Abstract

Boba Fett's cultural significance stands in striking contrast with his minimal screen time, and even more so with his infrequent and tersely spoken lines. With Boba Fett, a small head tilt, as well as how he cradles his gun become important signs. Boba Fett's status as an intermediary might make him seem amoral relativist. As is often the case with characters in Star Wars, Boba Fett has father issues. Bounty hunting in Boba's work occupies a gray zone between the white of his clone trooper brethren and the black of Vader. Boba may be a “good son” who takes up his father's business, but the business itself is a troublesome affair. Repeated screenings of The Empire Strikes Back and Return of the Jedi may have convinced many viewers that Boba Fett's iconic status as an “antihero” was grounded in the appearance of amoralism being at the heart of mercenary work.