After reading part one of the Australian analysis of the Magic of Myth exhibit, you're probably looking for part two. Here's the next installment:

Now three years after the US tour began The Magic of Myth has arrived in Australia at the Powerhouse Museum, Sydney. The Sydney tour marks the first appearance of elements from the latest Star Wars incarnation, Episode II: Attack of the Clones. Scenes from that film were filmed at the Fox Studios in Sydney. The rest of the exhibition features the same materials as those in the US and it connects the saga to elements of classical mythology, especially the famed "hero?s journey" parable. Underlying the special effects and the story of space-faring pilots and Jedi and Sith is the magic of myth, where heroes, monsters, wizards and magic talismans exist in labyrinths of discovery. Star Wars: The Magic of Myth, in other words, explores the mythology behind the Star Wars story, the journey of Luke Skywalker and the redeeming journey of Anakin Skywalker that takes place "a long time ago in a galaxy far, far away..." The exhibition was initially inspired by Joseph Campbell?s story of the "hero?s journey" presented in Hero With a Thousand Faces, and by comments made on the Star Wars films in the book and video series The Power of Myth.

Interestingly enough, however, the Sydney tour of The Magic of Myth has abandoned a part of the success that was found within the Smithsonian; or at least it is not as open about the design. There the exhibit was divided into sixteen sections that chronicled the progression of the overall story within the saga and detailing how it mirrored the developments found within mythology. Here in Sydney, though, the exhibit is simply divided into the order of the films and the mirroring is chronicled in different ways.

The exhibit begins in an enclosed, darkened area. The first sign of what is inside comes with the incessant blaring of security alarms set off by people standing too close to the displays. The second are the excited children running ahead of their parents through the crowds. Glitter on the carpet near the entrance spells out the famed introductory text "a long time ago in a galaxy far, far away..." The first display is that of the 3.5 metre production model of the Imperial Star Destroyer first seen at the very beginning of Episode IV: A New Hope. The model is an impressive sight and it has much the same effect as seeing it in the film for the first time, being so highly detailed and yet simply designed. Near this is Princess Leia?s white gown, a petite and simple, flowing gown, elegant with the hood raised over the dark mannequin?s head giving an aspect of shadow, showing up well against a darkened background. It gives the effect of being almost angelic and pure, an ageless quality that was desired for the part; it contrasts with the dark materialism of the Empire and Darth Vader. It also symbolises the youthful, wholesome purity of a damsel in distress, another mythological overture behind the Star Wars story, which Leia embodied. Opposite the Leia costume are the droids C-3PO and R2-D2. The amount of detail that went into their creation is much more appreciable than in most scenes from the film, the quality of "humanity" given to something that wasn?t quite human more obvious in terms of expression and design. In mythology C-3PO and R2-D2 reflected the sidekicks of the story, injecting elements of humour into the mix, and their contrast has shades of Don Quixote and Sancho Panza, and yet somehow they seemed to come to life beyond that. Scattered along the walls are conceptual designs and matte paintings for the droids and for early important scenes on the desert planet Tatooine. There is a model of the interrogator droid here as well, complete with all its appendages. A little further along is the Obi-Wan Kenobi costume Alex Guinness wore. It is perhaps the most aged of all the costumes in the exhibit, stained and wrinkled. It?s simple, fairly monastic design is still impressive, and the similarity with Ewan McGregor?s costume in the prequel films is obvious. In mythology Kenobi symbolises the old and powerful wizard who teaches the young journeyman. He has also been made, at least initially, the knight of the tale, the elegant swordsman of an age long past. Next to the Kenobi outfit are the costumes of a Tusken Raider and a Jawa, long flowing garments reflective of light and heat. Opposite is the pilot costume worn by Mark Hamill as Luke Skywalker during the attack on the Death Star and one of the X-Wing models during the effect sequences. The trench assault symbolised the concluding attack on an impenetrable fortress or labyrinth found often within mythology and the continuing development of a hero as he moves into manhood and gains experience and wisdom. Similarly there is a TIE Fighter model and a pilot costume there as well, dark and black, reflective of evil whereas the brighter Rebel costumes and pure white Leia outfit symbolise life and the struggle against evil. In contrast the Han Solo costume worn by Harrison Ford has elements of both light and dark and like the Kenobi costume, that too has aged, but because of the character being a smuggler it has actually afforded it a new kind of charm, if that is possible. Next to Solo?s costume is Chewbacca?s, one of the tallest of all those in the exhibition; without the characteristic features given during a live-action performance, Chewbacca appears much more animalistic and less realistic than the others, but the pure coverage of fur is impressive, as well as the texture and the truly alien air hanging about the costume when compared to the others.

The next part of the exhibition flows smoothly across an intersection and into the elements from Episode V: The Empire Strikes Back. Immediately here is the snow gear worn by Mark Hamill during filming of the Hoth scenes on location in Norway. This is where the film itself begins and it is reflective of Luke?s progress as the hero within the trilogy of films. He begins in white as Leia did in A New Hope, pure and heroic with his destiny still before him, and as the story progresses he begins to mature and his clothing reflects the changes in his nature, darkening as he becomes aware of the Dark Side of the Force and faces his trials. The Hoth section features Luke?s lightsabre and the Wampa Ice Creature costume developed especially for the Special Edition of The Empire Strikes Back. In the same section is the costume of an Imperial Snowtrooper and a Rebel Snowspeeder, examples of the high level of detail paid to the props and production models used in the making of the film. There are more conceptual designs here as well, and near these is the puppet of Yoda. This is one of the clearest elements of the museum with the level of detail being extremely realistic in the quality of the materials used in the miniature garments and in the puppet itself to the individual hairs sprouting from ears and head, and the gleam of life captured within the eyes. Yoda reflects the more wizened, powerful mage in mythology, as Kenobi similarly did, only it is Yoda who shows Luke (the hero) the dangers of his quest and reveals the truth of his identity. Near this is an interactive booth that shows an X-Wing rising from the swamps of Dagobah, dark and mystical, though reasonably claustrophobic. In the middle of the section is a gigantic model of the Millennium Falcon sitting inside a separate glass cabinet, with all the equipment, weaponry, and gadgets featured in the films, from the sensor dish to the laser cannons. Like most of the other models it is large, almost as large as the Star Destroyer model and just as detailed. Moving on from this is Lando Calrissian?s outfit and like Solo?s costume, there is a touch of menace about it, a hint of darkness and a sense of redemption mixed with the bold, strangely royal colours reflective of his personality. On from here is the Boba Fett costume, featuring detailed armour and weaponry. Here Fett seems nothing recognisably human, an unstoppable super-soldier and a ruthless mercenary for hire; in that way he is Darth Vader?s antithesis, being everything he is not, a killer who knows no remorse and for whom there is no chance of redemption. There is a miniature model of Fett?s starship beside the costume, Slave I, and it matches the model seen in Attack of the Clones well.