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Leland Chee reposted thisLeland Chee reposted thisThe Mandalorian & Grogu Watch Party Island is now live on Fortnite. Built by the same team who created The Mandalorian, our island gives players an exclusive first look at the first 10 minutes of the film, ahead of its wide release later this week. Story-first, authentically universe-native, and exactly what we do. Find it on the Discover tab and we'll see you in Nevarro. Many thanks to our incomparable internal team and our incredible partners at Fortnite, The Walt Disney Company, Lucasfilm, Beyond Creative. https://lnkd.in/gryVjY74...more...more
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Leland Chee reposted thisLeland Chee reposted thisGeorge Lucas may be one of the founding fathers of the modern blockbuster, but his reach goes beyond the box office. He revolutionized movie merchandising, unleashing a never-ending tsunami of Star Wars action figures and Indiana Jones lunch boxes. Within his industry, he created a special effects house, Industrial Light & Magic and THX sound outfit. Instead of gatekeeping his success, he would go on to sell the tools to other moviemakers. It's cemented him a spot on the #Forbes250 list, featuring America’s greatest living innovators. See the full list: https://lnkd.in/gZSkbS-s (Photo: Jamel Toppin)...more...more
Experience & Education
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Lucasfilm
View Leland’s full experience
See their title, tenure and more.
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Publications
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Luke Skywalker, Last Hope for the Galaxy
Dark Horse Comics
See publicationArticle at the end of the book covering all of Luke's appearances in the Star Wars comics.
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Ask Lobot
Sar Wars Insider/Titan Publishing
See publicationStar Wars Q & A: Feature answering questions submitted by fans.
Projects
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Fortnite x Star Wars
Ongoing collaboration between Lucasfilm and Epic Games to bring Star Wars and Indiana Jones content to Fortnite experiences such as Battle Royale, User Generated Content including Droid Tycoon, LEGO, and Festival.
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Huttese Translation
Building on 20 years of development of the fictional Star Wars language known as Huttese, I have translated thousands of lines of Huttese for dozens of games, series, books and apps, notably translating “Jingle Bells” for the Lego Star Wars Holiday Special and “Major Tom (Coming Home)” used as a promotional piece for the Disney+ series Skeleton Crew. I have notably translated Huttese for the open world video game Star Wars Outlaws and the Alexa Skill C-3PO Translates.
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LEGO Star Wars animated series, specials, and shorts for Disney+, Disney XD, and social.
See projectStar Wars Lore Advisor on all LEGO Star Wars animated projects released since 2016 including The Mandalorian, Rebuild the Galaxy, Holiday Special, Terrifying Tales, Summer Vacation, and the Freemaker Adventures. Also helped develop dozens of animated shorts which have garnered tens of millions of views on YouTube.
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Holocron, Indycron, LFLcron Continuity Databases
Created continuity databases to track lore
covering all of Lucasfilm’s properties including Star Wars, Indiana Jones, and Willow across all storytelling platforms from movies and shows to games and publishing and everything in between - a recognized leader in the industry. -
Millennium 3-D Owners Guide book sizzle trailer
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Writer and performer. This career highlight provided me with the unbelievable opportunity to scour the Lucasfilm Archives to create an original Star Wars character.
Other creators
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Honors & Awards
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Speaker/Panelist
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Because of my unique job and improbable career path, I have often been asked to share my inspirational story as a speaker and panelist at conferences, conventions and other events for organizations which include Lucasfilm, Disney, Wikia, my kids’ schools and other groups and associations.
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IMDB Crazy Credits
IMDB
IMDB classified my Keeper of the Holocron credit, which first appeared on the big screen in Rogue One, as a “Crazy Credit.” https://m.imdb.com/title/tt3748528/crazycredits
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Holocron mention on the Colbert Report
Colbert Report
As a fan of Stephen Colbert, imagine my shock and delight to hear him utter on television the words “Holocron Continuity Database.” https://youtu.be/GZg1VLCcVsA
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Profile in GameInformer Magazine Loremasters feature
GameInformer Magazine
https://www.gameinformer.com/b/news/archive/2009/10/08/feature-loremasters.aspx
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UC Davis Magazine Cool Jobs Profile
UC Davis Alumni Association
http://magazinearchive.ucdavis.edu/issues/fall09/alumni-chee.html
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Jenna Cavelle, MBA, MFA
I've been thinking a lot about this idea that we need to resist tech's "takeover" of our industry. For me, when we frame tech (Al) as an invader, it positions Hollywood purely as a victim/defender, rather than as an agent of its own transformation, which in turn limits our agency. Hollywood could co-create integration terms. But, the reality is that Hollywood isn't yet fluent enough in Al to meaningfully participate in setting terms (on the whole). To claim authorship over Al's role in entertainment, we must first become fluent in it. For me, this continues to remain a literacy issue. You can't make sense of a thing you simply don't understand.
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Christopher Anjos
User Generated Content, Platforms, and Community From my conversations with publishers and developers in 2025, at DICE, GDC, and even with those who attended Gamescom, it is apparent that the industry is aligning around a cautious but clear set of priorities. Publishers are under pressure to validate demand earlier, lower risk, and build toward models that sustain communities long after launch. A major theme is user generated content. UGC is no longer niche, it is mainstream. Publishers and developers see value in games that naturally generate its own content, clips, streams, and viral moments because they cut down marketing spend and keep communities active. Bain’s 2025 global gaming report reinforces this, noting that younger audiences now prioritize customization, creativity, and social connection over visual fidelity. Yet in my own discussions, publishers repeatedly stressed that while UGC is important, the OWNERSHIP of the platform is the real goal. The titles that become platforms for creativity and social interaction capture double-digit annual user growth and become the center of gravity for both players and creators. Publishers want to be in control of that ecosystem, not just supply content for someone else’s. Market testing through trailers was another recurring point. Instead of building a full vertical slice, teams are creating strong trailers to measure early traction. If wishlists follow, development continues. If not, the project is cut. This aligns with Bain’s finding that traction matters more than originality. Without proof of demand, even the most creative concepts rarely move forward. Sequels remain strong bets, but publishers expect them to evolve. Nostalgic IPs are also being revived in new forms, which is part of a broader trend of franchises expanding across media. Cross-media IP has measurable impact, with acclaimed film or television adaptations lifting game engagement by nearly 70 percent. New IPs are still possible, but the bar is higher. They need a fresh mechanic or a theme that resonates immediately. Publishers are blunt that traction must be visible through wishlists, demo data, or community activity. Discovery has also shifted. 24% of players find games through influencers compared to just 12 percent through storefronts, pushing developers toward direct-to-consumer distribution. The broader context matters. The global market reached $219 billion and is to grow 4 percent annually through 2028, but growth is concentrated among titles that act as platforms. Independent studios, moving faster and with fewer legacy costs, are thriving, while traditional AAA teams are weighed down by budgets and tighter margins. Taken together, the message is consistent. UGC is mainstream, but publishers are prioritizing platform ownership. For new IPs, innovation, clarity, and tangible traction are no longer optional, they are requirements.
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