Star Wars: Jedi Knights #10 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 10, February 2026

Supposedly revealing “the great mystery of the fan-favourite series… at last” Marc Guggenheim’s debatably overly simplistic narrative for Issue Ten of “Star Wars: Jedi Knights” probably left its readers with far more questions than actual answers. Indeed, the rather bizarre twenty-page-plot appears to unconvincingly blame the anger-fuelled advice of Count Dooku for all of Qui-Gon Jinn’s problems on Sinsara without ever really demonstrating just why the Jedi were subsequently banned from visiting the planet ever again.

True, the legendary Jedi Master definitely causes the Order to leave a dark stain upon the world’s surface when the future Sith Lord cuts down a good dozen or so of the criminally-inclined Behru during a past adventure. But to be fair to the small army of lawbreakers were about to kill both the “political idealist” and his young Padawan if he didn’t defend himself; “Step away and stand down. Or I will not be responsible for the consequences.”

Furthermore, the much-hyped “Saga of Corlis Rath” ends with Jinn simply talking his foe down and then letting the deadly assassin leave despite having cold-bloodedly murdered Master Fondar Etzis. As Obi-Wan Kenobi points out himself this show of clemency arguably makes little real sense, no matter how guilty Qui-Gon is supposedly feeling for his old Master’s mass slaughter, and leaves the crime of killing a wholly innocent Jedi Knight – as well an attack upon Mace Windu and Aayla Secura, go disconcertingly unpunished.

Lastly, many a bibliophile will probably be scratching their heads as to exactly what a young Jinn did wrong in the first place to cause Dooku to have to step in to save him. Apparently the Padawan was allowed to fight his seemingly unarmed opponent in the past with his light-sabre. Yet wasn’t permitted to knock his foe off of their feet using “Jedi witchcraft!” Just why this rule was put in place is never explained, nor why the Count of House Serenno is responsible for his inexperienced protégé utilising such a ploy during the fight.!?!

Disappointingly, even Madibek Musabekov’s pencils are a little questionable at times for this book, courtesy of some dubious flashback sequences which never really make it clear just how Qui-Gon is temporarily disarmed during his dual, or why the then Padawan’s subsequent sabre-strike causes such outrage – particularly when it clearly doesn’t kill Rath, just momentarily incapacitates him.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #10 by Madibek Musabekov & Jesus Aburtov

Star Wars: Jedi Knights #9 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 9, January 2026

Whilst the character of Qui-Gon Jinn has arguably always been depicted as something of a head-strong, “maverick Jedi Master”. It is probably to fair to say he has never been shown to be downright rude, especially to those around him. Yet that’s precisely the sort of disagreeable attitude Count Dooku’s former protégé appears to suffer with in Marc Guggenheim’s script for Issue Nine of “Star Wars: Jedi Knights”. Indeed, considering that the basic premise of this comic’s plot is presumably to illustrate the marked difference between the “well-respected member of the Jedi Order” and his eventual Sith-corrupted master, the “Force-sensitive human male” appears at times to be just as rude and arrogant.

By far the best example of this hubris comes when Ginn decides to pay the Jedi Archives a visit on Coruscant and encounters the Chief Librarian Jocasta Nu. During this meeting Qui-Gon not only quickly dismisses the possibility that the learned bookworm can assist him with his research into “whether it’s possible for someone to alter their appearance.” But then condescendingly rejects the elderly woman’s belief that his assassin was a Sinsaran when the killer was; “But this man looks nothing like that species.”

Furthermore, many readers may well be scratching their heads as to what a young Ginn was supposed to do next during a lengthy flashback sequence to his days of being a Padawan, when the incredibly aggressive and hostile leader of the Behru attacks him after he’s tried to “negotiate a mutually beneficial cessation of hostilities.” It seems pretty clear that his would-be killers don’t appreciate anything except brute force. However, the supposedly older and far wiser Qui-Gon admonishes the Count of House Serenno for advising him back in the past to subsequently fight the murderous criminals once the Jedi’s good intentions had failed.

Equally as unsettling as the American author’s penmanship for this twenty-page-periodical is debatably many of Madibek Musabekov’s design choices – the first of which has to be the disconcerting pencils showing Ginn waking up from a hospital bed, as opposed to the artist possibly considering having the Jedi Knight be treated for his near fatal injuries inside a Bacta tank.? In addition, some bibliophiles may well feel that the illustrator’s handling of a young(ish) Dooku and Qui-Gon look little like their usually recognisable selves, with Obi-Wan Kenobi’s future master appearing far closer to that of Luke Skywalker than anyone else.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #9 by Madibek Musabekov & Jesus Aburtov

Star Wars: Jedi Knights #8 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 8, December 2025

It’s debatably somewhat difficult to determine whether Marc Guggenheim purposely penned the central character in this story to be so dislikeable, or if the American screenwriter just inadvertently caused Soona Taj to be the main reason behind poor Seera Longa and Berem Khana’s pointless deaths. In fact, the New York City-born novelist actually does a good job of making the two “recently knighted” secondary cast members pretty disagreeable too when they place the entire onus of becoming a Jedi upon the shoulders of one so insanely young; “How can anyone that small make a decision so huge?”

This aversion for the main trio arguably makes it a tad tough to feel much pity for the Force Users when they rather naively fall for a space pirate ruse and land aboard the villains' vessel expecting to simply fix their ship's engines. Sure, the soon-to-be-dead heroes were initially trying to help its crew – which even the young child understands they must do. But the pair genuinely appear to be holding their own against their would-be-killers until the infant decides to ignore their order to safely remain aboard their T-6 Shuttle and promptly blunders right into the middle of a desperate firefight.

Such disobedience also makes it somewhat hard to swallow Kelleran Beq's claim that the Youngling is apparently “a very brave little girl” after he has to conveniently arrive to ‘save the day' and free her from a cell. This high praise however is then sensationally overshadowed when Soona suddenly manifests enough power to hurl the pirate’s captain to his doom, and then, without any training whatsoever, uses her force abilities to call one of her dead recruiters’ light-sabres and outrageously joins the supposed "fan-favourite Jedi" in his battle against the remaining bandits.

Easily this comic’s most intriguing element is therefore Madibek Musabekov’s layouts which depict the narrative exclusively from the perspective of Taj. This technique certainly is quite unusual from how most books are presented these days. Yet is also means that anyone can plainly see Seera’s shocked expression at seeing Soona appear behind her when the Jedi Knight is busy fending off the pirates, and her resultant death due to being fully focused upon the child rather than the laser-gun-toting despots trying to kill her. To make matters worse, the author desperately tries to fool his audience by suggesting that that the Pirate were “just lucky” when they gunned down Longa and Khana, when through the pencilled panels it's clear that the tiny child's presence caused both their downfalls.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #8 by Madibek Musabekov & Jesus Aburtov

Star Wars: Jedi Knights #7 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 7, November 2025

Falsely claiming that “Qui-Gon Jinn is dead!” at the beginning of this comic’s solicitation synopsis, it’s arguably difficult to therefore treat anything found within Issue Seven of “Star Wars: Jedi Knights” as implausible, sensationalist storytelling. Indeed, the very premise of its central plot appears to make no sense whatsoever when its revealed that the deadly assassin who previously cut down Count Dooku’s old padawan in the title's preceding instalment didn’t then just finish the job with one of his hand-weapons. But rather went to all the trouble of injecting his victim with the self-same, poison used to previously murder Jedi Master Fondar Etzis instead.

Furthermore, in using the now recognisable violet-coloured, slow-acting substance, as well as permitting an almost deceased Jinn to utter the name of the one planet where it's antidote is made, Marc Guggenheim is also able to manufacture Mace Windu and Aayla Secura’s desperate mission to a mysterious world where “Jedi are [apparently] forbidden.” Such a complicated contrivance should surely tax the willingness of any bibliophile to believe in the American author's subsequent penmanship, especially when he then has the two seasoned Force Users land their spacecraft at the one location where an inhabitant will dispense with the ramifications of Horomeeda, and tell the pair everything they need to know over a cup of tea.

Of course, this conversation luckily leads on to Windu and Secura needing to embark upon another assignment to convince the uncivilised thieves of “the most dangerous planet you’ve never heard of” to give them the rare cure before it’s too late – and subsequently chop down a gigantic Kaijura in the process. So clunky a narrative debatably doesn’t do the popular characters concerned any justice at all, and frustratingly even goes so far as to ignore perhaps this publication’s biggest draw which is to explore what the Jedi did to be banned from an entire world in the first place; “I… don’t know what that is.”

Fortunately, at least Madibek Musabekov’s artwork provides some prodigiously pencilled panels for this comic's audience to enjoy as the awkwardly-told yarn progresses. Although it does appear that the Kazakhstan-born illustrator ran out of room towards this adventure’s end, as one minute the titular characters have somewhat dubiously carried out King Gara’s demand and then in the very next instant they are disconcertingly back on Coruscant getting a medical update on Qui-Gon’s condition from Doctor Rig Nema.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #7 by Madibek Musabekov & Jesus Aburtov

Star Wars: Jedi Knights #6 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 6, October 2025

Whilst there’s undoubtedly something akin to an acceptable adventure lurking within this publication’s twenty-page plot, the way Marc Guggenheim delivers his narrative for Issue Six of “Star Wars: Jedi Knights” will probably disappoint a fair few fans of the science fiction franchise. Furthermore, the notion of starting this tale after Jedi Master Fondar Etzis has already been assassinated on Mina-Rau will surely give many a bibliophile the unshakeable feeling that they’ve disappointingly missed the yarn’s true beginning; “He was instrumental in dealing with a group of bandits who had been stealing our crop yield.”

To make matters even worse though, the American screenwriter appears to utterly waste the characters of Mace Windu and Aayla Secura, relegating the top tier Jedi Masters to insensitive bumpkins who can neither feel the “darkness surrounding Master Etzis’ remains”, or anticipate the imminent attack upon them by Corlis Rath. Admittedly, this lack of basic Force powers does allow Qui-Gon Jinn with the opportunity to face his mysterious attacker single-handed. But it doesn’t arguably say much for the likes of Windu – the so-called “ greatest champion of The Jedi Order.”

Lastly, this comic shows Count Dooku’s protégé getting rather easily out-witted by his Sinsaran opponent when he has the dual-blade wielding hit man on the ropes. Such a shocking and seemingly fatal blow to the innards, certainly seems to set the scene for this ongoing series’ next instalment – something which hasn’t really happened before. Yet, it also debatably begs the question just why Rath risked tackling three of the Jedi Council’s top tier operatives alone and head-on, when he could surely have just poisoned Jinn when he was on Coruscant in a similar almost untraceable fashion to that used to murder Fondar..?

Far more successful than this book’s penmanship is Madibek Musabekov’s pencilling, which really comes into its fore during the ‘sword-fight’ between Qui-Gon and Corlis across a humongous, fully-functioning agricultural machine as it busily reaps the annual harvest. This adrenalin-fuelled action sequence is extremely well drawn with both participants exchanging blows as they leap amongst all the deadly working parts, and it’s genuinely a shame that this frantically-paced fray is ultimately so short-lived as the pair attain some level of safety on the combine’s topmost section.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #6 by Madibek Musabekov & Jesus Aburtov

Star Wars: Jedi Knights #5 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 5, September 2025

Permeated with a persistent aura of untrustworthiness and treachery, Marc Guggenheim’s narrative for Issue Five of “Star Wars: Jedi Knights” arguably provides a rather intriguing insight into Count Dooku’s exploits before the Force Sensitive fully fell to the dark side of the Force. In fact, it seems clear that the future Darth Tyranus is already willing to cold-bloodedly kill his opponents “years before the Battle of Naboo”, and is already cultivating the wariness of Jedi Council Members such as Yaddle with his evident inclination to give in to his fury; “If that were so, you wouldn’t strike someone down in anger.”

Furthermore, the American author is very good at making his readers doubt as to whether the Count of House Serenno would actually have survived his encounter with Lonkus’ Wookie raiding party if he’d been alone, and question that his capture was just a ruse so the former Jedi Master could be taken to meet his attackers' leader face-to-face so as to kill them all. Certainly, Yaddle seems to doubt the man would have succeeded without her and Seera Longa’s help. But considering how easily Dooku appears to escape the criminals’ clutches, even when he’s chained-up, his predicament begs some tantalising ‘what if’ questions.

Likewise this twenty-page-periodical gives its audience an early look at Viceroy Nute Gunray’s descent into darkness, and the beginning of his relationship with Sheev Palpatine. Though not mentioned by name it’s clear that the Trade Federation representative is already up to his neck in dishonest dealings for the Galactic Senator, and now needs Darth Sidious to dispatch Dooku to “safeguard” the Neimoidian’s property from the supposedly legitimate Gillanter corporation as a favour. This plot-thread genuinely helps sell just how patiently planned the future Emperor’s plans are, and shows just how much his hand was guiding Gunray’s actions even before the illegal blockade of Naboo.

Perhaps therefore this comic’s one minor quibble lies with Madibek Musabekov’s design choice for one of the Wookie crooks who debatably is so thin and short-furred that it looks more like a red version of Dr. Seuss’ Grinch than a killer from the planet Kashyyyk. Other than this rather curious faux pas the illustrator’s pencilling is spot on – especially when it comes to selling the anger in Dooku and the Count’s sinister future predication as to the Jedi Council’s fate.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #5 by Rahzzah

Star Wars: Jedi Knights #4 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 4, August 2025

Whilst Marc Guggenheim’s storyline for Issue Four of “Star Wars: Jedi Knights” undeniably contains a couple of somewhat exciting spacecraft-packed pursuits, it is highly unlikely that many of its readers will agree with the astonishing claim by “Marvel Worldwide” that the twenty-page-periodical depicts “the galactic chase to end all chases!” Indeed, the vast majority of this comic appears to instead simply focus on its significantly-sized cast just talking with one another, and tracking Phaedra down to Nar Shaddaa, rather than actually hot-footing it after the Quaraxian female criminal who has rather stupidly “stolen thousands of credits from Jabba The Hutt”.

Furthermore, considering that this book is supposed to be about the exploits of Jedi Knights, the so-called central protagonists play something of a minor role in the publication’s plot, with Qui-Gon Jinn and Shaak Ti arguably only being used as a decoy for the thief to fake her own death. This secondary role may well prove a bit disappointing for those bibliophiles expecting to learn more about the Jedi Order during the Republic, especially when the American screenwriter appears to try to play the pair as patsies at the tale's very end; “But if you’re in need of someone to kill you don’t rely on two Jedi Knights.”

Ultimately, the New York City-born writer also seemingly undermines just why “the entire galaxy is after” Phaedra by simply having her use her loot as proof of collateral for a big bet on the Malastare races. Taking such a dangerous risk for a far from certain wager may well strike some within the comic’s audience as being less than convincing behaviour for the notorious pilferer, as well as a much less interesting sub-plot than the yarn’s opening gambit of “a Senator [who] was fronting for Jabba” - an intriguing aspect of political corruption and villainy already penetrating the Galactic Republic's Senate which this comic disappointingly doesn’t follow up upon.

Quite possibly this book’s most appealing aspect therefore lies in the layouts of Madibek Musabekov, whose artwork brings all the different alien races to vibrant life. Of particular note is the way the artist manages to show how impressive the two Jedi Knights are when they finally reveal themselves to the likes of Aurra Sing, Zam Wesell and Bane Malar, as well as how he imbues the various spacecraft with a genuine sense of speed as they’re zooming over the sky of the Smuggler’s Moon.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #4 by Rahzzah

Star Wars: Jedi Knights #3 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 3, July 2025

It’s probably fair to say that penning a twenty-page periodical which simply consists of endless splash pages featuring Qui-Gon Jinn and Obi Wan Kenobi battling “giant monsters” may well have looked good on paper. But in reality the idea arguably falls flat fairly quickly as there’s little room for the narrator to provide much detail as to why Senator Bail Organa has crash-landed “on a planet full of skyscraper-sized monsters”, or just how Count Dooku’s former apprentice is able to locate the politician’s CR70 Corvette on foot whilst in the middle of a truly ginormous jungle.

Instead, Marc Guggenheim rather disappointingly expects his audience to simply take him at his word that these events have somehow occurred, and move on with the American author’s next preposterous proposition that a massive 120 meter-long significantly damaged spaceship can still be flown off of a planet’s surface just because it has a powerful Jedi Master on board. Now admittedly, Ginn is clearly “a student of the living Force”. But if he could single-handedly raise an enormous spaceship up into the air using his abilities, many a bibliophile will surely be wondering why he doesn’t at least attempt to do something similar to the significantly smaller royal starship of Queen Padmé Amidala when it is stranded on Tatooine..?

Perhaps this comic’s biggest weakness though is that it has very little plot with which to keep its audience hooked. Poor Kenobi is flattened at its very start so spends the majority of the storyline unconscious, and all his teacher needs to do is lift Organa’s vessel back into the sky for the tale to end. That is it. Such a lack-lustre narrative arguably smacks of a writer trying to do something new with an edition of a long-running title, whose loyal fans will most likely return to buy the next instalment regardless of whether the experiment succeeded or not. However, this is only Issue Three of “Star Wars: Jedi Knights” and therefore needs to do a lot more to keep people picking it up off of the spinner racks.

Sadly even Madibek Musabekov’s artwork doesn’t manage to maintain the eye throughout this book, with the Central Asian illustrator’s repeated sketches of Planet WG4587’s lush plant-life and monstrous Kaijura frustratingly all rolling into one. Indeed, one of the earliest problems with this comic is its opening where its debatably not clear exactly which Jedi is using their light-sabre to slow down their descent by burying it deep within the flesh of a towering alien lifeform; “I was rendered unconscious upon making a somewhat violent landing on the planet’s surface…”

The regular cover art of "STAR WARS: JEDI KNIGHTS" #3 by Rahzzah

Star Wars: Jedi Knights #2 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 2, June 2025

Rather cleverly throwing his audience straight in at the deep-end of this comic’s storyline by utilising its opening scrawl to quickly establish a sense-shattering scene, Marc Guggenheim’s penmanship for Issue Two of “Star Wars: Jedi Knights” certainly imbues the twenty-page periodical with a pulse-pounding pace. In fact, even when the American television producer does decide to step away from the action and flashback to Yoda and Vetna Mooncrest's first steps upon “the remote moon of Veeros”, the diplomatic pleasantries with the majordomo droid Blue-Tark are politely short and succinct; “Thank you for your gracious hospitality. Extend our gratitude, please, to Atha Prime."

Of course, most of the readers’ attention will probably be focused upon the diminutive legendary Jedi Grand Master actually being 'out in the field’ fighting off a horde of seriously-fanged extra-terrestrials. Impressively demonstrating that numbers “matter not” before leaping off for a one-on-one duel with this ongoing series’ leading antagonist, it is hard to take your eyes off of the green-skinned leader of the Jedi Order. However, his female human companion is also very well written, displaying plenty of wit when her comrade-in-arms leaves her alone to face a ton of murderous Xerexi, as well as vulnerability due to her congenital condition’s implants being susceptible to the local radiation.

Similarly as successful as the heroes though, has to be the New York City-born author’s use of “a never-released Kenner action figure.” Atha Prime genuinely comes across as a terrifyingly mad, homicidal maniac, who whilst not up to the Dark Lord of the Sith’s standard, still manages to dominant all of the set-pieces in which he appears. Indeed, desperate to transform the galaxy in his own image by using his deadly creations to cut away its ills, the character appears to have been cut from a similar cloth to that of David 8 – the dangerous android seen in Ridley Scott’s 2012 science fiction film “Prometheus”.

Finally, a huge amount of praise should be heaped upon the shoulders of Madibek Musabekov and color artist Luis Guerrero for bringing this “strange, fantastic and mysterious world” to incredible life. The sense of so many vicious killers encircling this publication’s Jedi is truly palpable, as are the blows poor Yoda suffers at the hands of a clearly formidably trained Atha Prime.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #2 by Rahzzah

Star Wars: Jedi Knights #1 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 1, May 2025

Announced at the 2024 New York Comic Con by “Marvel Worldwide”, Marc Guggenheim’s narrative for Issue One of “Star Wars: Jedi Knights” certainly seems to do a decent job in showing its audience just how “the guardians of peace and justice” went about their work prior to George Lucas’ 1999 movie “The Phantom Menace”. Indeed, during a month when rivals “DC Comics” published the top six best-selling titles (at least according to “icv2.com”), the fact that this ongoing series managed to rank twenty-seventh is arguably a testament to just how excited collectors possibly were for the Emmy Award-winning screenwriter’s vision of “a galaxy far, far away…”

Delightfully, these hopes certainly appear to be met with “The Invasion Of Syrinx Prime”, which quite cleverly manages to depict both the sheer scope of Supreme Chancellor Valorum’s democratic rule across the Republic, as well as simultaneously spotlight a fair few fan-favourite Jedi Knights too. This combination of Galactic Senate politics and light-sabre battles is quite beautifully intertwined within the American author’s narrative – especially once an assassination attempt is made upon Qui-Gon Jinn whilst he’s negotiating with General Lafco on the planet Vekura.

In addition, this twenty-four page periodical lives up to its pre-publication promise of introducing some “brand-new Jedi” into the era. Whether or not the “overconfident” Berem Khana will prove as popular as the likes of Obi-Wan Kenobi, Yoda and Mace Windu is rather doubtful. But the recently knighted character certainly seems to show potential with his mix of youthful arrogance and apparent willingness to learn from his more experienced mentors. In fact, the somewhat cynical young man rather surprisingly brings some much-needed humour to the narrative when he appears to ‘win’ favour with the Jedi Order’s legendary leader by simply quoting something Jinn had actually said to him in admonishment; “Suspicion is not knowledge. Theories are not truth.”  

Also helping to make this book a success is “rising star artist” Madibek Musabekov, who appears absolutely determined to cram as many recognisable Jedi Knights into their layouts as they can. Furthermore, the Kazakhstan-born penciller appears particularly adept at drawing the fast-paced action needed to depict a fully mature “member of the Order” who is at the height of their powers, with Qui-Gon’s aforementioned fight demonstrating just what the impressive Master of the Force can do with both his light-sabre and other special abilities.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #1 by Rahzzah

Star Wars: Inquisitors #4 - Marvel Comics

STAR WARS: INQUISITORS No. 4, December 2024

For those devotees of Disney’s galaxy far, far away, Rodney Barnes’ conclusion to this “Star Wars: Inquisitors” mini-series must surely have come as a major disappointment. Indeed, despite having bested the Grand Inquisitor, Fifth Brother, as well as the Seventh and Ninth Sisters, this twenty-page periodical’s plot never properly explains just why the Dark Lord of the Sith regarded Tensu Run as such a major threat to the tyrannical Empire. Nor for that matter, how the rather lack-lustre Jedi Knight later becomes such a legendary figure for the Light side of the Force.

Instead, the screenwriter attempts to convince his audience that Darth Vader would continue to accept his proteges’ persistent failure without any penalty whatsoever, and that having been unconvincingly cornered on a planet, this title’s central protagonist would simply allow himself to be decapitated by his foe so he can “die at peace with all I’ve done.” Such illogical contrivances really do prove hard to swallow, most especially Run’s suicidal stance considering that the ‘rebel’ completely failed to establish the Padawan training temple he had planned, and seemingly also let the young apprentices on Zondula get massacred by a unit of elite Clone Troopers; “Do you forget the peace that once flowed within you? A life free of tormented lust for power?”

Just as badly scripted though, is debatably the startling willingness of Tensu to give up the fight for survival when trouble strikes. The human clearly likes the idea of Force sensitives having a school within which to train. But then appears utterly unwilling to keep such a dream alive by repeatedly complaining about his responsibility to the Jedi Order, and ultimately just surrendering himself to Shmi Skywalker’s sinister son without so much as raising his lightsaber in defiance.

Unhappily adding to all this confusion as to the main cast’s motivations and mind-sets are Ramon Rosanas’ layouts, which whilst being prodigiously pencilled, don’t debatably do all that good a job in helping along this book’s storytelling. Of particular note is the sequence depicting Run’s dubious decision to battle the Inquisitors in space, with the artist’s panels illustrating poor Pan’s meaningless death requiring a few re-readings before it becomes clear just how Tensu’s friend actually died. This need for bibliophiles to ‘fill in the gaps’ sadly occurs a second time too, when the so-called celebrated Jedi is shown awkwardly fending off an assault one moment, and is then quite literally hurled out of the temple by Vader in the next.

The regular cover art of "STAR WARS: INQUISITORS" #4 by Nick Bradshaw & Neeraj Menon

Star Wars: Inquisitors #3 - Marvel Comics

STAR WARS: INQUISITORS No. 3, November 2024

This “third issue of the 2024 canon comic miniseries” probably landed rather well with Star Wars fans due to its atmospheric opening sequence aboard a casino cruiser orbiting the planet Glee Anselm, and the twenty-page periodical’s subsequent scenes shadowing Seventh and Ninth Sisters’ determined hunt for a so-called ‘Jedi legend’. Furthermore, Rodney Barnes’ insights into just how this unique, Sith-influenced partnership somehow successfully operates as a pair is fairly well-penned, with the disconcerting duo proving themselves to be as cold-heartedly canny and downright murderous, as they are a bantering, almost comedic couple; “You said that sort of information was of value. How much is your other hand worth..?”

Equally as well written though, is the pair’s dialogue with Darth Vader on his Imperial I-class Star Destroyer, in which they reveal their plan to draw Tensu Run out of hiding by poisoning his local community with “a pheromone that drives one to madness”. This entire verbal exchange absolutely drips with solemnity, and makes it crystal clear that despite the two killers being unpleasantly over-confident in their assassination abilities, they are also still in dire need of acquiring the approval of their black-armoured master.

However, all this palpable intrigue and tension is then arguably ruined by the American screenwriter’s handling of the celebrated Jedi Knight, who having decided to establish an old-fashioned training temple somewhere along the Outer Rim, suddenly chooses to visit the Deadlands’ outdoor market just as the Inquisitors attack that very street with their deadly pollen. So utterly unconvincing a contrivance seriously smacks of sluggish storytelling, and debatably ruins any momentum that should have been gained whilst depicting the two opposing sides of the Force finally squaring up against one another.

Likewise, there’s plenty to enjoy and perhaps dislike about Ramon Rosanas’ artwork too. The vast bulk of the Eisner Awards nominee’s panels are top notch, with his clean-lined style making Vader’s aforementioned meeting with his two protégés suitably stiff and formal. But the decision to dress Run and his lightsaber-carrying colleague Pan Delesec in near identical hooded cloaks may well confuse many a reader during the commotion of their close combat against Seventh and Ninth Sister, to the point where the duel requires a couple of re-reads so as to better understand who is doing what.

The regular cover art of "STAR WARS: INQUISITORS" #3 by Nick Bradshaw & Neeraj Menon

Star Wars: Inquisitors #2 - Marvel Comics

STAR WARS: INQUISITORS No. 2, October 2024

Focusing far more upon Fifth Brother’s “mission to kill a Jedi legend” than the Master of the Inquisitorius himself, Rodney Barnes’ storyline for Issue Two of “Star Wars: Inquisitors” certainly seems to be well-paced – combining the titular characters’ hunt for any Jedi surviving Order 66, with a thrilling dog-fight in outer space and nail-biting lightsaber duel. In fact, for a while the American screenwriter’s insights into just how Darth Vader directs his force-sensitive operatives is truly intriguing, with the Dark Lord of the Sith employing both the carrot and the stick to ensure their ‘loyalty’ to him; “Gratitude is premature. If my commands are not fulfilled, the Inquisitors’ suffering will be legendary.”

Disappointingly though, much of this impact is arguably then lost once the “knight named Tensu Run” makes an appearance, and the audience is suddenly expected to believe that a small group of bandits have suddenly decided to tackle Vader’s most-wanted whilst he’s travelling back to his “safe haven”. Admittedly, it is briefly mentioned beforehand that the outlaws know of the Jedi’s presence in the area, and that there is a price upon his head. But just how Pii-Lor manages to pinpoint the man’s precise location when the Empire apparently can’t is not touched upon. Instead, having found their prey, the pirates are simply shown to be completely incompetent pilots, and are all mercilessly blasted to pieces by their opponent’s star-fighter within moments of first firing upon him.

Similarly as unconvincing is debatably this twenty-page publication’s conclusion, which strangely sees Run decide to take his revenge upon the Empire for murdering (his) Master Elan, and battle Fifth Brother one-on-one on the long-abandoned planet of Gerrigon. Such a confrontation is definitely not unwanted, due to the sheer arrogance of the grey-skinned Jedi-killer as he stalks around the old Republic commerce hub hacking down security droids. However, their highly-anticipated exchange is rather short-lived, and it’s not really clear just how Tensu chops his foe’s arm off when he was quite literally on the back foot straight from the contest’s start.

Perhaps a bit more pleasing than some of this comic’s penmanship are Ramon Rosanas’ layouts. Imbued with a palpable claustrophobic atmosphere, courtesy of GURU-eFX’s colours, the opening third of this periodical is positively packed full of prodigiously pencilled panels depicting the Inquisitor’s aforementioned exploration of the world upon which he’s landed. Yet by the time Fifth Brother suffers his debilitating injury, there’s a profound stiffness seen in the artist’s figures, which makes the mutilating lightsaber strike appear to be physically impossible.

The regular cover art of "STAR WARS: INQUISITORS" #2 by Nick Bradshaw & Neeraj Menon

Star Wars: Inquisitors #1 - Marvel Comics

STAR WARS: INQUISITORS No. 1, September 2024

Set between George Lucas’ prequel and original cinematic trilogies, there is arguably quite a bit to enjoy during this thirty-page periodical’s opening third. Indeed, the Grand Inquisitor’s utterly merciless massacre of the inhabitants on Targyon immediately sets the former Jedi Temple Guard up as a seriously evil villain of the piece, who will clearly stop at nothing to eliminate his intended target; “Take the children to Coruscant. Kill the rest.”

Disappointingly though, the same probably can’t be said as to the impact of writer Rodney Barnes’ “all-new legendary” knight Tensu Run, who many a bibliophile will probably feel seems a little too close to a certain Corellian smuggler than a mythical hero supposedly “buried in the annals of Jedi lore”. True, the American author does provide his creation with a moment of bravado when he apparently single-handedly storms an imperial outpost in a lone spacecraft. But apart from blowing up a handful of TIE-Fighters and then culling a couple of Stormtroopers on the ground with his hand-weapon, the human hardly does anything particularly breath-taking.

Instead, Elan’s apprentice simply keeps running away from Darth Vader’s Jedi killers, seemingly content to live his life on an idyllic planet near the outer edge of the galaxy, whilst innocent others are savagely slaughtered protecting his secret whereabouts. Such conduct hardly seems conducive to cause any readers to care for the character, even if this comic’s Maryland-born writer does continually pen him stating that he’s happy to die in the name of his great cause.

Just as frustrating is this book’s artwork by Ramon Rosanas, which overall depicts a thoroughly pleasing insight into the dark world of “any Jedi who survived Order 66”. In fact, few onlookers could surely have any complaint about the Eisner Award nominee’s pencilling of Darth Vader or the Master of the Inquisitorius. However, the decisions surrounding the attire of this publication’s so-called legend may well strike some as being far too similar to Han Solo’s costume throughout “The Empire Strikes Back”. In fact, if it wasn’t for the man wielding a lightsaber and wearing eye goggles, a fair few perusers could well be fooled into thinking it was the scruffy-looking nerf-herder himself.

The regular cover art of "STAR WARS: INQUISITORS" #1 by Nick Bradshaw & Neeraj Menon

Star Wars: Legacy Of Vader #1 - Marvel Comics

STAR WARS: LEGACY OF VADER No. 1, February 2025

Set shortly after the events of Rian Johnson’s somewhat contentious 2017 science fiction flick “Star Wars: The Last Jedi”, Charles Soule’s narrative for this twenty-five page periodical probably struck many readers as a somewhat sedentary, surprisingly lack-lustre affair, which focuses far too much upon Kylon Ren’s inner demons and paranoia. Indeed, very little actually happens in this comic until Darth Vader’s grandson suddenly decides to pay an unexpected trip to Mustafar, and encounters the primitively armed Alazmec of Winsit; “There’s still more to do. More has to die. I’ll start with you.”

Unfortunately though, even this short-lived action sequence isn’t really all that dramatic, due to Ben Solo’s deeply dark-hearted alter-ego easily besting his much smaller opponents with a series of wild light-sabre swings. True, one of the Sith cultists does manage to get his spear-point under the over-confident warrior’s guard and cause the (newly-installed) Supreme Leader of the First Order a moment of discomfort. But apart from a single drop of blood, the wound debatably doesn’t appear to cause Ren much of a problem – at least not to the point where anyone in the audience would feel that the character was actually in any jeopardy.

In fact, for much of this book its American author repeatedly attempts to project the supposed “hereditary Prince of Alderaan” as being an all-powerful force-user, who gratuitously presents the disembowelled corpse of Snoke before his stormtroopers as if it were some sort of prize which he’d won in battle, as opposed to the body of an honoured mentor treacherously slain in his own throne room. This air of omnipotence may well successfully thicken the atmosphere in Kylo’s quarters when he repeatedly berates Hux for daring to think/act without his commander’s permission. However, it also means that Soule’s storyline needs to conjure up some pretty formidable foes for the Master of the Knights of Ren to face in close combat, and frankly a gaggle of diminutive aliens carrying medieval-looking weapons just doesn’t cut it.

Far more successful than this publication’s penmanship is Luke Ross’ layouts, which do a cracking job in imbuing Ren with all the insanely immature mannerisms actor Adam Driver demonstrated on the big screen. There is a genuinely palpable sense of dread emanating from anyone in close proximity to the former Jedi Padawan, and this helps enormously in selling a predominantly dialogue-driven script.

The regular cover art of "STAR WARS: LEGACY OF VADER" #1 by Derrick Chew

Star Wars: The Acolyte - Kelnacca #1 - Marvel Comics

STAR WARS: THE ACOLYTE - KELNACCA No. 1, November 2024

Considering that this one-shot’s New York Times bestselling author arguably relegates the titular character to a secondary cast member, it is quite probable that a fair few readers of “Star Wars: The Acolyte – Kelnacca” came away from the comic fairly disappointed. Indeed, some of the Bristol-born writer’s decisions concerning the Wookie Jedi Master surely had many a bibliophile shaking their heads in confusion as to just what his twenty-five page plot was trying to achieve; “That’s it. They’re safe, Master. But what about you? Okay. Okay. I’m leaving.”

Sure, during actor Joonas Suotamo’s interview at the rear of the book it is explained that the publisher was attempting to explain some of the great warrior’s “ever-present scalp tattoos”, and it certainly couldn't have been easy for anyone to pen a story where the named protagonist doesn’t actually say a word – or even growl much for that matter. However, such hurdles debatably still fail to explain why so much of this tale appears to revolve around Yarzion Vell’s almost selfish obsession to get his Jedi training finished following the death of Master Lulad, rather than focusing upon the almost three-metre tall alien from the planet Kashyyyk subsequently battling against the nefarious Nihil marauders who caused Starlight Beacon space station to crash into the planet Eiram’s ocean.

In fact, disappointingly little in this ‘hit Disney+ series debut’ truly suggests just how formidable a fighter Kelnacca is, due to its narrative predominantly just showing him using the force to either lift rubble or keep the flames of a burning thatched hut at bay. Instead, so much of this comic follows the aforementioned pointy-headed Vell, as he explains to Padawan Ordea his own personal adventures whilst learning the ropes from the Wookie Jedi.

Such disillusionment with the publication’s script means that much of the heavy-lifting relies upon the artistic skills of Marika Cresta, and the Ringo Award-nominee doesn’t appear to disappoint – most notably when she pencils Kelnacca superbly somersaulting his way through more Nihil tormentors in a double-splash page set a year after the Starlight Beacon was destroyed. Coupled with proficient colorist Jim Campbell, it’s simply a pity that the illustrator isn’t given more dynamic action sequences to draw, as opposed to a series of death scenes and dialogue-driven flashbacks.

Writer: Cavan Scott, Artist: Marika Cresta, and Color Artist: Jim Campbell

Star Wars: Ahsoka #1 - Marvel Comics

STAR WARS: AHSOKA No. 1, September 2024

Announced in February 2024 as “Ahsoka's first-ever solo Marvel Comics series”, Rodney Barnes’ script for this adaption of the live-action Disney+ show certainly doesn’t seem to attract any new fans to George Lucas’ legendary science fiction franchise. In fact, unless the reader already has a considerable knowledge of “the beloved” Star Wars: Clone Wars animated television programme, as well the “various characters from the Star Wars Rebels animated series”, then this thirty-page periodical’s plot is going to contain all manner of fresh faces, motivations, relationships, missions and allegiances.

Happily however, for those bibliophiles ‘in the know’, or at least willing to withstand the bombardment of new people, places and perplexing backstories thrown at them, the ‘truly honoured’ American author’s book definitely contains plenty of intrigue, high-octane chase sequences and explosive entertainment – most notably “fan-favourite” Tano’s attempt to locate a star map which may lead her to Imperial Grand Admiral Thrawn’s last known location; “It was a stronghold for the witches of Dathomir thousands of years ago.” 

Furthermore, there’s plenty of mystery surrounding the despicable Baylan Skoll and Shin Hati, who appear as deadly a pair of Force-users as a New Republic captain would ever want to face. Indeed, the female Togruta’s investigation into the origins of this death-dealing duo and the reason for them freeing the unpleasant Morgan Elsbeth is arguably just as gripping as the publication’s aforementioned central plot surrounding Mitth'raw'nuruodo’s whereabouts; especially once the Mark IV architect droid Huyang starts analysing the film footage of their attack upon Hayle's spacecraft and reveals one of the cloaked malcontents to be a survivor of the Great Jedi Purge.

Also well worthy of praise are penciller Steven Cummings, inker Wayne Faucher, and colourist Rachelle Rosenberg, who together rather impressively eek out every little visual nuance their sheet space will allow in an effort to replicate the fifty-four minute storyline’s runtime on the small screen. This effort could easily have bogged down their audience in endless dialogue and stilted action sequences. But for the majority of this comic, the trio appear at the top of their game, and only seem to encounter some pacing problems towards the issue's end when the disagreeably head-strong Sabine Wren quickly bests some of Hati’s robot troopers.

The regular cover art of "STAR WARS: AHSOKA" #1 by David Nakayama

Star Wars: War Of The Bounty Hunters #2 - Marvel Comics

STAR WARS: WAR OF THE BOUNTY HUNTERS No. 2, September 2021

Proudly proclaimed by “Marvel Worldwide” as “the biggest comic event" of George Lucas' universe, Charles Soule’s storyline for Issue Two of “Star Wars: War Of The Bounty Hunters” surely must have initially excited its 82,460 strong audience considering it featured a no-holds barred brawl between Boba Fett and his arch-rival Bossk. Indeed, the pair’s battle upon “the remote, frozen world of Jekara” is arguably this twenty-page periodical’s greatest highlight – at least until the Dark Lord of the Sith suddenly makes a surprise entrance at the end of Crimson Dawn’s auction for Han Solo’s carbonite-entombed body.

Unhappily though, the sixteen-panel skirmish is also the only action to be seen as this comic predominantly focuses upon the chit-chat, banter and verbal demands of “the galaxy’s most powerful factions”, including representatives from the Empire and the entire Hutt Council. Admittedly, some of this political intrigue and public posturing is reasonably entertaining, especially when an arrogant Administrator Sly Moore’s much-lauded ability to manipulate the minds of others fails quite miserably when used against the likes of Jabba. But it does require the reader to wade through a seemingly endless series of (light) conversational pieces.

Furthermore, the talking simply doesn’t stop, even after the Milwaukee-born writer introduces Doctor Aphra, Princess Leia, Chewbacca and Lando Calrissian to his slow-paced proceedings. Considering the sheer enmity between the Rebels and Fett, many a bibliophile was probably expecting all hell to suddenly be let loose at Lady Qi'ra’s auction. However, all that happens is for the entire cast of characters to forget their own personal squabbles with one another so as to stand in awe at Darth Vader’s unanticipated arrival; “Well, well, well. Let’s see where this goes.”

Possibly just as unenthusiastic about this book’s script as some bookworms might have been, Luke Ross’ layouts disappointingly blow a little hot and cold. The artist does a first-rate job pencilling this mini-series’ notorious bounty hunter and Han Solo’s former lover. Yet sadly, the same cannot be said for many of the sale’s extra-terrestrial bidders, who appear much more roughly drawn. In fact, it’s almost as if the Brazilian illustrator didn’t want to waste too much time sketching the tale’s lesser figures, and subsequently focused all his efforts on the bigger named personalities.

The regular cover art for "STAR WARS: WAR OF THE BOUNTY HUNTERS" #2 by Steve McNiven & Frank D'Armata

Star Wars: War Of The Bounty Hunters Alpha #1 - Marvel Comics

STAR WARS: WAR OF THE BOUNTY HUNTERS ALPHA No. 1, July 2021

Announced in February 2021 by “Marvel Worldwide” as “the Star Wars comic event you’ve been waiting for”, this canon crossover miniseries’ prelude arguably asks quite a bit from its readers within the space of its opening few panels. For whilst Charles Soule’s script for “Precious Cargo” undeniably depicts Boba Fett demonstrating just how bad ass a bounty hunter he can be whilst battling inside the deadly Garkata Fighting Arena, some fans of George Lucas’ “galaxy far, far away” might find the Kamino-born clone somewhat unrecognisable from that depicted on the silver screen in Irvin Kershner's "The Empire Strikes Back".

To begin with, “one of the most feared bounty hunters in the galaxy during the reign of Emperor Palpatine” is apparently penniless to the point where he can’t even pay a doctor to repair Han Solo’s fast-failing carbonite block on the smuggler’s moon of Nar Shaddaa. This total lack of funds makes little sense considering just how successful Jango’s son has supposedly become, especially when he is strongly-favoured “by the fearsome crime lord Jabba The Hutt", and seems to have been penned simply to manufacture a reason as to why he’d leave his valuable prize behind in some disreputable backwater to be stolen.

In addition, the cold-hearted killer debatably doesn’t live up to his fearsome reputation either, despite apparently shrugging off being speared straight through the chest with an arachnid’s sharp-tipped limb during his final contest. The ill-fated Doc Ragon certainly isn’t the least bit intimidated by Fett, and even chides the bounty hunter for being historically disreputable. Whilst this book somewhat bizarrely ends with a still broke Boba impotently skulking away without any of his considerable winnings in the arena simply because he’s confronted by Kanji and a couple of the local hoodlum’s gun-toting gangsters; “You owe us for the money we lost on Wyrmen Lictor. Had a lot bet on her to win. You can earn all that back for us in one fight… Unless you’d rather just walk away.”

Easily this twenty-page periodical’s greatest asset is therefore the superb artwork of Steve McNiven, which does a truly fantastic job depicting all the dark griminess of the galaxy’s nefarious underworld, and its multitude of extra-terrestrial inhabitants. The Canadian illustrator’s ability to capture every minute detail of the central protagonist’s Mandalorian armour is excellent, as is his ability to sketch the bloody path the mercenary cuts so as to efficiently achieve his “title shot” against the tournament’s multi-limbed reigning champion.

Written by: Charles Soule, Illustrated by: Steve McNiven, and Color Art by: Laura Martin

Star Wars: Bounty Hunters #12 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 12, July 2021

Proudly proclaimed by “Marvel Worldwide” as featuring “the prelude story Target Solo, which leads into the Star Wars: War of the Bounty Hunters crossover event”, this particular twenty-page periodical certainly must have pleased the majority of its audience in May 2021 with its intriguing mix of a current-day space-battle and an historic gun-fight involving a certain out-of-favour Corellian smuggler. True, Beilert Valance’s flight through the Y’Toub System is a rather one-sided affair as the cyborg’s defenceless vessel simply attempts a series of hair-brained manoeuvres through an asteroid field so as to unsuccessfully escape Zuckuss’ deadly Mist Hunter. Yet even this headlong dash is imbued with plenty of tension by Ethan Sacks, as it’s never clear as to whether the former Chorin mineworker’s unhappy passenger, Dengar, will decide to kill him just to make peace with the tenacious Gand findsman pursuing them.

Indeed, arguably one of the highlights of this comic is the fractious relationship between a preoccupied Valance “and his reluctant partner”, as the pair are repeatedly thrown across their rapidly failing spacecraft’s cockpit. The American author’s ability to depict Dengar’s increasing horror at the insane chances his facially-disfigured “poodoo” pilot will take so as to avoid capture proves particularly enjoyable, with the increasingly battered bounty hunter’s persistent protestations about Beilert’s seemingly suicidal flying providing the plot with both an element of humour and suspense; “Just surrender and give them what they want… Your obsession with Solo makes you reckless. Why is that damn scoundrel so important to you anyway?”

Just as entertaining though, albeit for its pulse-pounding pace and artist Paolo Villanelli’s phenomenally dynamic, laser-packed shoot-out, is Sacks’ elaborate series of flashbacks to Abregado-Rae Spaceport, where a penniless Valance desperately agrees to join “the mysterious Caviness Thorn” and his men in killing the assassination crew’s latest target. Doubtless few of this book’s bibliophiles were even slightly surprised at the revelation that the target is the Millennium Falcon’s captain, Han Solo. But that doesn’t make the subsequent firefight any less dramatic, especially when having warned Chewbacca’s partner of the deadly ambush, Beilert goes toe-to-toe with his irate employer atop the space port’s walkway, and the Corellian's Wookie-in-crime is disconcertingly blasted in the shoulder at close range.

The regular cover art for "STAR WARS: BOUNTY HUNTERS" #12 by Mattia De Iulis