on the aesthetics of asian erasure in star wars: obi-wan kenobi and the planet of naboo
when we talk about representation in star wars, the conversation often stops at what’s visible or credited. star wars has a long-standing problem with the lack of asian leads or asian-coded worlds, but sometimes what’s more insidious is the erasure of asian influence where it once existed, or where it was clearly intended to be.
take obi-wan kenobi. before alec guinness was cast, george lucas had reportedly wanted a japanese actor to play the role, toshirō mifune, most famously known for his work with akira kurosawa. lucas has never strayed away from citing the hidden fortress as a direct inspiration for a new hope, and the jedi, in their original conception, from eastern philosophies, particularly bushido and zen buddhism. this was not accidental. it’s embedded into the language, “obi” (the sash of a kimono), “wan” (a name component common in chinese and southeast asian names), and “kenobi,” which emulates the structure of japanese surnames. it is an asian-inspired name, heavily so.
but when mifune declined, lucas pivoted. and instead of keeping that vision intact, the jedi master archetype, the wise elder, steeped in tradition, was lifted from its asian origins and handed to a white british actor. and then later, to ewan mcgregor, whose performance, while incredible, westernized the role further. we are told obi-wan is from “stewjon,” a planet born out of a joke, a merging of jon stewart’s name, after he asked lucas where obi-wan was from. then “space scotland” became the shorthand. that change from asian inspiration to european performance was never really questioned.
it’s not about demanding obi-wan look asian. it’s that the character was rooted in an asian framework, and that framework was abandoned the moment it became inconvenient to uphold. and that sets the tone for much of star wars, aesthetic borrowing without meaningful credit.
naboo is another case where this shows up. the common narrative is that naboo was inspired by renaissance europe, with its lush italian architecture, baroque dresses, and romanticized monarchy. those elements are there. but there’s a consistent thread of asian influence that is almost never acknowledged.
the names of the monarchs are a starting point. padmé, from the sanskrit “padma,” meaning lotus. sabé and saché, echoing asian and hindi name constructions. queen jamillia, whose name stems from arabic roots, suggests influence from islamic culture. even the name “naboo” itself sounds curiously close to nebo, a mesopotamian god, or nabu, the sumerian deity of wisdom. the planets closest to naboo in the galactic grid, like sereno and ord mantell, also carry vague echoes of eurasian tone.
but most significantly, look at the costume design in the phantom menace. trisha biggar drew from a range of global influences, but some of queen amidala’s most iconic gowns were directly modeled after traditional mongolian royal attire, specifically the headdress and layered robes worn by mongolian empresses. the high collars, rich brocades, and facial makeup are unmistakable. yet, in the lore, naboo is labeled as european. not central asian. not global. and certainly not asian.
this is not to say star wars owes its worldbuilding to any one culture. it doesn’t. part of its power comes from its ability to merge and reimagine cultures. but there is a problem when the contributions of asian cultures are stripped of credit, while european aesthetics are exalted as canonical. when a jedi’s name can be asian, his values drawn from eastern philosophies, his robes loosely modeled on samurai garb, and yet his face, voice, and homeworld are made definitively western.
theartofmadeline
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