KISS: I agree, which is why all of my kata moves are designed to be integrated/flowing 'contingency plans' of the basic strikes.
Indeed, you might see an 'expert' gameplayer (with a lot of strokes per equivalent 'melee round') suffixing to or prequeling before a kata with the QWEASDZXC keys to say pick a side or a tempo and 'beat on it' in eliciting an expected response.
With the Kata acting as the hook-line-and-sinker exploitation element of an observed pattern shortfall.
Heck, you can fight completely with the aforementioned NINE attack keys if you want because of the FACE+SPACE footwork controls.
The katas can as readily themselves provide simplistic standalone attack enhancement along the lines of BOTH Obi Wan's "I'm angry NOW!" assault on Maul and Luke's "You leave my sister outta this!" moment with Vader.
Attacks where you see men given completely to offense and pound-pound-pound sweep-up-enemy-blade and WHAP!
It ain't pretty but within a given (equal) skill set it works to keep the fight progressing towards a predetermined outcome simply because your foe dares not respond out of path unless he is just blazingly -quicker- than you.
The nice thing is that, even before talking about varying Jedi 'schools' of sword art, I give you about 3 times as many _basic_ attacks to find that sweet spot your enemy is weak in.
But only with a 'knowledge base' of 1-2 memorized forms, per level, to execute thru (a very bad misconception is that a kata is a fixed-ending form, it is but only in 'Americanized' martial arts) in response to or setting up any given encounter.
Lastly, simplicity is the same-all-over. Where familiarity is a good weapon you know fully the characteristics of, katas using single key combo 'programming' with QWEASDZXC extend the basics of what you 'already know' (right off the bat available 'special attack' keys) you want to happen.
Even as they allow for 'alternate endings' from the AI blocking algorithms at stroke 1/2/3 that counter back and trade initiative before kata end at stroke 6 deals a death blow.
And for those WANTING to be 'entertained' there would still be unique body motions as a function of the way the blade curves through space and the skeletal system absorbs the shock of contact. Yes, in this case the kata become the 'poetry in motion', even if it's bad poetry (only a very short total key insert 'programs' and little axial control).
As for Ben Kenobi, you saw a portrayl of an old man by an OLD MAN, Alec Guiness.
A great actor but one taught in the basics of European _theatre fencing_, what?, almost 35 years ago? You can see it all over in his stiffly linear advancing cuts and spiral blade engagement/trapping gambits.
Moves which let him advance up the line of attack without getting in any ludicrous strength battles with an enemy that totally outclassed him using a weapon system he was likely never taught to begin with.
In any case, this elder (70-80 even in Ep.4) gentleman probably had shoulder rotator cuffs shot to hell with the reflexes of a hibernating bear and lacked the cardiovascular endurance as well as knee and ankle limberness (watch how he steps on the ball but 'falls back' to /stand/ on the heels of his feet) to maintain the pace of footwork necessary to exploit Euro sword work's dynamic control of open spacing.
It wasn't bad for all that but it was clearly shot to hide his weakness' and they were many.
That's ONE thing that TPM got right:
Blade combat is for the exquisitely trained and _very young_.
Or the very foolish.
/Looking Foolish/ trying to master mouselook+move+cut dynamics to get adequately 'long' sweeping cuts within a very clumsy (separate) hand&hoof scrolling execution system is what kept JK1 more of a shooter for about 99.9 percent of the playing public, IMO.
(I have friends that got all the way to either Boc or Jerec and simply never finished the game because they wouldn't use a cheat code and were being constantly whacked...:``(.