I don’t think it is. Look at Obi Wan. GL went out of his way to cast an actor who was essentially a dead ringer for a young Alec Guinness. Not only does Ewan McGreggor look and sound like Alec Guinness, but they’re the exact same height (5’10”). He was perfectly cast. So it can be done. George Lucas was a stickler for such details. So yes, I have very high standards. But I also believe that those standards can be met.

That last part is obvious, but I will counter by saying that you could find an actor that was both closer in height, and looked mired like Williams. The same is even more true of Harrison Ford. We’ve already seen an actor ( in fact more than one) who is a dead ringer for Ford, and who played a younger version of him in the same movie with Ford (Age of Adeline). The actor in question being Anthony Ingruber. At 6’ tall, he’s also only an inch shorter than Ford. He would have been the perfect choice for a young Han Solo. That’s a far cry from someone who is 6’ replacing an actor who is only 5’9” tall. A better choice for a younger Luke would be one of Hamill’s two sons, Nathan or Griffin, both of whom are of a similar height to their father and also bare a strong resemblance to him. They’re also both actors.

I wouldn’t have hired Glover for Lando either, nor would I have hired Eirenreich for Han Solo. It wasn’t my choice, however. The industry has to use multiple various camera tricks or outright special effects to fudge performers’ heights. That wouldn’t be necessary if they simply hired people who were the right heights for their roles in the first place.

Ge’tal has been updated. I raised her Brawl skill by one and added a rank in Conditioned.

I just saw an interesting video on YouTube about the merits of building a character “wrong”, as in “not optimized”. The video itself deals with D&D in particular, but I believe has application with any RPG system, so I thought I’d post it here.

First off, Donald Glover played the part well. I don’t take that away from him. My point was that he doesn’t resemble Billy Dee Williams all that much. He does look more like his predecessor than Eirenreich does though. The difference with the Superman situation you brought up is you’re dealing with different versions from different continuities. The Brandon Routh Superman is not the Henry Cavill Superman, who is not the Tyler Hoechlin Superman, who is not the Dean Cain Superman, etc. each is a distinct character in his own right. So having variety in height and/or appearance is entirely appropriate. This is not the case with Han Solo, Lando Calrissian, or Luke Skywalker. Han Solo should look like Harrison Ford, and be the same height. The same with Lando looking like Billy Dee and being the same height as him, and Luke not only looking like Mark Hamill, but also being within one inch of his height. Get the heights right. At 6’, Sebastian Stan is an inch shorter than Harrison Ford. He towers over Mark Hamill’s 5’9” height. He is also an inch taller than Pedro Pascal (5’11”), and the same height as Brendan Wayne (one of Pascal’s body doubles in the show). That’s the problem. Luke Skywalker is much shorter than Din Djarin. Sebastian Stan is the same height or taller than Din Djarin.

Alden Eirenreich looks nothing like Harrison Ford, neither does Donald Glover look like Billy Dee Williams. They didn’t even try to get actors that looked like the originals. This was one of many complaints I heard among fans before and after Solo was released, particularly Eirenreich. So I stand by my objection. As for Hugh Jackman, yes, technically, he shouldn’t have been Wolverine because he was indeed too tall. However, the movie kept everything internally consistent. The problem with using two different actors of different heights (and/or look nothing like one another) playing the same character at different adult ages within the same continuity that can cause a break of suspension of disbelief, at least for a while. It’s jarring.

If you’re trying to match an existing actor, especially how said actor measures up to his or her fellow actors, getting the height right is crucial. As for Tom Cruise, it’s far easier to make a shorter person appear taller than it is to make a tall person short.

While Sebastian Stan’d name has been thrown around as a potential “younger Luke” because of how similar their faces are, I don’t see it working for one key reason: he’s too tall. Sebastian Stan is 6’ tall, the same height as Harrison Ford. Mark Hammil is only 5’9” tall. He was visibly shorter than Han in the OT.

I met him at a few cons. He was a very friendly man.

I agree. If anyone is interested, there is an interesting video about it here:

I already made my IC post.

Yeah. A new trophy. His damaged carbine. As for IC posts, check the IC thread.

You mean like gear or loot?

Not sure what you mean.

“And people say I have a temper,” Ge’tal says ironically, putting her weapons away.

No problem 😎

I did. In my first post of the combat I said that I drew my weapons.

You might want to edit your IC post. Ge’tal is left handed and is wielding her Beskad in that hand. She has her blaster in her right as backup.

“Alright,” Ge’tal screeches. “Now you’ve done it. It’s time for some real pain now.” With repeated slashes with her Beskad, she makes several slices down the barabel’s weapon arm before making a final cut to his blaster, making a deep gash into the barrel.

Melee: 3eP+1eB+2eD+2eS 1 success, 1 advantage That’s 8 damage, and I activate Sunder once, damaging his weapon one step.

Not at all. I’m telling you that there is an inherent difference between a contract between a writer and a licensee and one between a writer and an IP owner. The contracts the lawyer you brought up deal with licensees, not the actual owners of the intellectual property. That is a major difference. Contracts with a licensee are inherently more restrictive in what benefits the writer or artist are entitled to than one made with the owner of the IP itself. The specific medium itself also plays a part in this since different media each have different standards on what’s typical in a contract. Contracts for comics are different from ones for novels, movies, etc. Each medium has their own contract business models. So, no, I’m not ignoring anything. I’m saying that the situations are inherently different because of who the contracts are with and what media is involved.

I’m saying that the specific contracts you brought up that he was referring to in regards to his business as part of the CBDLF, deal only with Work for Hire comic book contracts between writers and licensees, not contracts for novels between authors and the IP holders themselves. That’s the key difference. Regardless of his further experience, the types of specific work for hire contracts with licensees he discussed in his CBDLF dealings don’t cover perpetual royalty contracts directly with the IP owners themselves. That is the difference. I don’t need to see a particular contract to know that there is a difference between a contract with a licensee and one with the owner of the IP itself. I don’t need to see a particular contact to know that there is a difference between contracts for comics and one for novels. The lawyer you mentioned would probably tell you the same thing. You can’t use an example of a completely different type of situation to talk about a totally different one.

@Nytwyng, you’re missing the point. The lawyer you keep referencing does not deal with book authors, or the contracts that they in particular deal with, and therefore is basically irrelevant. You’re comparing apples and oranges. The contracts used in the comic book industry and those in the book industry are different. The business models are different. The standards are different. Not only that but who the contracts were with are different. Foster’s contracts were not with licensees. They were with the IP holders themselves. The lawyer you referenced talks about contracts with licensees. Once again, comparing apples and oranges. Based upon the articles, Alan Dean Foster’s contract is a perpetual royalty contract made with Lucasfilm directly, not with a licensee. He did the same with 20th Century Fox. When Disney bought Lucasfilm and 20th Century Fox they bought everything, including those obligations.

And you seem just as certain that his contract is null and void, based upon one lawyer who deals exclusively with comic book authors, not authors of novels, and work under completely different contracts than comic book creators.