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: 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

Star Wars: Bounty Hunters #4 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 4, October 2020

Whilst Ethan Sacks’ script for Issue Four of “Star Wars: Bounty Hunters” certainly must have struck many within its audience as being packed full of some seriously ferocious fighting as the comic’s various murderous mercenaries desperately try to claim Nakano Lash’s lucrative head. It is still arguably difficult to understand just what all the fuss was about concerning this publication’s supposed “graphic violence against women” when it first hit the spinner racks in August 2020, and why websites such as “Starwarsnewsnet.com” appealed to fans to “speak up about this because it’s time for this disturbing trend to end.”  

For starters, most of the bloodshed found within this twenty-page periodical is actually perpetrated by the series’ female cast as opposed to its male contingent, with T’onga demonstrating an especially vicious streak by fitting her cybernetic partner Beilert Valance with a restraining bolt and immediately then activating the device to painfully make him aware that she’ll use it on her ‘friend’ without a moment’s hesitation. Similarly as savage are Lash and Cadeliah, who between them literally hack apart Ooris Bynar for threatening to harm the Nautolan’s young protégé. This early scene is remarkably graphic as the Thisspiasian male is stabbed in the head, has one of his hands chopped off and is partially strangled with his own tail, before having his neck snapped with a resounding ‘crack’.

However, with perhaps the possible exception of Valance’s unprovoked assault, it is hard to see what else the likes of Lash could possibly otherwise do in the circumstances and every unforgiving blow is debatably justified. Indeed, even T’onga’s appalling behaviour towards Beilert makes some sense within the context of the story being told, as the human has “just walked away from a peaceful, happy life on a homestead with the woman” she loves, in order to kill the person who betrayed her brother, T'ongor, and clearly doesn’t intend for anything or anyone to stop her; “Just making my point. Get in my way and there won’t be enough parts left to put you back together. Oh, and Valance? It’s good to be working with you again.”

Setting aside any gender-driven kill-count issues, “Hunter’s Mutiny” is also noteworthy for containing some wonderfully dynamic artwork by Paolo Villanelli. The Italian artist’s pencilling of the former Imperial cadet battling against a Nexu puppy whilst T’onga guns down a small handful of inexperienced local hired goons is fantastically paced, as are his layouts concerning the flurry of activity which leads to Bynar’s aforementioned grisly demise.

The regular cover art of "STAR WARS: BOUNTY HUNTERS" #4 by Lee Bermejo

Star Wars: Bounty Hunters #3 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 3, June 2020

Described by “Marvel Worldwide” in its pre-publication release as being “the ultimate heavyweight battle” between Bossk and Beilert Valance, Ethan Sacks’ scintillating script to Issue Three of “Star Wars: Bounty Hunters” not only arguably delivered to its readers a thoroughly enjoyable gratuitous confrontation between the two opposing mercenaries. But also provided his audience with a brief insight into just why the male Trandoshan and former Chorin slave despise each other so much by taking the fractious pair back “years ago” to a time when they both served aboard Nakano Lash’s ship the Starskimmer.

This initially tender flashback, featuring a facially reconstructed cyborg nervously awaiting the opportunity to use the vessel’s long-range communicator to contact his beloved Yuralla Vega, definitely shows a sensitive side to Valance which is rarely seen, and makes Bossk’s undisguised amusement at the failed transmission all the more malicious when he goads the former Carida Academy cadet over his deeply felt feelings for the woman; “Haha! That was pathetic. Weak. Knew you’d be too afraid to…” Indeed, such is the level of animosity Cradossk’s son generates in this sequence that it is hard to believe Beilert later spares the large lizard’s life after the Trandoshan tries to ambush him on the Graveyard Planet of Galmerah.

Disappointingly though, not everything within this twenty-page periodical is debatably quite so well penned, with Sacks’ inclusion of several other bounty hunters proving somewhat overwhelming within a single publication. Ooris Bynar’s appearance is okay considering that the Thisspiasian is recognisably distinct from his competitors and actually seems to get ‘the drop’ on Lash by reaching the fugitive’s secret location first. However, the likes of T’Onga and General Vukorah are seemingly just crowbarred into the book simply to help pad out its page count with some glimpses of “two of the most powerful criminal syndicates in the galaxy” once Bossk is defeated.

Quibbles aside, perhaps this comic’s biggest contributor is artist Paolo Villanelli, whose layouts for the confrontation between Valance and his ex-teammate help push along the extended action sequence at a frighteningly fast pace. The Trandoshan’s insane fury towards his foe leaps out of every panel in which he features, as does the sheer viciousness of the close combat once the two bounty hunters lock horns with one another trading punches, kicks and headbutts.

The regular cover art of "STAR WARS: BOUNTY HUNTERS" #3 by Lee Bermejo

Star Wars: Bounty Hunters #2 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 2, May 2020

Whilst Senior Editor Mark Paniccia may well have argued that this title’s first story-arc focused upon “the cutthroat criminal world” of just two favourites from Irvin Kershner’s 1980 epic space opera film “The Empire Strikes Back”, namely Boba Fett and Bossk, the script to Issue Two of “Star Wars: Bounty Hunters” debatably tells a somewhat different tale with most of the comic’s pulse-pounding action predominantly focusing upon Beilert Valance’s exploits rather than the cloned Mandolorian or male Trandoshan. In fact, with the exception of Cradossk’s son sneakily tracking his prey to the Graveyard Planet of Galmerah, and Slave-1’s owner being shown in a holographic flashback, much of this twenty-page periodical actually concerns itself with just how the facially disfigured cyborg first came to meet his disgraced mentor Nakano Lash.

Fortunately however, such a difference in perspective as to just who the book’s narrative is about doesn’t impact upon the quality of Ethan Sacks’ penmanship, as the writer does a tremendous job of depicting a disgruntled young Valance seemingly yearning for death and picking a fight with a stormtrooper patrol in Phelar Port on Eriadu to ensure it happens; “Attacking Imperial personnel is a capital offence!” The ex-miner’s subsequent rescue by Lash makes it abundantly clear just why Beilert would initially follow the female bounty hunter with such loyally, and additionally explains his determination to find her following Nakano's supposed betrayal of him during their mission together on Corellia.

Equally as enthralling is Sacks’ portrayal of T’onga desperately attempting to infiltrate the Fortress of the Mourner’s Wail so as to prevail upon the girl’s distraught father to sanction her mission of revenge against the Nautolan who killed her brother, T’ongor. Extremely well-paced by artist Paolo Villanelli, and filled full of some incredibly ferocious close combat action sequences, this ultimately doomed attempt to stealthily circumnavigate through the numerous maze-like corridors of the heavily guarded fortification is probably this book’s greatest highlight. Indeed, the Italian artist does such a good job of pencilling the sublime quickness of the one-time farmer on the Moon of Logal Ri, that her eventual capture by Lord Khamdek “deep in Hutt Space” comes as something of a disappointing shock.

Writer: Ethan Sacks, Artist: Paolo Villanelli, and Colorist: Arif Prianto

Star Wars: Bounty Hunters #1 - Marvel Comics

STAR WARS: BOUNTY HUNTERS No. 1, May 2020

Set during the aftermath of the Battle of Hoth, and advertised by “Marvel Worldwide” as “the bounty hunter adventure you’ve been waiting for”, Ethan Sacks’ thrill-a-minute script for this opening instalment to his “Galaxy’s Deadliest” storyline probably entertained the vast majority of its 61,941 readers in March 2020. But whilst much of this comic’s pre-publication hype focused upon Nakano Lash supposedly violently betraying the likes of Beilert Valance, Bossk and Boba Fett, the twenty-one page periodical’s plot arguably tells a somewhat different tale.

To begin with, Valance’s much-maligned mentor doesn’t actually deceive any of the mercenaries working for her on the outskirts of Coronet City, but rather simply slays “the crinkin’ heir to the deadliest crime syndicate in the sector” after the arrogant criminal seemingly slaughters an unseen target which the Nautolan clearly felt should have been left unmolested. This action obviously blows the entire mission, and puts Lash’s team in deadly jeopardy from the corrupt consortium’s retribution. However, from the way some of her colleagues react to the news of Khamus’ death, especially the highly unlikeable Fett, many bibliophiles would have thought Nakano had personally tried to gun them all down so as to claim the reward for herself: “Your mentor just got us all killed… I’m going to make sure I return the favour.”

Similarly as disconcerting is Sacks’ depiction of Jango’s son, who is portrayed as an incredibly arrogant killer who is as reckless as he is self-centred. Admittedly, this book’s opening is set some years in the orphaned clone’s past when the Mandalorian was still honing his skills and professional attitude. Yet it is still debatably hard to witness Boba rushing headlong straight into a heavily-armed fortification armed with little more than a hand-flamer, and then idly stand by whilst his back-up is shot to pieces right beside him simply so he can make a point to a facially-disfigured Valance that “you just get in the way.”

Happily though, such quibbles certainly don’t stop Issue One of “Star Wars: Bounty Hunters” from being a pulse-pounding publication, partly thanks to Paolo Villanelli’s layouts imbuing the comic with a furious pace that simply doesn’t stop until the book’s end when Slave-1 receives an incoming transmission concerning an “especially sentimental bounty” and its owner decides that Jabba can perhaps wait a little longer before the Hutt receives a certain Corellian smuggler encased in carbonite. The Italian artist seems especially good at pencilling frantic firefights, with Beilert’s battle against a gang of furious Devaronians proving particularly sense-shattering.

Writer: Ethan Sacks, Artist: Paolo Villanelli, and Colorist: Arif Prianto