bird of Paradise” begins with an intricately choreographed and expertly shot lightsaber duel that pits Nakime and her master against a dangerous Sith lord. The orange hues that fill the surrounding environment serve as a stunning backdrop for a battle worthy of standing about the best lightsaber duels in the history of Star Wars animation.
After being blinded in battle, “The Bird of Paradise” takes a shift into decidedly more existential and abstract territory. Hallucinations, visions, and a wise neon-colored toad creature (voiced by George Takei and Hochu Otsuka) populate the remainder of the short as Nakime gradually comes to terms with her blindness and subsequent questioning of everything she once believed in unreservedly. The short becomes a little too wordy, abstract, and ultimately repetitive with its messaging and overstays its welcome a bit, although creative visuals, especially those to convey Nakime’s new perception of the world after being blinded, ensure that investment in the story doesn’t dip too considerably.
BLACK
The final short of Volume 3 arguably represents Star Wars at its most ambitious, bold, and creative. From david production, “BLACK” chronicles the last moments of a stormtrooper on the cusp of death aboard the Death Star. Devoid of dialogue, interspersed with purposefully ill-fitting jazz music, and featuring various kinds of animation, the short is 13 minutes of utter psychological and physical devastation from the eyes of a soldier in the final moments of his life.
Psychedelic and experimental, “BLACK” is unlike anything seen before in the nearly 50 years of Star Wars stories. It’s an entirely sensory experience, one that challenges the viewer with its abrasive visuals and haunting depiction of death as the stormtrooper sees the traumas of his past flash before his eyes. The short may not be one that warrants much rewatchability and will certainly be too bizarre for some viewers, but the innovation on display warrants immense praise nonetheless, resulting in a short that will likely be admired more than it is enjoyed by most.
By its conclusion, the lingering impression left with us was that of horror as, upon reflection, the short easily ranks among the most unsettling and terrifying stories of the franchise. The various abstractions and bizarre visuals get under your skin in a manner seldom seen in the scariest of horror films and showcase the horrors of war in nuanced and novel fashion.
david production pushes the boundaries of what a Star Wars story can entail with “BLACK,” which, hopefully, gives future creatives the courage to take similar leaps with their Star Wars projects.
VERDICT: 8.5/10
Star Wars: Visions Volume 3 returns to Japan for its most diverse and consistently high quality collection of shorts yet. The newest installment of the hit animated anthology series lacks any semblance of a weak link, with each and every short beautifully and creatively fusing tenets of a galaxy far, far away with Japanese culture and animation. The three sequels to acclaimed shorts from Volume 1 may not live up to their respective predecessors, but they nonetheless compel with stunning visuals and interesting advancements in the characters and the unique worlds they inhabit. In particular, “The Ninth Jedi: Child of Hope” excels in being the most moving and heartfelt short of the season, which offsets the failure to progress the narrative from “The Ninth Jedi” in any substantive way. The six original shorts, meanwhile, similarly enchant with a variety of gorgeous visuals and clever spins on Star Wars lore, with “Yuko’s Treasure” warming our hearts in endearing fashion and the psychedelic and experimental “BLACK” seeing the franchise at its most bold, creative, subversive, abstract, and haunting. In just nine episodes, viewers are treated to a black-and-white Akira Kurosawa-inspired fusion of samurai films and Star Wars, a droid with a split personality, a psychedelic and bizarre trip through the mind of a Stormtrooper in his last moments, the craziest lightsaber you’ve ever seen, Anzellan crime lords, AT-ATs bursting through ice, an adorable teddy bear droid, Steve Buscemi in Star Wars (!!!), and so much more. If there’s any overarching ‘negative’ to lodge at Volume 3, it’s that each and every story left us wanting to see more of these characters, worlds, and stories, such is how uniquely fascinating all nine shorts are. With a full-fledged series following “The Ninth Jedi” confirmed to be in development, Volume 3 left us eager for subsequent announcements of more series dedicated to expanding the array of brilliantly executed stories. After two volumes of beloved shorts, Star Wars: Visions Volume 3 somehow exceeds even the loftiest of expectations in delivering nine visually stunning, deeply moving, and limitlessly innovative shorts that, collectively, comprise the best season of the series to date.