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

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

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

Those fans blissfully unaware that Issue One of "Star Wars: War Of The Bounty Hunters" was actually preceded by “a canon one-shot”, were probably quite a bit perturbed by his comic’s succinctly short opening crawl detailing that Boba Fett had somehow lost the carbonite-contained body of Han Solo following the events seen in Irvin Kershner's 1980 science fiction film "The Empire Strikes Back". Sure, the sudden loss of the male mercenary’s "greatest prize of all” certainly promises to have the mini-series depict a lot of exhilarating gun-play and violence in “a galaxy far, far away.” But it also begs the question as to just why Jabba’s most favoured enforcer would even dare risk the Hutt’s infamous wrath by not flying straight back from Cloud City to the gangster’s palace on Tatooine..?

Fortunately, such ignorance doesn’t impact too much upon Charles Soule’s narrative for “Most Wanted”, courtesy of the Milwaukee-born writer quickly gathering up any unconvinced readers with his penmanship’s pulse-pounding pace. Indeed, just as soon as a positively peeved Fett arrives at Nar Shaddaa and begins offloading his problems to the corpulent bar-tender, Jango’s son is shown blasting away both inexperienced hot-heads and Gand findsmen within the space of just a few panels; “Thought you could predict the future, Zuckuss. Should’ve seen that coming.”

These intense fire-fights simply don’t stop either, at least until the thirty-page periodical’s concluding revelation as to just who was personally behind the Corellian smuggler’s theft, due to the American author continuing to portray Boba at his most murderously impatient - even when confronted with the combined forces of Bib Fortuna and a plethora of the majordomo’s most deadly assassins. These enthralling skirmishes genuinely help the book’s plot bound along at a corking rate, and also quickly establish the formidable reputation that the Mandalorian clone has throughout the universe as a stone cold killer who only those as “tough as hell, or too stupid to know” better would rip off.

Helping such scintillating storytelling is Luke Ross, whose proficient ability to illustrate this title’s central character in his prime makes every picture involving the bounty hunter well worth an additional look or two. The Brazilian artist also does a particularly fine job of pencilling the overly-confident Zuckuss and his constant companion, 4-LOM, and as a result it’s arguably something of a shame that the skilled insectoid tracker doesn’t last longer against the devastating firepower of Slave 1’s ion cannons.

The regular cover art for "STAR WARS: WAR OF THE BOUNTY HUNTERS" #1 by Steve McNiven & Frank D'Armata

Star Wars: Bounty Hunters #11 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 11, June 2021

Nicely bookended by a scene on the Outer Rim in which Beilert Valance partners up with Dengar the Demolisher so as to track down the Corellian smuggler Han Solo, the vast majority of “The Great Hunt Of Malastare” actually focuses upon “a special solo adventure starring the most savage bounty hunter of all” rather than this ongoing series’ usual cybernetically-enhanced central protagonist. Yet whilst such a decision by Ethan Sacks might have perturbed some readers who were looking forward to another tale concerning the former Carida Imperial Academy cadet, those willing to give the infamous Trandoshan, Bossk'wassak'Cradossk, a moment in the American author’s spotlight were probably far from disappointed.

Indeed, this twenty-page periodical’s plot is absolutely packed full of sense-shattering action, plenty of the lizard-like killer’s trademark ferocious savagery, “some of the most dangerous scum in the galaxy”, a handful of wonderfully-penned moments of bold-faced treachery, and a great cameo by Jabba the Hutt's majordomo, Bib Fortuna; “Be careful out there. A lone hunter can be… vulnerable without the right kind of friends.”

Furthermore, Sack’s script for Issue Eleven of “Star War: Bounty Hunters” also provides a fascinating insight into just how utterly cold-blooded Bossk can be when presented with both a lucrative contract on a desperately dangerous planet and a motley group of unsuspecting innocents who’ll prove the perfect Judas goats when the opportunity arises. True, few bibliophiles were probably caught off-guard when the Wookie hunter willingly sacrifices his naïve entourage to the deadly gunfire of the group’s pursuers, simply so he could mark his opponents’ positions on the high ground. But that still doesn’t arguably stop the Trandoshan’s brutal act from being any less shocking, especially when he later indicates he feels the sole survivor should actually thank him for outliving the ordeal.

Paolo Villanelli’s pulse-pounding pencilling also adds plenty of barbaric swagger to the character of Cradossk’s son during this comic, most notably whenever the “scaly horror” feels his authority or ability as a natural born killer is being questioned. The Italian artist’s sequence depicting Bossk literally tearing through Vice Chair Jermit’s heavily-armed henchmen with little more than a blade and a rock is the highlight of this publication, and rather enjoyably seems to set-up a future rematch between Bossk and the Dowutin mercenary, Grummgar, at the same time.

The regular cover art for "STAR WARS: BOUNTY HUNTERS" #11 by Mattia De Iulis

Star Wars: Bounty Hunters #10 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 10, May 2021

Besides an intriguing opening scene which sheds even more light upon the fractious relationship between Beilert Valance and Han Solo back when they were both Imperial cadets together on Qhulosk, Ethan Sacks’ script for Issue Ten of “Star Wars: Bounty Hunters” is primarily focused upon providing the science fiction franchise’s fan-base with a truly pulse-pounding gun-battle aboard a lone Rebel Alliance transporter. Indeed, this conclusion to the author’s “Terminus Gauntlet” storyline is almost unrelenting in its action-packed antics as the human male bounty hunter goes on a solo killing campaign against Skragg’s band of piratical misfits.

Rather pleasingly though, this twenty-page periodical’s plot isn’t simply limited to a number of unimaginative set-pieces in which the cyborg brutally murders his opponents so as to save the lives of the space vessel’s crew, but instead includes a surprising secondary scenario concerning Dengar the Demolisher being long-term friends with the traitorous Commander Hill Purpura, and the scurrilous pair’s plan to sell “the transponder codes for every ship in the Rebel armada” to the Empire.

In addition, despite his preparedness and ability to physically connect himself to the transporter’s computer-controlled systems, Valance is still ‘realistically’ shown as being somewhat vulnerable to chance, and more than once relies upon the assistance of Private Blanch Sproull in order to overcome his vicious adversaries. Such susceptibility to bad circumstances really helps add a truly palpable sense of concern for this title’s central character, and also imbues each of Beilert’s successful assassinations with an extra celebratory element – especially when the former mining slave manages to pull off something quite clever like trapping a pair of poorly-thinking bandits in an air lock; “Doesn’t require much intelligence to become a pirate does it?”

Helping this comic’s narrative bound along is artist Paolo Villanelli, whose marvellous panel work both clearly shows all the steps required by the facially-disfigured bounty hunter to enact his plan for retaking the stranded Rebel Transport, as well as portrays the increasing fear experienced by the new Ohnaka Gang as their superior numbers quickly dwindle and they realise that their own deaths are imminent. Furthermore, the illustrator appears to be able to pencil a seriously bone-crunching blow whenever it is called for, as seen on a couple of occasions by the cybernetically-enhanced Sproull walloping her foes from behind with a trusty iron bar.

The regular cover art for "STAR WARS: BOUNTY HUNTERS" #10 by Mattia De Iulis

Star Wars: Bounty Hunters #9 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 9, March 2021

Featuring an intriguing insight into what caused Beilert Valance’s disaffection for the Empire, a pulse-pounding battle between a Rebel transport and a pack of blood-thirsty pirates, and an appearance by the Corellian bounty hunter “known as Dengar the Demolisher”, many of those bibliophiles who bought Issue Nine of “Star Wars: Bounty Hunters” were probably wondering just how Ethan Sacks managed to cram so much narrative within the space of a single twenty-page periodical. Happily however, rather than being a jumbled mishmash of ideas and convoluted sub-plots, “Squadron Of One” is instead a genuinely well-penned thrill-a-minute ride, which includes some enthralling back history to this book’s central character, as well as some truly sensational starfighter set-pieces.

For starters the comic starts on the planet Qhulosk after an Imperial raid, and pits “the top cadet in the whole Carida Imperial Naval Academy” against some of the ravaged world’s tentacle-headed survivors. Deprived of his vessel, his hand-blaster and the rest of his squadron, a livid Valance demonstrates a truly impressive appetite for life by battering his numerous attackers apart with nothing more than a rod of rusty metal; “Why… Why did the Empire… Leave me behind? I gave everything I had…”

Such tenacity in the face of seemingly unassailable odds is subsequently reinforced by Sacks’ script when the book returns its readers back to current events, and depicts Beilert besting a formidably-sized blockade in order to ‘land’ the partially-destroyed Broken Wing aboard a Gallofree medium transport ship. The subsequent hostility between the Rebels’ cyborg rescuer and Commander Hill Purpura is palpable, especially when it becomes clear that the freedom fighters’ dislikeable leader is all-too willing to surrender to Captain Skragg simply to save his own worthless hide.

More than aiding this publication’s considerable pace is Paolo Villanelli, whose ability to etch Valance’s emotions upon the human bounty hunter’s ravaged face genuinely helps sell each and every scene the former Chorin-born mining slave features in. Furthermore, the artist’s attention to detail by capturing the likenesses of actors Harrison Ford and Maurice Bush during their on-screen characters' cameos as Han Solo and Dengar is excellent, and makes both scoundrels’ all-too fleeting appearances enjoyably memorable.

The regular cover art of STAR WARS: BOUNTY HUNTERS #9 by Paolo Villanelli & Arif Prianto

Star Wars: Bounty Hunters #8 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 8, February 2021

Opening with a scintillating starfighter shoot-up over the skyline of Howlan City on the planet Qhulosk, and featuring a delightful guest appearance by a young Han Solo during his brief tenure as an Imperial pilot, Ethan Sacks’ script for Issue Eight of “Star Wars: Bounty Hunters” barely gave its readers pause for breath when it first hit the spinner racks in December 2020. Indeed, even when this comic’s action does momentarily quieten down to allow Beilert Valance to wander through the packed H’unn Cabaret Pit or ‘light-speed’ his way to “the intersection of the Corellian Trade Spine and the Hydian Way”, there’s still an almost palpable sense of nerve-tingling tension to be found within this book’s narrative as the reader never knows just what might be lurking around the corner for the cyborg.

This well-penned feeling of jeopardy for the ongoing series’ lead protagonist is particularly noticeable during the bounty hunter’s trip to Nar Kaaga and his business meeting with the truly treacherous Syphacc. Partially disguised by a large hooded cloak, the packed club seems a somewhat strange place for the former Chorin Slave to select for a meeting, but his dubious plan to unsuccessfully seek safety in so visible a venue at least means that there’s no shortage of options as to where the next attack upon the wanted human will come from; “Well, as much as the Unbroken Clan wants to get their hands on me to get to the girl -- Zuckusss and Four-Elloem would have to be sloppy to make a move in such a public place.”

Spookily however, despite knowing that someone will inevitably attempt to claim the price upon Valance’s head in the Pit doesn’t debatably diminish the sense of surprise when the thoroughly dislikeable Hondra decides to make his move. The young so-called killer is as arrogant as he is impotent, and many bibliophiles must have taken a lot of satisfaction in seeing artist Paolo Villanelli prodigiously pencil the annoyingly boastful brat getting taken down a peg or two by an extremely patient Beilert; albeit “the deadliest pit fighter out of Nar Kanji does make a very valid point that if he hadn’t unwisely wanted his target “to see who is pulling the trigger” he could easily have just shot the famous Bounty Hunter in the head without the man even knowing he was in danger.

The regular cover art of STAR WARS: BOUNTY HUNTERS #8 by Paolo Villanelli & Arif Prianto

Star Wars: Bounty Hunters #7 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 7, January 2021

Despite containing enough lethal laser-blasts to populate a Death Star detention cell corridor with, as well as “the deadliest bounty hunting duo in the galaxy”, Ethan Sacks’ plot for this twenty-page periodical probably didn’t land all that well with some readers due to its somewhat contrived conclusion. Sure, the former film editor for the New York Daily News fills this comic with plenty of excellently penned, high-octane action and some truly exciting one-on-one combat sequences. But then arguably ruins it all by manufacturing an unlikely arrangement between Beilert Valance and his nonsense pursuers at this book’s very end; “All of us can walk away… But the girl stays. And I’ll make it worth your while.”

Indeed, having already chased the Chorin-born cyborg to a secret Rebel base it seems somewhat preposterous that Zuckuss and 4-LOM would suddenly decide to let their quarry escape their clutches unharmed, simply because he offers them a highly valuable fire ruby the one-time Carida Academy cadet was given by his lover, Yuralla Vega. Considering that the mercenaries both outnumber the “badly wounded Valance” and will collect the same reward for their target either dead or alive, it would surely make much more sense for them to just blast him to pieces at point blank range and subsequently take the treasure off of his cold corpse..?

Furthermore, the so-called sentimental value of the prized rock to Valance is badly undermined by a flashback scene on the planet Lowik, in which Sacks depicts the “cold-hearted cretin” simply giving the token back to Vega “years ago” because he feels the young woman’s good luck charm would do her more good than him. Such an act seems completely at odds with this comic’s pre-publicity boast that in handing the fire ruby over to the victorious insectoid male Gand findsman, Beilert is supposedly making “the toughest decision of his entire life.”

Happily however, up until this discomfiting choice, the plot to Issue Seven of “Star Wars: Bounty Hunters” is first-rate, with Paolo Villanelli pencilling some superb gun-fights and close combat confrontations. The “ambitious LOM-series protocol droid” 4-LOM seems especially well-served in this area, with the artist really capturing the Terminator-like determination of the robot to kill his opponent, even when the galactic thief’s plating and motor circuits are badly damaged.

The regular cover art of STAR WARS: BOUNTY HUNTERS #7 by Lee Bermejo

Star Wars: Bounty Hunters #6 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 6, December 2020

Providing its 29,500 readers with plenty of insights as to the background behind Beilert Valance, and his brutal ‘rise’ from being a lowly worker on the Mining Planet of Chorin to a well-renowned bounty hunter, this twenty-page periodical must surely have agreeably entertained even those within its audience who were wholly unacquainted with this “canon” comic book series’ central protagonist. In fact, the flashbacks involving the human’s unconquerable love for Yuralla Vega makes it crystal clear just how as an Imperial grunt, the soldier was later able to somehow survive his “quite substantial” injuries on Mimban when he “was scorched in a ground assault” and given substandard cybernetic parts by a less than sympathetic superior officer.

Similarly as well scripted is Ethan Sacks’ narrative concerning Valance’s confrontation with some of the mercenaries sent to murder his recently acquired young ward, Cadeliah. Beilert’s battle with a beskar body-armour wearing killer inside the Spur Orbiting Market is an absolute pleasure to peruse, due to the man having to spontaneously work together with his dependant so as to defeat their seemingly impregnable opponent; “Get off him! Valance, now! Fry him with your palm blaster!”

However, it is this comic’s confrontation between the recently-restored cyborg and Zuckuss inside Slade’s Repairs shop which is undoubtedly this publication’s highlight, as the infamous insectoid Gand findsman manages to inflict a serious wound upon his “old friend” with a sonic immobilizer. Bloodied, but most definitely not bowed, the battered hero’s subsequent brutal bout of fisticuffs is superbly paced, and definitely sets up the pair for a future re-match after 4-LOM’s partner-in-crime is temporarily side-lined with a sliced breathing regulator.

Adding enormously to the emotionally-charged energy of this book are Paolo Villanelli’s layouts, which really go a long way to ensuring the ever-shifting tempo of Sacks’ story-telling. Somewhat sedentary when used to depict the cybernetic bounty-hunter’s touching love affair with Yura, the Italian artist’s pencilling of this comic’s action sequences then come thick and fast in a splendid flurry of sense-shattering sketches. Indeed, much of the desperate urgency behind Beilert’s actions during his skirmishes comes from the rapidity of Paolo’s panels and some of the insane movement lines which accompany the participants’ blows.

The regular cover art of "STAR WARS: BOUNTY HUNTERS" #6 by Lee Bermejo

Star Wars: Bounty Hunters #5 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 5, November 2020

Publicised by “Marvel Worldwide” as the “battle of the bounty hunters”, Ethan Sacks’ narrative for “The High Cost of Revenge” surely lived up to its hype upon its release in September 2020 with its vicious struggle between Boba Fett and Beilert Valance. Indeed, the pair’s dramatic tussle over Nakano Lash’s life is the highlight of this twenty-page periodical, as both mercenaries ‘get up close and personal’ with one another, courtesy of some bone-crunching punches, kicks and the odd built-in bioenergy disrupter.

However, rather than simply settle upon a comic-long bout of fisticuffs between two of the Star Wars franchise’s most recognisable fugitive recovery agents, the comic book writer also probably pleased this title’s 27,000 fans by intermixing all of its high-octane action with some fascinating insights into the background behind Lash’s notorious killing of her client “the heir of the Mourner’s Wail Syndicate”. These flashbacks really are a joy to read, as they not only reveal just how Nakano’s crewman T’ongor was killed by a misdirected blaster bolt from Fett, but also illustrates just why Jango’s clone and Valance detest each other so strongly after the Mandalorian armour-wearing warrior deserts his team-mate to be savagely tortured; “You Fool! You’ve doomed us both.”

Equally as intriguing though is Sacks’ sadly all-too fleeting look at how Nakano became orphaned on Glee Anslem by an extremist, and just how much this loss strengthened the Nautolan’s determination to ensure Khamus’ child was kept safe from a galaxy which would clearly do the young girl harm. In addition, the similarities between the harrowing murder of Lash’s hapless parents whilst her “mom” is heavily pregnant with that of Krynthia’s fatal predicament on Corellia, makes the bounty hunter's sudden decision to kill Khamus much more understandable. 

Of course, much of this book’s dynamic story-telling wouldn't be quite so impactive if not for the energetic layouts of penciller Paolo Villanelli and colorist Arif Prianto. The artistic duo genuinely imbue each scene with incredible vitality, whether it be Lash’s swollen-bellied mother desperately shoving her daughter’s would-be attacker to one side or Fett belting Valance in the chops with a jet-pack powered “Whump”.

The regular cover art of "STAR WARS: BOUNTY HUNTERS" #5 by Lee Bermejo