27 books like Star Wars Propaganda

This is an absolute classic of the genre. Brooks draws in various ‘accounts’ of a recent zombie outbreak and structures them as if the broad details are common knowledge to his in-universe audience.

This approach means the real-world reader is always discovering new details and nuggets of information in a way that really whets the appetite while increasing the sense of horror at the way events unfolded in a world that isn’t quite our own.

Not only do I absolutely adore this book, my own would not exist without it. Try to imagine just how complicated an undertaking it must be to convert the entirety of the Star Wars ‘Skywalker Saga’ into an in-universe journalist-style biography while still making it exciting, insightful, and readable.

Kristin Baver brings her real-world experience and background as a journalist and applies them to a fictional world in a way that lends it real gravitas. That’s why I love this book: It enhances your enjoyment and understanding of the films and, through its very existence, has paved the way for other ‘fictional nonfiction’ style books in the Star Wars franchise.

As someone who has played and enjoyed Massively Multiplayer Online Games (MMOGs) before, I find the way they walk the line between fiction and nonfiction to be absolutely fascinating.

In this book, Andrew Groen approaches the players of the game Eve Online as a historian and chronicler, aiming to record the monumental events that took place within the confines of the game. The way that Groen wins the trust of these players, enabling him to tell a sprawling story of battles and betrayals that exist within a strange space, reality, and fiction, is wonderful.

Much of my background as a historian focuses on the First World War, and, as a result, I have a particular interest in the ‘invasion literature’ of the late 19th and early 20th centuries. This is a particularly fun and interesting example in that it creates newspaper and press reports to help grant a level of tactile reality to the unfolding invasion of England.

Books like this had a significant impact on British popular culture and mindset before 1914, and Le Queux’s decision to make his fictional work appear to be nonfiction where possible works incredibly well and, as it was serialized in the Daily Mail newspaper, he adapted the text to include many locations readers either lived or would recognize!

Just as the Jade Phoenix Trilogy introduced me to mechs, Rogue Squadron is the book to explain starfighter combat. It’s the first of a long series that literally writes the book on the subject, and the tactics used actually make sense as opposed to books where they just fly around and shoot stuff. 

But more than that, it’s about a squadron, a team that works inside the cockpit and outside to have an impact on a galactic war. They don’t win it themselves, but you can see the impact of a few people at the right time and with the right motivation and gear can do a lot of good. They also show how Jedi do not just come from a Temple as kids. Sometimes adults, who had no idea of their potential, rise to great things. 

Potential isn’t just for kids, after all.

I, like many others, love Star Wars and was sad when it was announced that the old tie-in novels were being removed from canon. In particular this story made me the most upset. For me, this was the sequel trilogy that we never got.

It captured the universe that George Lucas set up for us so well that I never once felt like Luke, Han, or Leia were anything other than the characters we had seen in the movies. I loved how it took the lore and lovingly crafted it into a new story that fits within the parameters that had already been established without retreading the same old territory or falling into glorified fanfiction.

I always treated Star Wars as a fun series to watch. Lasers, spaceships, some cool droids, but that’s all.

I felt that some element is missing here: the “wars” in "Star Wars” were usually too clean, and the warriors were just some heroes going for some fun adventures. My view was violently changed by two things: Rogue One (movie) and Twilight Company (book). These two things presented wars from a completely different perspective.

Twilight Company tells a story of common soldiers, whose whole purpose is to die and become forgotten, while the famous heroes collect all the glory. This book shows that every epic victory has its ugly side.

This is another classic work in the subfield of propaganda studies, and it’s pretty dense. That said, its arguments on how technology and propaganda come together to enable mediated control of our very thought are powerful. Ellul’s point that propaganda is a sociological phenomenon—something that surrounds us in everything we do, everything we watch, everything we listen to—have also aided me in understanding why experimental or lab-based attempts to understand the specific effects of disinformation and propaganda often come up short. It’s difficult to study these things in a vacuum because they are so contextual, so tied to who is spreading the message, how they are spreading it, what their intentions are, and who they are targeting etc.  

There’s no magic wand, no defensive armor, vaccine, or potion that can inoculate people against the influence of propaganda. But learning about propaganda is essential for people of all ages who want to hold on to their democracy in the face of threats. What will surprise you when you read this classic work, written in 1928, is how timely it remains. Bernays anticipates the rise of influencers and memes because he knows that people rely on thought leaders for most of their opinions and beliefs about the world. But the most important feature of this book is what he has to say about propaganda and democracy. Bernays convinces you that propaganda is not inherently evil, and he even makes the case that propaganda is necessary for democratic societies to flourish. 

Whitney gives a literary coda to World War II cloak-and-dagger, showing how its nests of spies and agencies pivoted and metastasised in the years afterward into the Cold War. The CIA took up where the OSS left off. Where Graham Greene and Kim Philby had run the haunts of Lisbon, then-young writers George Plimpton and Peter Matthiessen were cajoled to produce cultural propaganda in Paris and start the Paris Review. The CIA's literary operations continued into the 1960s when it launched a whispering campaign to prevent Pablo Neruda from receiving a Nobel prize, and launched Mundo Nuevo to engage Spanish-language readers.