Ensure you know where nearby health is and promptly go after it when your life starts running low.When you battle enemies it is much easier to win when you have a team of three instead of a team of two, so ensure none of your characters die & be ready to bail quickly if one of your characters are running low on life.Sniper (bottom hero) shoots a long-range high power beam.Cassian (top hero) can trigger an airstrike.Click on one of your fighters to activate their special attack.Use the mouse to point where you want your team members to go.Click on the compass in the lower right corner to view the game map.Missions – similar to the survival mode, though with individual isolated missions.Leaderboard – shows gameplay leaderboard (though is currently inactive).Medals – shows which of the 9 medals you have obtained.Survival mode – play through a list of mini-missions you complete consecutively until you die.Upper right corner – game play instructions and sound control.

If your game ends and you start anew the welcome screen to the game includes a variety of buttons.The game automatically stores your high score in your local web browser.You can click the X in the upper right corner to exit the guided tour.When you start the game you start in active play, with the game offering a guided play through on the first mini mission.“The music’s impact was immediate and dramatic when incorporated into the film,” Pollock writes and further notes that early viewers of the film felt that the score gave “the hokey characters dimension.” It’s no surprise layering Williams score directly with Rogue One footage creates a similarly transformative feeling.Move around the playing field following in-game prompts to complete missions. In the 1983 biography Skywalking, author Dale Pollock reveals that though George Lucas was discouraged by early cuts of Star Wars in 1976, his experiences recording the score with John Williams changed his feelings and gave him hope for the film.

Much has been written about the ways in which the original Star Wars worked, but at least part of the triumph of George Lucas’s original film was connected to the John Williams music. It might not be better than what Gareth Edwards intended, but it it does certainly feel more like an old Star Wars film.

Lee also employs old-fashioned wipes and dissolves for scene transitions, remaking Rogue One with a gauzy fairy tale feeling as opposed to the grittier aesthetic of the actual film. And so, when Lee splices some of the other A New Hope incidental music representing the Empire, the effect immediately makes the footage feel more retro. Notably, the first Star Wars film didn’t use the “Imperial March” theme, because at that time, John Williams hadn’t composed it yet. Michael Giacchino’s unique and excellent score is replaced here by more classic John Williams tracks.

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