Picture this: a young fan captivated by a fleeting scene from a blockbuster movie, only to discover that obsession ignites a lifelong passion—and, unbelievably, leads to reviving that very moment for a new generation. That's the fascinating journey of stop-motion animator Tom "Gibby" Gibbons, whose story ties directly into the revival of iconic Star Wars elements through Tippett Studio's collaboration with Lucasfilm and Industrial Light & Magic (ILM). Spanning a decade and starting with Star Wars: The Force Awakens (2015), this partnership has breathed new life into practical effects in a digital age, reminding us that timeless techniques can still dazzle audiences. But here's where it gets controversial—could embracing retro methods like stop-motion actually outshine modern CGI in storytelling, or is it just nostalgic indulgence? Let's dive in and explore how a simple chess game from the stars sparked a creative renaissance.
Like countless kids of his era, Gibbons drew inspiration from the groundbreaking Star Wars: A New Hope (released in 1977), but it wasn't the epic space battles or lightsaber duels that hooked him—it was the quirky holochess monsters in that unforgettable dejarik sequence. For beginners wondering what dejarik is, think of it as a holographic chess-like game from the Star Wars universe, where players maneuver fantastical creatures on a board. Little did Gibbons know that nearly four decades later, he'd be part of the team animating its comeback for The Force Awakens. "How bizarre is it that I ended up working on this?" he chuckles. "It feels like some cosmic coincidence—that childhood fascination with the chess set eventually led me to animate it myself, years down the line." And this is the part most people miss: it's not just about the nostalgia; it's about how one scene can shape destinies in unexpected ways.
Growing up enamored with the puppetry and mythical beasts in Ray Harryhausen's films—those legendary stop-motion animations where models are photographed frame by frame to create lifelike movement—Gibbons found a void in cinema that Star Wars filled. "There'd been a lull in movies featuring puppets and monsters, the things I adored," he recalls. "Then Star Wars arrived with its holochess display, and boom—I knew I had to pursue that craft. It proved that this style of animation was alive and kicking, inspiring new talents to carry it forward."
Enter the pioneers: Phil Tippett and Jon Berg, recruited by Lucasfilm's ILM to craft creatures for the bustling Mos Eisley Cantina. They persuaded director George Lucas to employ stop-motion for the holochess scene, crafting ten unique monster puppets (eight ultimately featured), with camera work by Dennis Muren. This brief yet pivotal moment ignited a stop-motion revival at ILM, influencing projects like Star Wars: The Empire Strikes Back (1980), Dragonslayer (1981), and Indiana Jones and the Temple of Doom (1984). By the mid-1980s, Tippett had founded his own studio in Berkeley, California, where stop-motion continued thriving on films such as RoboCop (1987) and Willow (1988).
As computer graphics (CG) revolutionized visual effects, Tippett Studio adapted, partnering with ILM while blending traditional and digital approaches. Gibbons, who started in stop-motion and transitioned to CG, never abandoned his roots. So, when Lucasfilm approached in 2014 for a stop-motion redo of the holochess for The Force Awakens, it was a delightful surprise. What began as a modest task evolved into a lasting alliance, encompassing Star Wars features like The Mandalorian (2019-23), The Book of Boba Fett (2021-22), and the Emmy-nominated Star Wars: Skeleton Crew (2024-25). Recently, they've teased involvement in The Mandalorian and Grogu, set for a May 22, 2026, theatrical release—proving the collaboration's enduring magic.
This partnership even birthed a "Holochess Trilogy," with subtle story expansions that added depth to the universe. During The Force Awakens prep, which celebrates its 10th anniversary this month, CG artists at Tippett convinced Phil to involve them in his personal stop-motion project, Mad God (2022), using modern tools. Visual effects supervisor Chris "CMo" Morley and lead fabricator Mark Dubeau highlight the studio's collaborative spirit. "In other places, everyone stuck to their roles," Dubeau notes, "but here, with a background in hands-on work, it's about pitching in together, even in CG." Morley, a former fine arts student turned CG pro, adds, "I dreamed of mastering stop-motion, and Mad God let us experiment with everything from hand-cranked moves to motion-control tech. It reignited careers and prepared us for Lucasfilm's practical effects revival."
Dubeau assembled the puppet team, drawing from internal talent and recruiting experts like fabricator Frank Ippolito and veterans connected through Phil's network, including Brett Foxwell. Foxwell, a machinist-turned-puppeteer with experience from university labs to Laika's Boxtrolls (2014), joined just in time. "We examined the original, deteriorated latex pieces at Skywalker Ranch," he remembers, "and even 'borrowed' from their archives. Phil's workshop feels like a time capsule from the 1980s, with gear from RoboCop and early Jurassic Park (1993) dinosaurs." Researching the creatures—the Mantellian Savrip (big guy) and Kintan Strider (smaller one)—Foxwell rebuilt high-quality armatures, ignoring casual nicknames like "Mr. Big" and "Hunk." Phil's guidance: "Make it versatile for any action we haven't planned yet."
The puppets' roles were shaped by story needs, allowing the team creative freedom. "Each sequence tells a mini-tale," Dubeau explains, "ensuring it feels authentic to the Star Wars lore." Gibbons and animator Chuck Duke picked up where A New Hope left off—no timeline jumps, just resuming the game. Phil flipped the script: instead of the big one dominating, the little one triumphs. This twist thrilled fans but sparked debate—fair play in a galactic game, or a nod to underdogs?
The resurgence extended to Solo: A Star Wars Story (2018) and Star Wars: The Rise of Skywalker (2019), with Solo offering clever Easter eggs, like expanding the chess set to ten pieces due to a production accident. Morley loves integrating stop-motion with live-action plates: "It's about blending worlds—adding lights for magic, letting animators infuse soul by seeing actors in position." Happy accidents, like a broken button on the dejarik table, inspired lore: perhaps those missing characters were lost to history.
Interestingly, they revived unused designs from A New Hope, giving Phil and Jon's cut creatures their spotlight. But here's where it gets controversial: reviving old ideas—does it honor the originals or dilute innovation?
The Mandalorian revitalized the studio with its adventurous vibe. Dubeau designed a hybrid vehicle—a probe droid-AT-AT mashup—for season two. Using ZBrush for concepts, they 3D-printed parts amid tight deadlines, animating with Gibbons and David Lauer. Stage lights caused sagging, forcing one-take shoots. Gibbons anthropomorphized it as "weirdo elephants," capturing that AT-AT essence while adding personality—reminding us how animators humanize machines.
In The Book of Boba Fett, a B’omarr monk spider—mechanical arachnids housing monastic brains for enlightenment—emerges on Tatooine. For Star Wars newcomers, these are background elements from Return of the Jedi (1983), now front and center. The puppet's six legs posed challenges; Charlesworth's metal 3D printing and Foxwell's precision machining solved it, with fishing lines for support. Gibbons used CG prep for realism, cheating physics for smooth movement over a 20-foot terrain set. Morley emphasizes physical props for authentic lighting and shadows, augmented by digital matching.
For Skeleton Crew, CG modeler John "JD" Daniel, inspired by zoology and art, joined for the "Trash Crab" or "Tet’niss"—a spiky giant blending Harryhausen-style stop-motion with CG sophistication. The Tippett way? Collaborative, iterative problem-solving, unlike rigid pipelines elsewhere. "It's like engineers launching a rocket, discussing ideas directly with animators," Daniel says, blending practical and digital for groundbreaking results.
This legacy stems from Phil's vision, rooted in Lucasfilm's DNA, focusing on storytelling intent. Morley argues stop-motion isn't novelty or nostalgia—it's a tool to elevate effects, countering AI's rise by preserving craftsmanship. The arc from chess to walkers to spiders to crabs shows smart scaling.
What do you think? Does reviving stop-motion in Star Wars prove practical effects are timeless, or should everything go digital? Is Phil's leadership the key to blending old and new, or does it risk over-reliance on the past? Share your thoughts in the comments—agree, disagree, or add your own twist!
