왜냐하면 페북에서 "여러분 멘붕하지 마세요!" 라고 리랜드 치 님께서 "상황을 조금더 설명하겠다" 하며 한 팬[정확히 말하면 세계 최대 규모 스타워즈 세계관 타임라인 관리&제작자]이 이메일로 질문한것에 대한 답변을 "공개해도 괜찮다"라 했기 때문이죠:

https://www.facebook.com/swtimelinegold/posts/798656973494732

[Having asked via email about the Twitter comments about the Story Group, Leland Chee asked that I post what I sent to the Keeper of the Holocron Facebook page so that he could address it publicly. He has now replied. The gist is that the big new thing is that the Story Group now gets to be involved with the production of films and TV series, not just what we'd now call "Expanded Universe" stories. That makes sense, now that Lucas is no longer involved.

If curious, here's my full post to him, followed by his full response:

ORIGINAL POST TO LELAND CHEE FROM NPB:

After the Twitter comments recently, there’s a lot of buzz (some of it possibly accurate, some very likely not) about the nature of the Story Group concept, what it means at the moment for stories in the saga, etc. I wanted to see if I’m understanding something correctly:

From what I understand, the idea has been, since 1991 (and especially since the Holocron began being developed in 2000), to give Star Wars one unified continuity as much as possible, regardless of what media form it takes. That has not meant that stories could not be told outside of it, but those non-continuity stories (Infinities: A New Hope, Sergio Stomps Star Wars, etc.) have been few and far between in relation to the massive amount of in-continuity stories out there. Even when new films and TV series have been made that have created inconsistencies, the goal has been to keep stories in-continuity as much as possible, hence sometimes having retcons appear to smooth out those inconsistencies. However, while that is the goal, sometimes contradictions emerge, most often between something Lucas wanted to pursue when compared to something previously established by a licensee’s story. As such, the Holocron was designed essentially as a database to track elements of stories (rather than entire stories) and designate information by its source, using the G/T/C/S/N canon designations to keep track of what ideas come from Lucas and should take precedent, which were in-continuity from one licensee or another, and which were definitely not to be adhered to because they were deemed “out” or part of a story that was made to be outside of continuity, such as in the case of Vader’s white armor in Infinities: ROTJ.

That being said, what I think I’m understanding correctly with regard to the Story Group is that, with Lucas no longer directly producing Star Wars content, you will act in a way that is similar to the LucasBooks concept or any other time that Star Wars licensees have been coordinated across media to keep continuity as much as possible as stories are produced. That is not to say that designations are no longer necessary internally so that, say, Angry Birds Star Wars or LEGO Star Wars TV specials cannot be allowed to affect a regular in-continuity story, nor is that to say that non-continuity stories can’t exist, but rather just that the goal is, like before, to keep things unified as much as possible.

If I’m understanding that correctly then, nothing has really changed except for Lucas stepping out of the picture. Continuity is still to be tracked in-house, designations are still more for internal than external use, and the idea remains one of coordinating to have as close to a single continuity between product lines as possible.

Is that correct? It seems people are making this out as if something drastic has changed with regard to continuity, the Holocron, etc., but I’m just not seeing what huge, saga-reshaping thing is happening here, at least insofar as the approach to inclusion goes.

ORIGINAL RESPONSE FROM LELAND CHEE TO NPB:

The big change is that Story Group is involved in both television and film production, in addition to all other aspects of Star Wars storytelling. Pablo and I talked about this back in August at Celebration Europe. As to the role of the Holocron's canon field, I'd commented on the ForceCast and elsewhere that in practice, this field was used more simply as a classification system rather than a system of hierarchy.]

....이걸 다 번역하지는 않겠습니다. 어차피 여기게신 분들 영어를 어느정도 할줄 아신다고 생각하겠습니다.

음.

요점을 말하자면 "애초에 캐논 등급제는 "등급제"의 개념보다는 "분류제"의 개념으로 홀로크론에서 사용되어 왔으므로, 제일 큰 변동은 루카스가 사라진것이지 과거와 크게 바뀐것은 없다"....인것 같은데....

....즉 질문을 회피하고 있는것 같습니다. 우리가 궁금한 "모든 공식 매체속 내용이 과거 등급에 상관없이 설정충돌의 경우 둘다 "사실"인가?"는 답을 하지 않은것 같군요.

대신, "스타워즈 세계관 전체의 연속성 유지(즉, 설정붕괴 방지)는 아직도 스토리 그룹의 목표이다."는 확실한것 같습니다. 이게 뭘 의미하는지는 앞으로 살펴 봐야겠죠.

그러나, 이제 과거에는 C-캐논 이하 등급에만 크게 관여하던 스토리그룹이, 이제는 영화제작과 TV시리즈에도 세계관 설정 일관성 유지를 담당 하게 되었다 했으니, 릴랜드 치(이걸 리랜드 치라고 적어야 하나요 릴랜드 치라고 적어야 하나요?)가 자기가 담당하던 EU에 자부심이 있으면 EU가 무시 되버릴 일은 없어 보입니다.