Star Wars #67
Cover dated: January 1983
Issue title: The Darker
Script: David Michelinie
Artwork: Ronald Frenz (layouts)/Tom Palmer (finished art & inks)
Colours: Glynis Wein
Letters: Joe Rosen
Cover art: Tom Palmer
Overall rating: 6½ out of 10




Plot summary: On his way to a briefing, R2-D2 hears a desperate cry for help emanating from one of the unexplored tunnels within the Rebel base on Arbra. As he trundles down the passageway to investigate, a Hoojib perched on a nearby rock sees the droid and rushes off to inform the Hoojib leader, Plif. As the Rebels discuss their plan to rescue the captured Han Solo from the bounty hunter Boba Fett, Plif and a group of Hoojibs inform C-3PO that R2 is in considerable danger, since the tunnel he ventured down harbours a great unknown evil. Taking Chewbacca along for protection, C-3PO, Plif, and the other Hoojibs enter the tunnel in an attempt to find R2.

Descending deep into the bowels of the planet, the party come to a ruined subterranean city, surrounded by a force field. Passing through the barrier, they find R2 broken up into his component parts and tangled in a slimy, green web. Before they can rescue the droid, however, a floating, green-skinned creature called the Darker appears. The creature explains that he is made up of the dark energies from an ancient civilisation that once lived on Arbra, but when those people left, the Darker was imprisoned inside the force field. The creature intends to use R2 and 3PO's internal components and circuitry to develop a mechanism to allow him to escape from his prison.

Chewbacca flies into a rage and attacks the Darker, but the creature telepathically manipulates the Wookiee's emotions, turning him against 3PO. As the enraged Wookiee prepares to tear the protocol droid's head off, 3PO brings Chewbacca back to his senses by reminding him that they need to escape the Darker in order to join the search for Han Solo. Turning back towards the Darker, Chewbacca grabs the creature and, on 3PO's instruction, hurls him up into the force field, destroying him. The Darker's death triggers an overload of negative energy in the force field, which causes the city to begin to shake. Chewbacca, 3PO, the Hoojibs and a hastily reassembled R2 all flee the city as it comes crashing down behind them.


Comments: Like last issue, Star Wars #67 features a story that is, for the most part, a stand-alone adventure. What's nice about "The Darker" is that it's a story that focuses on the supporting cast members in the series, which is a nice change of pace. I guess that C-3PO is really the star of this story, but Chewbacca, R2-D2 and Plif the Hoojib all get a fair amount of "panel time". This is the first time since his introduction in issue #55 that Plif has had a big role in the comic and that's a pity because, as writer David Michelinie shows here, he's a neat, humorous character. We also see just how loyal the Hoojibs are to the Rebels, showing us that they haven't forgotten how the Alliance helped them in ridding their home of the terrible Slivilith.

There's a fair bit of humour to be found in this issue, both in the dialogue and also from some of the visual comedy. For example, I really get a kick out of seeing a mass of Hoojibs carrying Chewbacca's bowcaster on their backs, as our heroes hurriedly flee the crumbling underground city...




Something else that's worthy of mention is that, for the first time in the Marvel series, we're privy to R2-D2's internal thought process. This is a rare occurrence and, in fact, I can't think of another time in any Star Wars comic that we've seen what R2 is thinking. Michelinie writes him fairly humorously, with the spunky little astromech droid's conclusion of "What the heck...", before he enters the unexplored tunnel, seeming perfectly in character...




Star Wars #67 also serves as a prologue or set up for the forthcoming Search for Han Solo story arc, with new information having come to light that Boba Fett was actually in league with one of the other bounty hunters that we glimpsed in The Empire Strikes Back. However, Fett cut that bounty hunter out of the deal when he left Cloud City with Solo's frozen body. The Rebels are hoping to persuade the bounty hunter in question, who must be somewhat bitter about how things transpired, to reveal where Fett is hiding until his rendezvous with Jabba the Hutt (and "Hutt" is spelt correctly for the first time in the Marvel comic here). The three suspects that the Rebels want to talk to are Dengar, IG-88, and Bossk, with the latter being described as the Monarch of the Qotile system. 

Something that I'm not really a fan of is the Darker's design. It tends to make him look rather too comical, instead of sinister, especially with the two shrunken arms that extend from his torso. Also, I find the name "The Darker" to be a bit naff. Still, I guess he's a fairly formidable foe and I definitely like the creepy, subterranean setting for this story, which is sort of reminiscent of the Dungeons & Dragons role-playing game. Another slight gripe I have is that, although Wookiees are very strong, I'm not sure that Chewbacca would really be able to throw the Darker's body high enough for it to hit the overhead force field in the ruined city.

As for the art, this issue represents the first work on Star Wars by penciller Ron Frenz, who would become the regular artist on the series from issue #71. Frenz had previously worked on Marvel's Ka-Zar the Savage comic and, concurrently with his work on Star Wars, would pencil The Further Adventures of Indiana Jones. The artwork here looks very nice, while Frenz's somewhat photo-realistic and cinematic style is similar enough to Walt Simonson's that the transition from one artist to the other isn't too jarring. In fact, it almost appears, at times, as if Frenz is actively trying to ape Simonson's style, in order to easy the transition. Of course, Tom Palmer's gorgeous inking goes an awfully long way in providing a sense of continuity between Simonson's and Frenz's artwork too.

All in all, Star Wars #67 isn't an essential read, even within the context of the series, but it's a fun little tale nonetheless. The artwork is very nice and certainly represents an accomplished debut for Frenz. Michelinie's scripting is solid and fairly entertaining, but what I really like about this story is that it shines the spotlight on those characters from the series that are usually relegated to the sidelines.

Continuity issues: None

Favourite panel:



Favourite quote: "Chewbacca! Forgive me, old friend, but this hurts me more than it does you!" – C-3PO apologises for spaying his own lubricant into Chewbacca's eyes as a distraction.

Star Wars #85
Cover dated: July 1984
Issue title: The Hero
Script: Mary Jo Duffy
Artwork: Bob McLeod (breakdowns)/Tom Palmer (finished art & inks)
Colours: Glynis Wein
Letters: Rick Parker
Cover art: Bob McLeod
Overall rating: 7 out of 10




Plot summary: Han Solo, Chewbacca and Lando Calrissian are summoned to an Alliance briefing in the Ewok village on Endor, during which Admiral Ackbar and Mon Mothma hand out assignments to travel to other worlds as representatives for the new Alliance of Free Planets. As the meeting comes to a close, Ackbar mentions the mysterious "Captain Drebble", who is to be decorated as a hero of the Rebellion for his contributions to their cause. Lando – who is actually the Captain Drebble in question, having adopted the name as part of a disguise on a number of Rebel missions, in the hopes that any trouble he caused would come back to haunt the real Drebble, an old enemy of his – is appalled to learn that his nemesis is to receive a commendation. Han and Chewbacca volunteer for a diplomatic mission to the "Hunter's World" of Keyorin, which will take them close to Chewie's home planet of Kashyyyk, and Lando elects to tag along with them in his own ship.

After discharging their diplomatic duty on Keyorin, the trio retire to a cantina, where Chewie and Lando are alarmed to see the bounty hunter Bossk. Explaining to Han that, during his time frozen in carbonite, they manipulated several gangs of bounty hunters into searching for him, the trio quietly attempt to leave the cantina when Drebble himself suddenly appears and recognises Lando. A chase ensues, during which a second gang, led by Lemo and Sanda – who Lando and Chewbacca recently had unpleasant dealings with on the planet Arcan IV – join the pursuit. Eventually, Lando, Han and Chewie are captured by Drebble and his men, as they attempt to board the Millennium Falcon. Lemo and Sanda's gang soon arrive on the scene, demanding that Han and his Wookiee companion be turned over to them. Since Drebble is only interested in Calrissian, he agrees and the rival gang take Solo and the Wookiee as their prisoners.

Back at Lemo and Sanda's hideout, Han is interrogated in order to discover where the Dancing Goddess statuette – which Lando has, but which, as "Captain Drebble", he had earlier led the gang to believe was in Han's possession – is. Han tells Lemo that Drebble is the one with the statue, after which, most of the gang depart, allowing Solo and Chewie to escape.

Back on board the Falcon, Drebble discovers a holographic message from Mon Mothma reminding all personnel that "Captain Drebble" is to be decorated by the Alliance. Drebble is flattered by the news, but Lemo's gang soon arrive outside the ship to capture Lando, who they believe to be the real "Drebble". Lando convinces Drebble to fake a surrender, but as they exit the Falcon, Han and Chewbacca arrive in the docking bay, triggering a firefight. Lemo's gang are swiftly beaten, while Drebble, who is beginning to enjoy his new role as a Rebel hero, decides to let Han, Lando and Chewbacca go. Before they leave, however, Lando presents Drebble with his "reward", which Lemo and Sanda are shocked to see is the Dancing Goddess!


Comments: Jo Duffy returns to the writer's seat with this issue, which sees a continuation of the loose Alliance of Free Planets story arc and also ties in with some of the pre-Return of the Jedi stories. We also see the return of Lemo and Sanda's gang and Lando Calrissian's arch enemy Drebble, who has gotten credit for all the missions that Lando engaged in while using his name. On the latter point, this issue serves as a nice pay off to that particular sub-plot and it's hilarious to see Lando's plan to get Drebble into trouble backfire so spectacularly.

The events of this issue clearly take place concurrently with the latter half of Star Wars #82 and the forthcoming "Still Active After All These Years" story that will appear in issue #87, since Mon Mothma refers to Luke Skywalker being away on a diplomatic mission. She also mentions that Princess Leia is away and this is a reference to events that we will later see in issue #88.

It's great to have Duffy return to the series after a couple of fill-in issues, bringing her signature snappy dialogue and humour to the comic once more. She also sets up a future storyline, by showing how eager Chewbacca is to visit his family on Kashyyyk, now that the Galactic Civil War is over. Also, I love how Han and Lando try to get the Ewoks into gambling.

It's fun to see Drebble again too, since he's arguably one of the most memorable characters from Marvel's original Star Wars comic. Plus, of course, the ongoing trouble between him and Lando never fails to provide amusement. It's also neat that Lemo and Sanda make another appearance, still searching for the missing Dancing Goddess statuette. I also get a really big kick out of the ending of this issue, in which Lando gives the Dancing Goddess to Drebble, knowing full well that it will bring him plenty of trouble, since Lemo and Sanda will gladly kill for it. The Dancing Goddess and its partner artefact, the Minstrel, will later reappear in Star Wars #99.

Bob McLeod returns on artistic chores, following his high quality work on issue #83. I mentioned in my review of that issue that McLeod was offered the position of regular penciller on the series, taking over from the departing Ron Frenz. Although he initially accepted that position, McLeod didn't last long on the book, due to his dissatisfaction with the division of labour with inker Tom Palmer.

Speaking to a French comics fanzine in 2006, McLeod recalled how he had come to work on the series and some of the reasons why he left so quickly: "After leaving the New Mutants, I asked around for what else was available and I was offered Star Wars after pencilling and inking a fill-in issue (#83). But Tom Palmer was already the regular inker, and he insisted on breakdowns rather than finished pencils. That lowered my page rate substantially, and limited me to mainly doing just the part of the job I thought I was weakest at; the layouts. But I didn't mind, because Palmer is my favorite inker and I wanted to see what he would do with my drawings. I was very happy with the results, and don't remember why I left the series after only a few issues. Another regret."

McLeod's work serves Duffy's script pretty well, with some serviceable sequential art, but there's a stiffness or a lack of movement to some of these panels. Ultimately, it's Palmer's slick, lush and very recognisable inking that dominates and, while it certainly gives the comic a sense of continuity from issue to issue, it does rather swamp McLeod's contribution in this instance. However, McLeod gets to pencil and ink the front cover himself, which is quite nicely composed, but what's up with the weird looking faces on Han and Chewbacca? McLeod's rendering of the latter seems to be a throw back to the vaguely Sasquatch version of Chewbacca that we often saw during Carmine Infantino's tenure on the series. Interestingly, according to the advanced listing for this issue in Marvel Age #12, this story was originally intended to have been pencilled by Frenz, although by this time he was hard at work drawing Amazing Spider-Man.

Overall, this is another fun issue of the Star Wars comic that nicely ties into the events of the pre-Return of the Jedi continuity, while setting up new adventures further down the line. Artistically, it's good, without ever once being spectacular, and, although Duffy's script is rather lightweight, it's enjoyable nonetheless.


Continuity issues: The bounty hunter Bossk is depicted here with orange skin, when it should be green.

Favourite panel:


Favourite quote: "Lando … next time I'm in a jam, and you come up with some kind of clever plan to help me -- don't." – Han Solo sarcastically chides Lando Calrissian about his ability to formulate a successful rescue strategy.

I finished Michelinie's run last night. It was okay, but I really miss Archie Goodwin. I'm not optimistic about Jo Duffy, good writer but I feel her style skews even younger.

Star Wars #89
Cover dated: November 1984
Issue title: I'll See You in the Throne Room!
Script: Ann Nocenti
Artwork: Bret Blevins
Colours: Glynis Wein
Letters: Joe Rosen
Cover art: Bret Blevins
Overall rating: 2 out of 10




Plot summary: Shortly after the Battle of Endor, Luke Skywalker is involved with aiding insurgents on the planet Solay against an Imperial-backed monarchy. As Luke and the freedom fighters storm the palace of King Blackart, Raggold, an old war hero of the campaign, is killed by a blaster shot. Before he dies, the veteran manages to tell Luke that he was slain by a traitor from within their own ranks. A vengeful Luke vows to hunt down the assassin, but Mary, a young and beautiful freedom fighter, calms him, as the pair watch Blackart led away in chains.

Following the insurgent's victory, a period of celebration ensues, during which Luke and Mary become romantically entwined. But the peace is cut short when a mass of Imperial warships suddenly appear in the skies overhead. As laser bolts rain down on the Palace, Mary is cut down and mortally wounded. With her last breath, she asks Luke to hold on to the promise of how things could've been, before dying in his arms. With his new-found lover dead, Luke becomes even more determined to find the traitor who now has the blood of Raggold and Mary on their hands, as well as the peace of an entire world.

While exploring the back streets of Solay, Luke meets a young thief named Scamp, who agrees to aid him with his investigations, while also planning to steal from those who they encounter along the way. With his wealth of underworld knowledge, Scamp reveals that the revolution Luke took part in was a sham and had been orchestrated by an Imperial Governor to overthrow King Blackart, thus allowing the bureaucrat to step in as Solay's ruler. After interrogating a corrupt rebel and Blackart himself, Luke is still no closer to discovering the identity of the traitor and, as a result, begins to feel the dangerous pull of the Dark Side of the Force. Scamp takes the young Jedi to see a local informant named Braxas, who is wanted by the Empire. Braxas reveals that he has video footage of Raggold's death which shows the identity of his assassin, but he wants safe passage off of Solay in return for it. Agreeing to the deal, Luke is given the tape and is shocked to discover that it was Raggold himself who was the traitor and that he had, in fact, committed suicide, rather than live with the guilt of his betrayal.


Comments: Man! This is just a terrible comic! Star Wars #89 is the one and only issue of the series that Ann Nocenti, who was normally the book's editor, wrote and, without wanting to be too unkind to her, that's a good thing. The problems here are many, but chief among them is the out of whack atmosphere of the story; this just doesn't feel like a Star Wars adventure.

"I'll See You in the Throne Room!" is one of those stories set on a planet with a quasi-mediaeval society, which we seem to get from time to time in the series. As a result, this issue reads more like a sword & sorcery or fantasy comic than it does a Star Wars one. Then there's the really, REALLY out of character writing of Luke Skywalker and, in fact, the whole issue is full of awkward, clunky dialogue. The plot also meanders in a somewhat directionless manner at times, with Nocenti at one point showing us the little boy Scamp's abusive home life, which really adds nothing to the main story.

To focus on precisely what's wrong with Nocenti's writing of Luke for a moment, the main thing for me is that his "voice" is all wrong. For instance, the young Jedi's dialogue is sprinkled with random exclamations of "gosh" and he's generally written as much more immature and reckless than he really should be at this point. Luke really isn't the wide-eyed boy from Tatooine with sand in his ears anymore; he's a noble and powerful Jedi Knight. However, that piece of character development seems to have passed Nocenti by.

I think part of the problem is that this is clearly an old inventory story which was most likely written between the release of The Empire Strikes Back and Return of the Jedi. As a result, although it has been slightly retooled as a post-Jedi tale, elements of the pre-Jedi status quo remain, like the creepy moment when, as he gazes longingly at the beautiful freedom fighter Mary, Luke is reminded of Leia – his sister! Clearly, Nocenti or someone else at Marvel hadn't gotten the memo about Luke and Leia having been revealed as siblings in Return of the Jedi.

Luke is also a bit pervy towards Mary on occasion, like in these panels...




Yeah, that really doesn't seem like the Luke Skywalker that I know!

Then there's the scene where Luke seriously considers murdering a corrupt insurgent in cold blood, for no other reason than he's been profiteering during the uprising and doesn't have the information that Luke needs. That really isn't how a Jedi should be acting. Luke also recalls the teachings of Obi-Wan Kenobi and Yoda at one point, recalling the words, "The Dark Side is very powerful, Luke Skywalker" – except that no such quote was ever uttered in the Star Wars films. Given all of this out of character writing, I had to chuckle to myself when Luke at one point thinks to himself, "Listen to me! I'm not myself." Ha! You're telling me!

Another problem is the continuity errors that litter the story, such as the blade of Luke's lightsaber being incorrectly coloured blue instead of green, and it clearly being Luke's original lightsaber, not the new one that he constructed prior to the events of Return of the Jedi. In addition, where the hell does the fleet of Imperial warships that appear over Solay come from? The Empire was vanquished at the end of Jedi and we will learn in issue #90 that, within the Marvel continuity, the Empire surrendered in the wake of the Battle of Endor. So where are all these ships coming from? Sure, in recent issues we've seen small pockets of Imperial resistance that are fighting on in the aftermath of the Empire's collapse, but nothing like the huge armada that the Imperial forces have at their disposal here.

Another continuity problem arises when the old warhorse Raggold claims that it has taken him fifty years of fighting to overthrow the Empire-backed monarchy on Solay. That appears to contradict the events of the prequel movies, in which we see the Empire's rise to prominence taking place approximately 22 years before the events of this comic.

Although there are a lot of problems with this issue, I do like the scenes in which Luke talks with the alien informant Braxas and it's also interesting that, upon seeing Mary killed by the Empire, Luke, like Anakin Skywalker before him, wishes he could use the Force to prevent a person from dying...




I also quite like the artwork of Bret Blevins, who at this point was probably best known for having drawn Marvel's adaptations of The Dark Crystal and Krull. Blevins' layouts are inventive and he works a satisfying level of detail into this comic, but, even though I like the art in and of itself, I still don't think it's a particularly good fit for Star Wars. His style worked well within the fantasy setting of the two film adaptations I just mentioned, but it doesn't work here. That said, I do like Blevins' striking design for King Blackart, although, on the down side, the young lad Scamp really, really looks like a girl.

Placing this issue within Marvel's Star Wars continuity is tricky. It's obviously not happening in the current continuity because, at this point, Luke is off with Plif, Kiro and the Rik Duel gang on a mission for the Alliance of Free Planets. Clearly though, this tale is set soon after Return of the Jedi, but before issue #82, "Diplomacy". I think that the only way to make it fit is to place it between pages 5 and 6 of Star Wars #81. I noted in my review of that issue that clearly some time – possibly weeks – passes between those two pages, so it could've been during that period that Luke went off to Solay to aid the planet's rebels.

Overall, this is not a very good Star Wars comic. It's clearly an old inventory story that has been rewritten to try and shoehorn it into the post-Jedi era, but the scripting is awful, Luke is written very out of character, and there are a number of noticeable continuity goofs. To be honest, I'm not even entirely sure that the basic premise of the story makes all that much sense. On the plus side, the twist at the end, with Raggold being revealed as the traitor and taking his own life, isn't too bad, I suppose, and the artwork is quite nice, although not at all in keeping with the Star Wars aesthetic. But regardless of those few things in its favour, Star Wars #89 is just a poorly executed comic and undoubtedly the worst fill-in issue of the entire series.


Continuity issues:

• The blade of Luke's lightsabre is incorrectly coloured blue instead of green and it's also his original lightsaber, which was lost, not the new one he recently constructed.
• The Imperial fleet was decimated during the Battle of Endor, yet an armarda of Imperial ships is seen over the planet Solay in this issue.
• Raggold claims that he has been fighting the Imperial-backed monarchy on Solay for fifty years, but based on events seen in Star Wars: Episode III – Revenge of the Sith, the Empire has only been in existence for approximately 22 years by this point.

Favourite panel:


Favourite quote: "Yeah, it's funny how much we forgive our fathers for, and still love them." – Luke Skywalker reflects on the parallels between his relationship with his father and the one the young boy Scamp has with his.

Star Wars #91
Cover dated: January 1985
Issue title: Wookiee World
Script: Mary Jo Duffy
Artwork: Tony Salmons (breakdowns)/Tom Palmer (finished art & inks)
Colours: Glynis Wein
Letters: Ken Bruzenak
Cover art: Tony Salmons (pencils)/Tom Palmer (inks)
Overall rating: 6½ out of 10




Plot summary: Chewbacca and Han Solo land on the Wookiee homeworld of Kashyyyk in the Millennium Falcon, accompanied by Lando Calrissian in the Cobra. Excited to finally be reunited with his family, Chewie hurries towards his home, only to find the way blocked by a strange, pale-skinned individual who has Chewie's brother-in-law, Vargi, backing him up. Introducing himself as "Knife" – a nickname that the Wookiees have given him, due to their inability to pronounce his real name – the pale-skinned humanoid menacingly suggests that they all go to Chewbacca's home for refreshments.

Upon arriving at the treetop dwelling, Chewbacca finds that his family are not at home, so the group enter and wait. As Han and Lando discuss their suspicions about Knife, Chewie's son, Lumpy, enters the house, along with three desperate looking Wookiees who hold the child at blasterpoint, while also training their weapons on Han, Lando and Chewbacca. Knife explains that he is holding Chewie's family hostage, as a means of ensuring his compliance in his scheme to re-establish the slave trade on Kashyyyk, which had recently collapsed in the wake of the Empire's defeat. Assuming that Knife is working for the remains of the Empire, Han tells the alien that the Alliance had assumed their might still be Imperial strongholds at large on some worlds, but the pale-skinned warrior reveals that he isn't in the employ of the Empire and hints at a much more powerful organisation backing him.

As Chewbacca is paraded through the streets to demoralise the other Wookiees and end their resistance to the slave trade, Han and Lando escape from the cell that they have been put in. As Lando heads for the Cobra to send a distress signal to the Alliance and grab as many blasters as he can, Han sneaks up to the slaver's transport ship and frees Chewbacca from his shackles. Unfortunately, he is caught in the act by Vargi, who viciously beats Chewbacca as a punishment for Han's actions, while the Corellian is held at gunpoint. Watching his friend being mercilessly beaten is more than Han can take and he angrily lashes out at Vargi, but is brutally pummelled by the much stronger Wookiee. Han's actions inspire Chewbacca and a number of other Wookiee slaves to break their bonds and wrestle with their captors. Seeing that things are beginning to fall apart, Knife takes aim at Chewbacca with a throwing dagger, but the weapon is shot from his hand by Lando, who appears with Chewie's wife, father and child in tow. At this, Chewbacca gives full vent to his rage and knocks Vargi unconscious with one punch. As the Wookiees celebrate the overthrow of the slavers, Knife manages to slip away, stealing Lando's ship and escaping from the planet.


Comments: Star Wars #91 sees us return to the Wookiee home planet of Kashyyyk (misspelt here as "Kazhyyyk"), which was first seen in the infamous Star Wars Holiday Special, back in 1978. The Holiday Special was also where we first met Chewbacca's wife, Malla (misspelt here as "Mala"), his son, Lumpy, and his father, Itchy – all of whom appear in this comic. This isn't the first time that the Marvel Star Wars comics have shown us the Wookiee world though, since we glimpsed it during a flashback sequence in Star Wars Weekly #95 from late 1979. Russ Manning also used the planet in his Star Wars newspaper strip in 1979. However, this is the first time that we've seen Kashyyyk after the fall of the Empire.

Although readers of the series wouldn't have known it at the time, this is quite a significant comic because it represents the start of a long build up towards the Nagai invasion (and, by extension, the Nagai–Tof War), which will begin in earnest with issue #97. I guess that you could justifiably point to issue #88 and the first appearance of Lumiya as the start of the lead up to the Nagai invasion, but since this issue gives us our first look at a Nagai warrior, in the shape of Knife, I usually regard this as the start of it all.

Knife himself sort of looks like a paler, skinnier version of Frankenstein's Monster or maybe the Marvel supervillain Tombstone. Writer Jo Duffy has mentioned in various interviews that his appearance was very much influenced by Japanese manga and anime, which she was a huge fan of. Personally, I'm not sure that I can see all that much of a manga influence in Knife's design, but judge for yourself...




With Knife's first appearance, we are purposely told very little about the character and only handed a few clues as to his origin and true purpose. At one point, Han Solo notes that, although he's been from one side of the galaxy to the other, he's never before seen the particular species that Knife is. The pale-skinned warrior also lets slip that he isn't working for the Empire, as Han suspects, but another, supposedly more powerful group. These little titbits will all tie-in with future issues, where we will learn that Knife is from a warlike race called the Nagai, who come from outside of the Star Wars galaxy. At this point, however, readers are just left with a lot of questions.

This is a decent and satisfyingly structured story, which puts Chewbacca firmly in the spotlight, by placing his family in peril. It features all the usual good characterisation of the main Star Wars cast that we've come to expect from Duffy, but, while the basic story is a compelling one, there's quite a lot left unexplained. For instance, just how did Knife single-handedly set up a slaving operation, among a population of some of the galaxy's strongest and most ferocious beings? Then there's the question of why Wookiees would turn on other Wookiees and sell them into slavery? Finally, what repercussions will there be for those Wookiees who worked for Knife, such as Chewie's brother-in-law, Vargi? Unfortunately, Duffy doesn't give us any answers to these questions, which sort of makes the story feel a bit incomplete or two-dimensional.

In terms of the artwork, this is Tony Salmons's one and only contribution to the series. I like his story telling abilities quite a bit, and interestingly, there are noticeably more panels than usual without dialogue in this issue. As a result, in terms of moving the narrative forward, the artwork has to do more of the heavy lifting than usual. However, Tom Palmer's inking is quite uneven in places. It looks fantastic on some pages and rushed on others, giving a decidedly mediocre feel to the comic as a whole. This is unusual for Palmer and, I should add that, even when the work is not his best, his fluid and easily identifiable inks give the art here a sense of uniformity or continuity with the preceding McLeod pencilled issues.

Overall, this is a good, entertaining issue, with some serviceable artwork, even if it's not quite up to Palmer's usual high standard. As previously noted, it's an important issue within the context of Marvel's Star Wars series for featuring the first appearance of the Nagai, who will go on to become major villains in the series.

As a side note, on the letters page of this issue and again in #93, editor Ann Nocenti says that the old antagonist Domina Tagge (who last appeared in issue #50) will be making a return to the book in an upcoming storyline. However, Domina doesn't appear in any of the sixteen remaining issues of Star Wars, which could mean one of three things: 1) Nocenti was mistaken, 2) Domina was ultimately replaced by another antagonist in one of Duffy's scripts, or 3) Duffy hadn't gotten around to re-introducing the Tagge sister when the series ended.


Continuity issues:

• The planet Kashyyyk is misspelled as Kazhyyyk.
• Chewbacca's wife Malla has her name misspelled as Mala.

Favourite panel:


Favourite quote: "The Empire? Do you truly believe I represent that pathetic little outfit?" – Knife dismisses Han Solo's assumption that he is affiliated with the remains of the Imperial forces.