The Lucas Museum of Narrative Arts at SDCC

(L-R) Queen Latifah, George Lucas, Guillermo del Toro, and Doug Chiang seen at the Lucas Museum of Narrative Art panel at Comic-Con International 2025 at San Diego Convention Center on July 27, 2025, in San Diego, California. (Photo by Eric Charbonneau / Lucas Museum of Narrative Art via Getty Images)
 

I'm sorry I missed this panel, but I received an invitation to interview some great folks from Hollywood. Doing that, and attending their panel, took up most of my final day at San Diego Comic-Con. But that's the great thing about SDCC: there's always so much to do! Here's all the info from today's panel on the Lucas Museum of Narrative Art:

 

 

 

Today at Comic-Con International in San Diego, California, George Lucas offered an exclusive look at and new details about the highly anticipated Lucas Museum of Narrative Art, set to open in 2026 in Los Angeles. Joined onstage in Hall H by Oscar-winning filmmaker Guillermo del Toro and legendary artist and production designer Doug Chiang, and moderated by iconic artist, actress, and producer Queen Latifah, the panel marked one of the most talked about and widely attended sessions in Comic-Con history, drawing over 6,000 on the final day of the convention. 

Co-founded by George Lucas and Mellody Hobson, the Lucas Museum of Narrative Art will be the world’s first institution dedicated to the exploration of narrative art, celebrating illustrated storytelling across eras and cultures, from ancient cave drawings and children’s book illustrations to comic books and digital media.  

Opening the panel, Lucas shared his passion for collecting narrative art over five decades: “Society cannot exist without a common belief system. And that’s where illustration is vital to show you what that means in everyday life,” Lucas stated, emphasizing how the museum “is a temple to the people’s art.”  

 

 

Del Toro, a Lucas Museum board member and celebrated champion of visual storytelling, spoke to the emotional depth and social power of narrative art. "Imagine if we only had classical music, and rock-n-roll was never created? This is rock-n-roll and rock-n-roll needs to be enshrined,” del Toro said, drawing parallels between the museum’s eclectic collection and the panel’s genre-defying filmography.  

 

 

Doug Chiang, Lucasfilm’s Senior Vice President and Executive Design Director, provided a fascinating testament to the importance of exposing young people to comic art and illustration. Said Chiang, “Comic art and magazine illustration were kind of looked down upon...but it was a way for me to enjoy art, and it invited me to learn more about art. And what I love about what George and Mellody are doing with this museum is they are acknowledging and giving respect to artists who really haven’t been highlighted before.” 

 

 

Moderator Queen Latifah expertly navigated the discussion, and brought humor, insight, and personal reflection to the panel. With a deep appreciation for comics and visual culture, she linked the panelists' creative journeys to the emotional power of storytelling: “The connection that I hear in our various conversations is emotion—an emotional connection that the art evokes from you. That's one of the most important things to never forget. I think when people step into this museum, they will be emotionally affected by it.” 

During the panel, Latifah also mentioned some of the other art in the collection, including the first-ever Flash Gordon comic strip, an original splash page from Black Panther (1968), and original Peanuts strips from the 1950s and ’60s, among many others. 

 

 

The panel concluded with a standing ovation, a testament to the audiences' anticipation for this first-of-its-kind cultural institution.  

In advance of the museum’s launch, the public are encouraged to sign up to be the first to hear about exclusive opportunities with the Lucas Museum at lucasmuseum.org/join-us.  

 

About the Lucas Museum  

The Lucas Museum of Narrative Art believes illustrated stories connect us and reflect the shared beliefs that create community. Co-founded by George Lucas and Mellody Hobson and set to open in Los Angeles in 2026, the museum has a collection with rich holdings of works by illustrators including Norman Rockwell, Jessie Willcox Smith, Kadir Nelson, Beatrix Potter, Maxfield Parrish, and N. C. Wyeth; comic artists including Winsor McCay, Frank Frazetta, George Herriman, Jack Kirby, Chris Ware, Alison Bechdel, and R. Crumb; and much more. Additionally, the museum is the holder of the Lucas Archive, which includes props, models, concept art, costumes, and more, that span the full extent of Lucas’s filmmaking.  

The building is designed by renowned architect Ma Yansong of MAD with assistance from US-based architecture firm Stantec. It sits in Los Angeles's Exposition Park on an 11-acre campus that includes expansive new green space designed by Mia Lehrer of Studio-MLA. The 300,000-square-foot structure will feature galleries, two theaters, a retail store, a library, a café, a restaurant, as well as event spaces. lucasmuseum.org  

 

For more, see my previous post: George Lucas introduces his Museum of Narrative Art at SDCC

 

Thanks to Lucas Museum Press for sharing this announcement with us. 

 

 

 

 

 

George Lucas introduces his Museum of Narrative Art at SDCC

 

After I saw Star Wars in the theater in 1977, everything was different. It changed the course of my life. His movie introduced me to comics. Now, George Lucas is charting a new chapter of his life by opening a museum celebrating the power of art. Here's all the info:   Comic-Con® International Welcomes George Lucas, Guillermo del Toro, and Doug Chiang for a Conversation Moderated by Queen Latifah

Panel Explores the Power of Illustrated Storytelling and Offers Sneak Peek of the Lucas Museum of Narrative Art

Legendary filmmaker George Lucas to make Comic-Con International appearance alongside Academy Award-winning director Guillermo del Toro and Academy Award-winning artist Doug Chiang on Sunday, July 27, in Hall H. The panel, titled Sneak Peek of the Lucas Museum of Narrative Art, will be moderated by Queen Latifah, the Grammy-, Emmy-, and Golden Globe-winning and Academy Award-nominated artist and longtime fan of fantasy and pop culture. The panel of iconic creators will discuss the power of illustrated stories and the role of narrative art in society. From ancient cave drawings and hieroglyphics to paintings, murals, illustrations, comics, digital media, and sculptures, this panel will delve into the universal language of illustrated storytelling. David Glanzer, Chief Communications and Strategy Officer of Comic-Con, said: “We are beyond thrilled to welcome George Lucas to Comic-Con for the very first time. Nearly five decades ago, Star Wars made one of its earliest public appearances at our convention, along with a booth featuring Howard Chaykin’s now legendary Star Wars poster as a promotional item. Now, to have Mr. Lucas return—this time to debut the Lucas Museum of Narrative Art—is a true full-circle moment. His lifelong dedication to visual storytelling and world-building resonates deeply with us and our community, and the museum’s mission to celebrate narrative art in all its forms perfectly reflects what Comic-Con has championed from the very beginning." Panelists George Lucas As co-founder of the Lucas Museum of Narrative Art, George Lucas brings more than six decades of storytelling, collecting, and cultural influence to the panel. Lucas’s devotion to timeless storytelling and cutting-edge innovation has resulted in some of the most successful and beloved films of all time. In addition to his innovative work as a filmmaker, Lucas has assembled one of the world’s most significant collections of narrative art, from original comic book panels and magazine and book illustrations to paintings, photography, and cinematic artifacts. The museum embodies his long-standing mission to explore how visual storytelling connects people, shapes culture, and captures the human experience.       Guillermo del Toro Guillermo del Toro is among the most creative and visionary artists of his generation, whose distinctive style is showcased through his work as a filmmaker, screenwriter, producer, and author. Renowned for his blend of dark fantasy and visually rich narratives, Guillermo del Toro is the Oscar-winning director behind Pan’s Labyrinth, The Shape of Water, and Pinocchio. A passionate collector of monster memorabilia, rare books, and macabre illustration, del Toro shares Lucas’s dedication to preserving the stories that shape us. He also serves on the Lucas Museum’s Board of Directors.        Doug Chiang An Academy Award-winning artist, author, and production designer, Doug Chiang has shaped the iconic look and feel of the Star Wars universe for decades. In 1995, George Lucas personally selected Chiang to lead the art department of the Star Wars prequel films, and Chiang’s visionary concepts and production designs have been instrumental in crafting worlds, characters, and vehicles across films, theme parks, games, and live-action series. His ability to turn narrative into visual language has shaped how audiences experience modern mythologies. Moderator Queen Latifah Bringing charisma, cultural insight, and personal passion to the moderator’s seat, Queen Latifah shares a belief in the power of stories to unite and inspire. Her deep appreciation for storytelling ensures a vibrant and insightful discussion. Queen Latifah is a Grammy-, Emmy-, and Golden Globe-winning musician, critically acclaimed television and Oscar-nominated film actress, producer, record label president, author, and entrepreneur. Most recently, she executive produced and starred in the CBS hit series The Equalizer. She received an Academy Award nomination for Best Supporting Actress, a Golden Globe Award nomination, and a Screen Actors Guild (SAG) Award nomination for her portrayal of Mama Morton in the feature musical Chicago. Additional films include Jungle Fever, Set It Off, Living Out Loud, Bringing Down the House, The Secret Life of Bees, Hairspray, Mad Money, Just Wright, Joyful Noise, The Last Holiday, and Beauty Shop. Recognition for Queen Latifah’s recording artistry includes six Grammy Award nominations, as well as a win for Best Solo Rap Performance in 1994.      About the Lucas Museum of Narrative Art Opening in 2026, the Lucas Museum of Narrative Art is a first-of-its-kind institution dedicated to illustrated storytelling across time, cultures, and media. Co-founded by George Lucas and Mellody Hobson, the museum’s collection features works by artists including Norman Rockwell, Kadir Nelson, Jessie Willcox Smith, N. C. Wyeth, Beatrix Potter, Judy Baca, Frida Kahlo, and Maxfield Parrish; as well as comic art legends such as Winsor McCay, Jack Kirby, Frank Frazetta, Alison Bechdel, Chris Ware, and R. Crumb; and photographers Gordon Parks, Henri Cartier-Bresson, and Dorothea Lange. The museum also houses the Lucas Archive, containing models, props, concept art, and costumes from Lucas’s filmmaking career.

Designed by Ma Yansong of MAD with a landscape by Mia Lehrer of Studio-MLA and Stantec as executive architect, the museum will be located in Exposition Park, Los Angeles, on an 11-acre campus that includes new green space and a 300,000-square-foot building with galleries, two theaters, a library, restaurant, café, retail store, and community spaces.

Stay Connected

In advance of the museum’s opening, the public is encouraged to sign up for exclusive news and access at lucasmuseum.org and follow the museum on Instagram, Facebook, and X. 

 

Thanks to the Lucas Museum of Narrative Art for sharing this announcement with us. 

Amazing Spider-Man #49 Review

 

Writer: Zeb Wells

Penciler: John Romita Jr

Inker: Scott Hanna

Colorist: Marcio Menyz

Letterer: Joe Caramagna

Cover Artists: John Romita Jr, Scott Hanna & Marcio Menyz; Giada Perissinotto; Chris Samnee & Romulo Fajardo Jr; Lucas Werneck

Publisher: Marvel

Price: $4.99

Release Date: May 8, 2024

 

Peter Parker strives to be a friendly neighborhood Spider-Man. But when energy from another dimension blots out the sun, vampires fill the streets, fly through the air, and convert citizens to their evil ways. Peter prevented the Monster Metropolis from overtaking Murray Hill. He stopped Madame Masque from winning the Gang War. How will he tackle an undead invasion of New York City? Let’s grab some garlic, thwip into Amazing Spider-Man #49, and find out!

 

Story

Twilight strikes without warning and lingers into the day. So, Peter Parker takes advantage of his flex time at Oscorp to battle the bloodsuckers. Unlike the Gang War, Blood Hunt struck without warning. Peter didn’t have time to assemble a team. Perhaps his Spiderific buddy Miles could help, but he has his neighborhood to protect. Even the Avengers are MIA. If only Spider-Man had Anita Blake on speed dial.

 

Still, Peter prefers to help people than hunt them. When a mysterious caller asks for help, Spidey thwips off, only to get asked to put down a vampire. Zeb Wells brings the killers out to play in Amazing Spider-Man #49, from the vampire invaders to those who turn to Tombstone's hired help. Oh, and did I mention the person Kareem wants Spider-Man to kill? It's the Stabbity Bunny herself, White Rabbit!

 

The ethical morass Spidey sinks into grows clear as day when Spidey has an interview with a vampire. Spider-Man realizes he’s fighting a war in which how much good you accomplish is defined by tallying acceptable losses. If only Shay Marken could guide Peter out of this quip-free quagmire. But these are strange days when the criminal inmates at Ravencroft are safer than the law-abiding citizens going to work or visiting their local bodega.

 

 

 

With Amazing Spider-Man #49, Zeb Wells segues from his stories about insane supervillains and former superheroes who want counseling to tackle the plight of everyday monsters. What is the best way to punish those compelled to hurt others? Do they lack willpower or suffer from mental illness? Is it right to kill people because they can't defy their hurtful cravings? Is it ultimately a kindness to kill people to prevent them from hurting others and to save them from wrestling with traumatic memories of their actions?

 

The cowboys with a hankerin’ for Pace Thick and Chunky might not ponder such rascally questions. But the red sauce in New York City is precious to Spider-Man, and he won't readily spill a drop of it. Besides, how could Peter forget those he hurt when Kraven infected him with Norman Osborn’s sins? Did Peter have no say whatever in becoming the Black Goblin?

 

 

 

Art

Kareem kicks down the front door, walks through the empty shop, and ascends a darkened staircase. Blood drips from White Rabbit's mouth while a silhouette stands behind her, regarding him with glowing eyes. Is it fate that a gun scope tattoo adorns Kareem’s head?

 

Fires no longer rage thanks to the Gang War. Still, the dark streets of New York glow the same yellow and orange. Stalled cars fill the streets, their blazing headlights illuminating the panicked pedestrians and the vampires swooping down to nab their prey. The Darkforce energy scrubs buildings of details. The webbing on Spider-Man’s suit also fades in and out. When he began his career with a less detailed costume, Peter grappled with ethical issues. Now, Peter is just as perplexed with how to tackle the recently turned.

 

 

 

In Amazing Spider-Man #49, Peter doesn’t join Kareem on the street. John Romita Jr and Scott Hanna let him linger on a signpost, gazing down at the gangster. Marcio Menyz imbues interiors with a gray cast as Spidey and Gun Scope Head hunt White Rabbit. Yet blue tinges the air to reveal a man with gray skin when Peter hunts her vampire master. If Tombstone isn’t in this story, why does everything and everyone remind me of the gang lord who took Peter's friend Randy under his wing?

 

Joe Caramagna thwips uppercase black lettering into white dialogue balloons and narrative boxes with red borders in Amazing Spider-Man #49. The font grows bold for inflection, swells for increased volume, and rarely shrinks. Spine-tingling hisses prompt immense letters to burst from balloons while the sound of metal clanging against metal strikes harder than an explosive scream.

 

Thanks to Marvel for providing a copy for review.

 

 

 

Final Thoughts

Spider-Man revels in an angst-free dustup until a killer convinces him to save the gangland lieutenant of his best friend's ex from a life hiding in the shadows in Amazing Spider-Man #49.

 

Rating 9.2/10

 

To preview interior art see my review at Comic Book Dispatch.

Screen Superstar Tells Star Wars: The Full Story

The other day, while perusing a comic book store, I noticed this magazine, published in 1977. 

Measuring a magnificent 9" x 12', this extra-large special edition of Screen Superstar, titled "Star Wars: The Full Story," sported numerous photographs from the movie, some of them two-page spreads.

Despite the promise on the cover, it wasn't packed with full-color photographs. But it offered lots of black-and-white photos, which had been developed using different colors. 

I thought this effect added drama and interest to the movie stills. Don't you?

Having read The Making of Star Wars by J. W. Rinzler, a coffee table-sized book offering a wealth of information on Lucas' first installment in the series, I didn't expect to learn anything new about my all-time favorite movie. But I thought it might be fun to revisit reports from Sci-fi entertainment writers back in the day, and compare them with the officially approved version released from Lucasfilm thirty years later. There was the expected, such as a spotlight focused far more intensely on the contribution of John Dykstra to the special effects team than later official versions would credit him with. And then there was the unexpected. One special effects worker, who was not named, actually describes the process of filming model spacecrafts as boring. Try to find a statement like that in an official publication from Lucasfilm!

Additionally, I enjoyed experiencing the passion of the writers and the editorial staff who had put this special magazine together. The writers argued that Star Wars built upon the literary foundations of modern Science Fiction, such as Isaac Asimov's Foundation Trilogy and Frank Herbert's novel Dune, and finally delivered on the potential that previous movies--even great ones, like "2001: A Space Odyssey" and "Forbidden Planet" had failed to capture. 

Well, I won't argue with that.

Oh, and I loved the artwork. Gorgeous two-page spreads, made by passionate fans of the movie in the year of its release, before Star Wars-inspired art became something we all took for granted.

Great stuff, right?

In those early days, news about George Lucas was even harder to come by than the facts behind the production. As everyone loved the new movie, the news media fought over any available scraps of information on the reclusive writer/director. The magazine reports that after the revenue from "Star Wars" started rolling in, Lucas purchased "a $500,000 Lear jet, the interior of which he redecorated to match the interior of Solo's Millennium Falcon." It probably didn't happen, but what a lovely story.

Just like my all-time favorite movie. 

Dragon Dave

P.S. Find your own copy of Screen Superstar's "Star Wars: The Full Story" at amazon.com, on ebay, and wherever else good Star Wars books, magazines, and other necessities of life are sold. And yes, in case you're wondering, that includes comic book stores.

Related Dragon Cache entries
Jeremiah & George Lucas: Part 1
A Vintage Star Wars Interview
The Power of Star Wars: Part 1

Jeremiah & George Lucas: Part 2

According to The Making of Star Wars by J. W. Rinzler, in earlier scripts George Lucas had introduced an elderly man, a "wizard on the side of the road, whom the hero meets on his journey. In exchange for his teachings, the old man requests payment in the form of food, which recalls [asian filmmaker Akira] Kurosawa's seven samurai who are paid with rice by farmers to protect their village." That character would go on to become Obi-Wan Kenobi, or Old Ben, as Luke Skywalker initially knows him. Might Obi-Wan, the desert hermit, who claims to have once been a Jedi Knight, share important qualities with Jewish prophet Jeremiah? 

Filmmaker George Lucas stands with actor Mark Hamill,
who portrayed the character of Luke Skywalker in "Star Wars."

In "Star Wars," the droids R2-D2 and C-3PO escape capture by Imperial forces, and flee to the desert planet Tatooine. There they meet Luke Skywalker, a young moisture farmer who dreams of being a space pilot and doing something really important and exciting with his life. Unbeknownst to him, R2-D2 is carrying plans for the Death Star, a moon-sized space station, with enough firepower to destroy an entire planet. R2-D2 want to get these plans to the Rebellion, in the hopes that a flaw or weakness can be found, and the Rebellion can use that to destroy the Death Star. And he knows just who can help him: Obi-Wan Kenobi, a former Jedi Knight, who now resides on Tatooine. So after Luke's uncle Owen buys the droids, R2-D2 suggests that he is really the property of Obi-Wan Kenobi, and he's carrying a private message just for him.

The thing is, Luke doesn't know any Obi-Wan Kenobi. He does know someone he calls Old Ben, a strange hermit who lives out by the Dune Sea. Luke refers the matter to his uncle, who dismisses the matter: Ben Kenobi isn't important, he's just a crazy old man. In any case, the message R2-D2 is carrying can't be that important: what really matters is that Luke gets those droids ready to work on the farm, so the family can reap a good harvest this season.

R2-D2 takes matters into his own proverbial hands, and sneaks out of the farm in search of this disparaged old man, in the hopes that he is the retired Jedi Knight. Luke and C-3PO find R2-D2, but are attacked by a local tribe called Sand People, and who should rescue them but old Ben Kenobi. When Luke tells the hermit about the message, Ben admits that he is Obi-Wan, and that he was once a Jedi Knight, an elite group of warrior-priests who selflessly fought for others, and always strived to retain order in the galaxy. Yet when Obi-Wan tells Luke that his father was also a Jedi Knight, Luke disregards the old man's claim. When they listen to the message, and learn the necessity of getting the Death Star plans to the Rebellion, Luke, who dreams of doing something important and exciting, refuses to get involved. Only after he realizes that Imperial soldiers are after the droids, and then rushes home--too late--to find that his aunt and uncle have been killed, does Luke acknowledge the veracity of Obi-Wan's advice, and vow to accompany him on his journey. 

When Chancelor Palpatine destroyed the Jedi Knights, and transformed the Galactic Republic into an Empire, Obi-Wan fled to the remote planet Tatooine, where he was forced to live as a hermit and change his name. Now, when events warrant his return, and the Emperor's new space station threatens to destroy any planet whose citizens show the slightest disloyalty, he realizes the time has come for his return. But he needs help, a companion to help him get R2-D2's plans to the Rebellion. He also needs a disciple, whom he can teach to become the first of a new group of Jedi Knights. So Obi-Wan sheds the mantle of secrecy that has protected him for decades, takes Luke into his confidence, and asks Luke to accompany him on this journey. Perhaps Luke might also consider becoming his disciple, and help him restart the Jedi order. And how does Luke--this young man who dreams of adventure, and doing something important with his life--respond to the truths Obi-Wan reveals, and this great offer to perform the ultimate good for the citizens of the galaxy? 

Does Obi-Wan's situation remind you of Jeremiah, or for that matter, the plight of any of the Jewish prophets? Or do I need to remind you how Han Solo, the independent space trader whom Obi-Wan and Luke meet later in their journey, continually disparages Obi-Wan, and tries to get Luke to see how crazy and unrealistic the old man is?

Dragon Dave

Jeremiah & George Lucas: Part 1

Joseph Campbell had a great dream. He yearned to study all the great literature of the ancients, those stories that had been passed down throughout the centuries, both in oral and written forms, and not lost to history. He compared all these great stories that he read, and created the philosophy of the Monomyth, or The Hero's Journey. He not only preached this philosophy to others, but he wrote about it in books such as The Hero with a Thousand Faces.

Filmmaker George Lucas & actor Mark Hamill,
who played his character Luke Skywalker,
on the cover of J. W. Rinzler's authoritative book,
The Making of Star Wars.

In the 1970s, a young filmmaker named George Lucas was writing a screenplay. He wanted to make a science fantasy to honor the epic sagas he grew up with, like Alex Raymond's Flash Gordon comic strip, and Edgar Rice Burroughs' John Carter of Mars novels. Plot wasn't that important to Lucas; what mattered was that he got the characters right. In The Making of Star Wars, author J. W. Rinzler provides an insight into Lucas' approach to writing his screenplay. 

"I spent about a year reading lots of fairy tales--and that's when it starts to move away from [asian filmmaker Akira] Kurosawa and toward Joe Campbell," Lucas says. "About the time I was doing the third draft I read The Hero with a Thousand Faces, and I started to realize I was following those rules unconsciously. So I said, "I'll make [my story] fit more into that classic mold."

A photo of Lucas' character
Luke Skywalker adorns the bottom of
Joseph Campbell's book.

Lucas went on to do just that, refining his characters and story to best embody the archetypes and structure Campbell felt crucial to his Monomyth. Needless to say, his film became one of the most successful and influential films in history. "Star Wars" has seeped into our culture, and characters like Luke Skywalker are household words around the world. So, assuming you're familiar with the film, the question becomes, if Jeremiah represents some crucial aspect of The Hero's Journey, which character in "Star Wars" might best embody the prophet Jeremiah?

Who do you think might best fulfill that role?

Dragon Dave

Boba Fett & Enlightenment: Part 1

In "The Empire Strikes Back," George Lucas introduced us to Boba Fett.  While many (including some of those who made the second Star Wars film) saw the bounty hunter as evil, he performed a useful and necessary job.  The smuggler Han Solo owed Jabba The Hutt a lot of money.  Han had defaulted on his loan, and even after Jabba granted him an extension, Han still didn't repay him.  So Jabba wrote up an arrest warrant.  Like U.S. Marshal Gerard in "The Fugitive," (a movie Harrison Ford would later star in, after bidding farewell to his character of Han Solo), it wasn't Boba Fett's job to weigh the pros and cons of the situation.  He wasn't a judge or jury.  He simply served as the arresting officer in a sector of the galaxy overlooked by the Empire, and hence run by the Hutts.

Oh, and he had really cool armor, with all kinds of interesting weapons. His striking appearance made me wonder what kind of adventures he might have had, aside from that in the movie.

Last year, in "Preparing For Santa's Arrival," I told you how much I enjoyed The Mandalorian Armor, the first novel in K. W. Jeter's Boba Fett trilogy.  Unlike his rivals, Boba Fett never captures his prey, and then tries to sell him to a higher bidder.  Neither will he ever free a captive if the person offers him more money than the bounty he contracted for.

While he has previously operated independently, a curious thing happens when he join the Bounty Hunters Guild.  Boba Fett becomes the fulcrum of all the discontent and envy between the group's members.  Because he's such a capable person, those who would overthrow the current leadership curry favor with him.  They propose alliances to him, each one suggesting that, after a coup, Fett can help him rule the guild.  Simply by being there, Boba Fett disrupts all the checks and balances that previously prevented the members from acting on their greed and hatred.  At the slightest suggestion of his potential support, each turns upon the other.  In the process, the bounty hunters end up destroying the guild that has helped them to survive.

It's an interesting reminder of how, when we look at others to complete us, we often overlook the glaring faults in our own character.  More on this thought--and the remaining books in the Boba Fett trilogy--tomorrow.

Dragon Dave

Related Dragon Cache entries
Preparing For Santa's Arrival