Star Wars: Return of the Jedi—Ewoks #1 Review

 

Writer: Alyssa Wong

Artists: Lee Garbett & Java Tartaglia; Paulina Ganucheau; Kyle Hotz & Rachelle Rosenberg; Caspar Wijngaard

Letterer: Joe Caramagna

Cover Artists: Ryan Brown; Lee Garbett & Laura Martin; Peach Momoko; Chrissie Zullo; Kyle Hotz & Rachelle Rosenberg

Publisher: Marvel

Price: $4.99

Release Date: April 12, 2023

 

C-3PO and R2-D2 told the Ewoks stories about Han Solo, Princess Leia, and Luke Skywalker in Return of the Jedi. These stories helped the Ewoks understand their guests and invite them into their tribe. What stories might the Ewoks tell each other to entertain their young and strengthen their sense of community? Let's climb into their village among the trees with Star Wars: Return of the Jedi—Ewoks #1 and find out!

 

Campfire Sequence I

In Alyssa Wong's framing story, the Ewoks gather around a communal fire. Their shaman Logray, wearing a bird skull on his head, raises his bone-topped spear and looks at the infants sitting together. These younglings, known as woklings, have yet to receive their hoods. So the first story of the evening is known as the Woklings’ Tale.

 

Artists Lee Garbett & Java Tartaglia evoke the appeal of the Ewoks' tree village in this prelude story. As Endor's blue sky darkens, torches and fires cast a warm yellow glow among the trees. The Ewoks wobble along their rope-and-board bridges, and a parent picks up a wokling when it stumbles. While Wong doesn't translate the Ewoks' speech or suggest music throughout this issue, letterer Joe Caramagna helps us hear the bonfire with a sound effect.

 

 

 

 

Wokling’s Tale

One morning, parents watch as a wokling leaves home to play. They envision members of a malicious green species abducting her. The youngling meets a horned pony. She shares the snacks she packed, and the friends explore the forest. When they meet a green youngling, she greets the wokling and the pony warmly. Could it be that not all Greenies are as despicable as Greedo?

 

While Wong’s first story in Star Wars: Return of the Jedi—Ewoks #1 suggests My Little Pony, artist Paulina Ganucheau’s children's book style reminds me of Dr. Seuss. Sunshine filters through the trees as the youngling packs her snacks in a basket and pulls the strap over her shoulder. The wokling’s parents imagine Grinches menacing their child with wooden clubs. Faces and movements express thoughts and emotions in the Woklings’ Tale. Inset panels reveal the Ewoks' reactions as the leader relates a story intended for those whose hearts are not three sizes too small.

 

Campfire Sequence II

Another Ewok arises. His movements suggest that his story will differ from Logray's, but he must tell it. This Ewok, Paploo, aided Han Solo and the rebels by stealing a speeder bike. His inspired action caused Imperial troopers to leap on their speeder bikes in pursuit, which helped the strike team enter the generator building in Return of the Jedi. 

 

 

 

 

Paploo’s Tale

The shaman portrayed the forest as a safe and happy realm. As a scout, Paploo knows its dangers. In Star Wars: Return of the Jedi—Ewoks #1, he shares a tale inspired by his experience. Paploo wanders through plants and trees. He's always on his guard. Suddenly, a monster appeared. It growled through enormous fangs. Claws--as large as an Ewok hut--grasped at him. It pursued him through the forest!

 

Artist Kyle Hotz portrays this story in stunning Black & White. His style reminds me of a nightmare journey through Tolkien's sickened Mirkwood and the enormous beasts in Kong: Skull Island. Whether or not colorist Rachelle Rosenberg enhances Hotz's inking with shades of gray to give it incredible depth and mood, she helps Paploo stand out by making his hood vibrant red. More red seeps into the haunting Black & White panels as this story races to its conclusion. This allusion to Red Riding Hood reminds us that Grimm's Fairy Tales were more horrific than their Disney adaptations, and children often delight in being scared.

 

 

Campfire Sequence III

Logray's reaction to Paploo’s story demonstrates his concern that his tribe never displease the forest spirits. The way artists Lee Garbett & Java Tartaglia introduce the evening's final tale suggests the magic woven by powerful storytellers.

 

 

 

 

Peekpa’s Tale

Remember how the Ewoks strung rope between trees in Return of the Jedi? The Ewok Peekpa separates an Imperial from his speeder bike in this third tale in Star Wars: Return of the Jedi—Ewoks #1. Afterward, the Ewok gathers parts from the wreckage and clubs the injured rider. Aided by her friends, Peekpa uses these parts to construct something with which she will pursue her dreams.

 

Artist Caspar Wijngaard fills panels with childlike drawings and soft colors that convey speed, the fury of fire and explosions, and the majesty of the surrounding trees. Silhouettes enhance action while downplaying violence. Throughout, Peekpa remains a wide-eyed innocent, amazed by everything around her, and anxious for discovery.

 

Joe Caramagna helps us hear the racing speeder bike, the snap of the rope, the consequent explosion, and much more in a story that celebrates the power of wonder, invention, and discovery.

 

Campfire Sequence III

A youngling tries to sleep in the last two pages of Star Wars: Return of the Jedi—Ewoks #1. When she cannot, she climbs from her hammock. A few simple items—from the Wokling’s Tale and Return of the Jedi--help her confront the terror Paploo’s tale instilled and ease her mind. 

 

 

 

 

Final Thoughts

Silent five-minute reads like this make rereads effortless and fun. I found Hotz and Rosenberg's black, white, and red panels rich in detail and nuance. Peekpa reminded me of Luke Skywalker and Saru in Star Trek Discovery. Aspects of Paploo and Peekpa's tales reminded me of Alan Dean Foster's novel Splinter Of The Mind's Eye. You'll likely find other joys and associations as you savor this all-ages special.

 

Star Wars: Return of the Jedi—Ewoks #1 reminds us that the inhabitants of Endor were much more than teddy bears with spears. As in the film, they represent an ordinary person confronting a more powerful foe. Like David challenging Goliath, or the thirteen colonies taking on the British Empire, bravery and determination can help anyone achieve victory. Perhaps that explains why, forty years on, the Ewoks still speak to Star Wars fans.

 

Rating 8/10

 

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

Space Job #3 Review

 

Writer: David A. Goodman

Artist: Alvaro Sarraseca

Colorist: Jordi Escuin Llorach

Letterer: Mauro Mantella

Cover Artist: Alvaro Sarraseca

Publisher: Dark Horse

Price: 3.99

Release Date: April 12, 2023

 

After First Officer Danny Sheridan’s death, Admiral Newman assigned the S.S. George H.W. Bush to join the battle in the Bungo Straits. Captain Olivier left the space station, hoping to escape the system before the Clooney's rendezvous to transfer his cargo. But he’s still waiting for his desk to arrive and needs a scientific pretext to remain in the system. Can Captain Olivier get his new desk, continue his cargo run, and keep his crew out of a warzone? Let’s beam aboard the S.S. George H.W. Bush with Space Job #3 and find out!

 

Story

The Chief Medical Officer is depressed. Her husband, Helm Officer Rick MacIntyre, no longer seems interested in her. When Ensign Masht asks her about the First Officer’s status, she welcomes the distraction. Naturally, all she can say is that he's dead, and no, that won't change.

 

When Midshipman Rhee finds a comet, Operations Officer Travis Biggins doesn't know how to react. What exactly do they have to learn by studying a comet? At least Captain Olivier's happy, as he's got a reason to stick around now. But he doesn't like to use the translator, and the pilot delivering his desk speaks Spanish. Negotiating with the pilot takes Travis' mind off his dilemma over remaining in the Navy or resigning to become a drug rep.

 

Despite the abundance of wacky humor, I could relate to everyone in Space Job #3. I learned the history of human space exploration from the alien possessing Rick MacIntyre. Understanding what drove this expansion helped me understand the dynamics underlying this series. After the previous issue’s backstory, Captain Olivier has grown on me. How can you not admire someone who resolutely works the system to accomplish his goals? I’m still connecting names with characters from TV shows, movies, and the history of space exploration. I hope we learn the Medical Officer's name before the series ends.

 

Art

We see Neil Armstrong's lunar module and the ultimate result of his Giant Leap For Mankind. A battle involving astronauts seems straight out of Moonraker, and a fleet of ships reminded me of the mural in Houston’s Johnson Space Center cafeteria. Alvaro Sarraseca portrays characters consistently, and panels express what each is feeling. I didn’t need to see Captain Olivier on the toilet again, and Sarraseca could have provided more visual interest to some interior scenes. Still, the Bush's bridge resembles the revamped Enterprise on Star Trek Strange New Worlds, and the way Olivier talks to the Clooney's captain via hologram reminds me of the production department's original plans for the canceled Star Trek: Phase II.

 

Colors fill the void between stars in Space Job #3. Colorful ships transport cargo, and the Bush resembles a minnow approaching the glowing, jellyfish-like comet. Overhead lighting and viewscreens give the bridge drama and depth. The green light on a communications panel highlights Captain Olivier's features. Shadows play across Travis Biggins' face and uniform, helping us sympathize with the Operation Officer's relationship and career dilemmas.

 

Easy-to-read uppercase letters inhabit white dialogue balloons. Voices from the com units inhabit balloons crossed by four X-like hash marks. Lightning bolt arrows link the hologram of the Clooney's captain to his dialogue balloons. Mathematical symbols for Greater Than and Less Than reveal the incomprehensible foreign language spoken by the pilot delivering Captain Olivier's desk. Conversations laid over space scenes inhabit rectangular yellow narrative boxes. The occasional stressed letter grows bold when a crewmember points out that Captain Olivier mispronounces his (or her) name. Once or twice, dialogue balloons could provide better flow. The uppercase letters on the final page—telling us the story will continue—remind me of a fraternity's Greek letters.

 

Final Thoughts

Despite an overwhelming number of moving parts, everything comes together in Space Job #3 to propel this series forward. Characters work toward accomplishing their goals and making their lives count. A series that started as merely wacky fun takes on a greater scope. As always, gorgeous art provides a feast for those eyeing the final frontier.

 

Rating 9.4/10

 

To preview interior art see my review at Comic Book Dispatch

Monarch #3 Review

 

Writer: Rodney Barnes

Artist: Alex Lins

Colorists: Luis Nct & Mar Silvestre Galotto

Letterer: Marshall Dillon

Cover Artists: Alex Lins & Luis Nct; Chris Visions

Publisher: Image

Price: 3.99

Release Date: April 12, 2023

 

Young Marli sits on her bed, gazing out the window at the night sky. At times, she's seen the stars move. When Miss Wilamae brought Travon into their Compton home, Marli realized he belonged to those moving stars. Yes, you read that right. There is nothing wrong with your digital platform. Do not attempt to adjust your browser. You are about to participate in the great adventure of Monarch #3!

 

Story

At Travon’s school, his friends Daysha and Kurtis search for Angie. Instead, they find fellow student Todd, who acts weird and remote. On an alien spaceship, Travon feels guilty. Designed to learn about Humans, he became one. The alien collective realizes this. They have found a new home to repopulate their species. Travon must not endanger their plan.

 

After Marli’s introduction, Rodney Barnes' story stands like a tripod. The first story-leg follows Travon as he leaves the spaceship and views the devastation his people have wrought. The second gives us a global view of the alien invasion. The third and final subplot follows Daysha and Kurtis as they search for Angie.

 

Marli’s introduction was touching, but how does it fit in? The cover suggests she's taking a journey, but all we see of her in Monarch #3 belongs to the past. Is she still alive and remembering? I also enjoyed the battle for Earth, even if the invaders' intention to wipe out humanity to repopulate their species is standard alien invasion fare. Daysha and Kurtis' adventure left me wanting to know what happens next.

 

Art

Alex Lins imbues Marli’s scenes with personality. He shows us the things she loves and cares about, how she felt after the death of her parents, and how much Travon means to her. He reveals how she recognized Travon wasn't Human, which we never saw in issue #1. Scenes at the school seem less detailed. The characters exhibit less personality. The damaged interiors show how bland this impersonal space has become.

 

Travon no longer wears clothes in Monarch #3. Ameoba or circuit-like shapes cover his body, although he still wears glasses. Spaceships destroy Earth's warplanes. Giant Walkers stride across land and sea, blasting everything in their path. Childhood memories clash with the destruction of Travon's neighborhood. I liked the page composition of Marli’s scenes, the epic battle panorama, and Travon's walk through the rubble. The cross-shaped operating table seemed to shout rather than suggest. I wondered why some Walkers had three legs and others four.

 

Luis Nct and Mar Silvestre Galotto paint the alien invasion in blue and pink. Like Travon’s operating table, are they suggesting a link between the aliens' repopulation plans and the resurrection Easter celebrates? Nct and Galotto color Travon's walk through the destruction in beige and tan. Are they saying everything Mankind has built will inevitably return to the Earth? School interiors are colored green, and windows beige and tan. Yet one room is bathed in red. You'll discover what that implies when you read Monarch #3.

 

Marshall Dillon relates Marli’s thoughts in green narrative boxes. He shows Daysha and Kurtis' conversation in white dialogue balloons. Big uppercase letters grow when they shout, and spherical dialogue balloons sprout spikes. Travon's thoughts also appear in green narrative boxes. Did the alien part of him read her thoughts, and he's only now becoming aware of it? The alien collective's words appear as white letters in black narrative boxes outlined in the same blue that colors the invasion. While he uses sound effects sparingly, Dillon spelled out the children's laughter to make one panel more powerful and haunting.

 

Final Thoughts

Touching scenes deepen our appreciation for Marli. Travon's love for Mankind puts his future at risk. Epic battle scenes reveal the scope of this global conflict. Sadly, the only subplot that advances this series is a psychological drama involving less-known characters. With its echoes of War Of The Worlds--and all the radio, TV, movie, and comic adaptations of the classic novel by H. G. Wells--Monarch #3 satisfies. Better advances in the story and greater consistency in the art will help this series reclaim the awesomeness of previous issues.

 

Rating: 8.4/10

 

To see both covers see my review at Comic Book Dispatch

 

 

Star Wars #33 Review

 

Star Wars #33 Review

Writer: Charles Soule

Artist: Madibek Musabekov

Colorist: Rachelle Rosenberg

Letterer: VC’s Clayton Cowles

Cover Artists: Stephen Segovia and Rain Beredo; John Tyler Christopher; Alan Quah

Publisher: Marvel

Price: $3.99

Release Date: April 5, 2023

 

Captain Blythe sent Luke Skywalker, Princess Leia Organa, Chewbacca, Lando Calrissian, Lobot, and Amilyn Holdo to the Great Hall of the Nihil. Can they pull the Path Engine from Amilyn’s wrecked ship? Can Luke reclaim the Jedi book he believes is essential to rebuild the ancient order? Can Chewie use a single Path Engine to help the Kezarat colony escape No Space? Secure your safety belts as we launch into Star Wars #33 and find out!

 

Story

The Killdroids guarding the Great Hall break Luke's lightsaber and the prosthetic hand holding it. As in the Wampa’s Ice Cave in The Empire Strikes Back, Luke’s only option is to wield the Force. Unfortunately, he’s felt severed from it in No Space. Meanwhile, Chewie’s grabbed the Path Engine while Lando and Amilyn laid down cover fire, but now they’re surrounded by Killdroids too.

 

Star Wars #33 explores Luke's growing relationship with the Force. Readers will enjoy seeing that in action. They'll also find Luke and Leia's discussion about the Force intriguing. As a fan of the movie since its release, Charles Soule suggests a metaphor that never occurred to me before.

 

The story puts Lando’s commitment to the Rebel Alliance in the spotlight and tests his character. The Empire Strikes Back portrayed him as a rogue who mostly looked out for Number One. It seems his time with the Rebel Alliance has changed him. He's not General Calrissian yet, but he's growing.

 

All this prepares our heroes for an attempt to escape No Space. They arrived by plugging the Path Engine into Amilyn's ship and pressing a button. Go! Transporting Captain Blythe's ragtag fleet requires more thought. Soule suggested in the previous issue that Chewbacca’s the brains of the Falcon crew. Teaming him with the cybernetically enhanced Lobot seems a promising combination.

 

While Torvan featured earlier in their No Space adventures, he only got one line of dialogue in Star Wars #33 and isn't seen after that. Given his admiration for Luke and their relationship, I wanted more.

 

Art

Chewbacca's getting strict with his carbs as our heroes reclaim their youth. Perhaps their rejuvenating break on Spira in Star Wars #29 took a while to manifest? Or is No Space a cosmic Shangri-La? Our heroes affect dramatic action poses, even if their expressions don't convey emotion as convincingly. Amilyn proves the exception: she always leaps off the page, whether firing weapons, conversing, or reacting to the chaos around her.

 

Madibek Musabekov treats us to a spectacular battle at the Great Hall of Nihil. The Killdroids—Iron Man's Mark I armor with spiky arms, glowing eyes, and Darth Vader mouth grills—never looked more menacing. Highly detailed backgrounds--spaceships, hanger bays, the Great Hall, and a packed auditorium--are utterly convincing.

 

The purple shading returns in Star Wars #33. Is it a unique feature of No Space? I've never witnessed the Aurora Borealis firsthand, but visiting the Kezarat colony and gazing out a viewport always amazed me. Shadows and highlights imbue our heroes with drama. The Auditorium lighting is particularly striking. Rich coloring imbues faces with realism and makes the action leap off the page.

 

Clayton Cowles provides uppercase lettering in easy-to-follow spherical dialogue balloons. He announces location changes with big upper and lowercase blue letters in rectangular black narrative boxes. His sound effects are colorful and dramatic. Luke's "Noooo!" battles a red-and-white "KRNCH" as the Killdroids crush his hand and lightsaber in the first panel. The yellow "THWM" as the Killdroid casts Luke aside cannot compare to the green-and-white "URRRR" as the Path Engine activates. All sound effects will look bland after the technicolor ones accompanying the attempt to return to known space and rejoin the Rebel Alliance. 

 

 

Final Thoughts

Star Wars #33 packs a battle with the Killdroids, Luke’s growing relationship with the Force, and Lando’s commitment to the Rebel Alliance in one spectacular issue. Filled with action and drama, it's sure to please fans of all ages, whether they've seen the Death Star explode twice or more times than they can remember.

 

Rating: 9.4/10

 

To preview interior art see my review at Comic Book Dispatch

Second Coming Trinity #1 Review

 

Second Coming Trinity #1 Review

Writer: Mark Russell

Artists: Richard Pace & Leonard Kirk

Colorist: Andy Troy

Letterer: Rob Steen

Cover Artists: Richard Pace; Howard Chaykin

 

Bonus Short Story: Extra Credit 3: The Groundskeeper

Writer: Tyrone Finch

Artist: Cayetano Valenzuela

 

Bonus Short Story: Ingredients Of Matter

Writer: Darrick Patrick

Artist: Ed Catto

 

Publisher: Ahoy Comics

Price: $3.99

Release Date: April 5, 2023

 

God The Father decides Earth could use a hand, so he sends his only begotten son to live with a superhero. Can Jesus help Sunstar create a better world? Let’s open our copies of Second Coming Trinity #1 to page 1 and find out!

 

Story

In Mark Russell’s story, Sunstar has helped complete work on humanity’s first space elevator. This achievement—envisioned by such novelists as David Gerrold in Jumping Off The Planet, Kim Stanley Robinson in Blue Mars, and Arthur C. Clark in 3001: The Final Odyssey—will make space exploration easier by reducing the costs of transporting people and materials out of Earth's gravity well. That such a long-desired dream has been realized so quickly underlines how superheroes could reshape our world. Still, the focus of Second Coming Trinity #1 is more down-to-Earth.

 

Sunstar attends Crannius’ trial. There seems little doubt the supervillain is responsible for many deaths. Yet Sunstar can't help feeling guilty. Did his actions shape Crannius' character? He remembers attending their 20-year High School Reunion. While Crannius tried to connect, Sunstar stood apart with his superhero friend Maris, Prince Of The Sea. When Crannius tried to fit in, Sunstar undermined his efforts. During a court break, Sunstar phones home. Babysitting Sunstar's infant, Jesus urges compassion. 

 

Art

Old School layouts make Second Coming Trinity #1 easy to follow. Sunstar and his friend Maris are readily comparable to Superman and Aquaman. Crannius’ swollen and cracked head reminds us of the Moon, where he perpetrated his alleged crimes. Mrs. Gaddis—the school's old lunch lady—looks and acts like Gru's mother in Despicable Me. Jesus could have walked out of a painting at your local church, and Sunstar's superpowered son Jordan is adorable.  

 

Andy Troy enhances Richard Pace & Leonard Kirk's 60's era art with soft, pleasing coloring. He loads his palette with complementary colors and shades with gray or darker tones. While he pays great attention to light sources and shadows, both are understated. Andy often adds a light background color that never distracts attention from the panels. His colors gradually strengthen as the story builds toward a satisfying climax.

 

Rob Steen's uppercase letters make this comic a blessing. Spherical dialogue balloons are easy to read and follow. Offscreen speech and inner thoughts appear in white narrative boxes. When Sunstar uses his cell phone, Jesus' dialogue manifest in a starburst. Jesus' counsel to Sunstar appears on scraps of yellowed parchment. Big yellow letters signal time and location shifts, and page numbers are a godsend in Second Coming Trinity #1. 

 

 

In Tyrone Finch's story, Extra Credit 3: The Groundskeeper, Bryce--a skateboard enthusiast--demolishes a cherished bed of rhododendrons. When Mr. Conrad orders him to repair the damage, Bryce discovers the groundskeeper’s office is stocked with wonders to rival the TARDIS in the Doctor Who story The Caretaker. This rousing adventure will test Bryce and give him insight into a man he never previously respected. Did Finch's character Thunderbolt prompt Cayetano Valenzuela to give Mr. Conrad a Thor-like aspect? Or was he inspired by Jason Aaron's seven-year run on Thor?

 

Ed Catto’s illustration for Ingredients Of Matter suggests the 1977 movie The Incredible Melting Man. Darrick Patrick's story seems closer to the 1980 movie Altered States. While Mark Russell’s Jesus speaks plainly, Ingredients Of Matter seems a metaphor for how education and experience expand our worldview. Readers of such trippy fare may enjoy the dark and disturbing Hairball #1, new this week from Dark Horse Comics.

 

Final Thoughts

Pleasing composition and imagery accompany inspiring ideas, character development, and story themes in Second Coming Trinity #1. Relatable characters and situations seasoned with humor and charm invite readers to reevaluate their lives and interactions with others.

 

Rating: 9.3/10

 

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

Junk Rabbit #1 Review

 

Story, Art, Color & Lettering: Jimmie Robinson
Cover Art & Variant Covers: Jimmie Robinson
Publisher: Image
Price: $3.99
Release Date: April 5, 2023

A masked man walks through a toxic landfill. A hovering camera streams (or "Thlinks") Steeper's hip slang to viewers in the domed city. Out of the corner of his eye, a rabbit streaks past. Steeper's cries of terror abruptly die. What happens next? Let's tune into Junk Rabbit #1 and find out!

Story
By 2198, consumerism has cluttered our world. The ultra-rich abandoned Earth for life on the moon and in space. In domed cities, the well-to-do live like the aristocracy of Britain's Edwardian Age or the passengers aboard the Axiom in WALL-E. The broadcasts of streamers like risk-taking Steeper--along with news, entertainment, and advertising--pour into their minds through bio-implants. These provide momentary distractions from the commercials played on immense digital signs.

Steeper's father, Chief Elder Richard Masters, orders stylish detective Chela Omina to investigate his death. Once she links the murder with the mythical Junk Rabbit, he tells her to report solely to him. Should she not agree, he will destroy her life.

 

 
Art
The first two pages of Junk Rabbit #1 convey how centuries of waste created a gulf between the rich and the poor. Immense domes separate the well-off from the wastelands. As in New Chicago in Buck Rogers in the 25th Century, citizens live in skyscrapers linked by walkways. They enjoy air and weather untainted by toxic materials outside the domes. Drones hover by each citizen, cossetting them with all they could ever wish to know or see. "Try blue, folks—it's the new red!"

Without robots to compact or process trash, shantytowns rise amid the toxic rubble. Unlike the Poor in the movie Ready Player One, they lack access to the info-sphere. They comb hills of garbage for anything salvageable. Even old cell phones, relics of the pre-implant age, are repurposed for local communication. 

 

In contrast to the highly detailed art in Junk Rabbit #1, Jimmie Robinson's limited palette colors the wastelands beige and the domes gray. People and objects get more attention and thus emerge from the background. Scenes set in the Sink resemble colored portraits on toned paper. While this approach lacks depth, it focuses the reader on the waste humans create, seemingly as a byproduct of their existence.

Jimmie Robinson employs a wide variety of lettering in Junk Rabbit #1. He conveys dialogue through uppercase letters in spherical dialogue balloons. History, news, and drone-speak come in rectangular yellow narrative boxes. Often these are underlined or outlined in red. Reactions to the info feed appear as black letters atop a yellow wash inside transparent boxes outlined in white. Shock, outrage, and alerts appear as red ovals within transparent boxes outlined in red. Symbols proliferate. Some readily communicate. Others we ponder.

 

Final Thoughts
While characters in the dome remain distant in Junk Rabbit #1, those inhabiting the Sink seem more relatable. The actions of Richard Masters and Chela Omina speak to class differences in a gender-neutral world. The relationships among the Poor—and their inherent sense of community—remind us that prosperity and happiness are not inseparable. Their devotion to a mythic hero underlines the power of faith.

The highly thematic nature of this comic invites contemplation. Is Jimmie Robinson's labor of love more than another byproduct of human existence? As always, you decide.

Rating 8.8/10

To preview interior art see the entry at Previewsworld.com

Star Wars: Return of the Jedi--Jabba's Palace #1 Review

 

Star Wars: Return of the Jedi--Jabba’s Palace #1 Review

Writer: Marc Guggenheim

Artist: Alessandro Miracolo

Colorist: Dee Cunniffe

Letterer: Clayton Cowles

Cover Artist: Ryan Brown; Lee Garbett & Laura Martin; Peach Momoko; Alex Maleev

Publisher: Marvel

Price: $4.99

Release Date: March 29, 2023

 

In Return of the Jedi, Luke Skywalker gifts Jabba The Hutt See-Threepio and R2-D2. The droid tasked with assigning duties mentions the last protocol droid angered Jabba and disintegrated him. C3PO watches as the droid gets torn apart. What's that droid's story? If you've got the mojo to enter Jabba’s palace, let's walk into Star Wars: Return of the Jedi--Jabba’s Palace #1 and find out!

 

Story

His name was Eightyem. He handled all of Jabba’s dealings. He was proficient at his job. Like Luke, the droid often gazed up at Tatooine’s twin suns at sunset and wondered if he could do more with his life. Remember the Twi’lek—the guy with the head-tails--who discovers Luke after he enters Jabba’s palace? When Luke says he wants to speak with Jabba, remember how the Twi’lek responds, "Jabba, no bother?" One day another Twi’lek joins his fellow. His name is Silvan Kaan. Like Luke, Kaan will eventually bother Jabba too. But first, Kaan will ingratiate himself with the master of Tatooine.

 

 

 

Kaan is a smooth talker who makes friends. He encourages Eightyem’s dreams of freedom and promises to remove his restraining bolt in return for three favors. The droid's actions—deviations from his duty to Jabba—give Kaan access to information that solidifies his position with Jabba. But not everyone is happy with the new order, and Eightyem is too naïve to realize the risks he’s undertaking.

 

Star Wars: Return of the Jedi--Jabba’s Palace #1 isn't a dialogue-heavy comic. Nor is it a five-minute read. Marc Guggenheim sprinkles in enough dialogue to help us feel what Eightyem experiences. The little protocol droid relates his story as a memoir. He understates and explains the accompanying visuals without drawing undo attention to his thoughts or feelings, waxing poetic, or blaming others for his errors in judgment. 

 

 

 

Art

Alessandro Miracolo’s art seems the perfect fit for the kid-friendly toy focus of Return Of The Jedi. He fills Jabba’s with all the aliens and bounty hunters we remember, including the little elephant musician. Eightyem looks cute but wistful. Clad in striking attire, Kaan affects dramatic poses. The Twi’lek’s eyepatch suggests he’s a pirate at heart. While most of the aliens look action-figure fun, Jabba never seems less than imperious. He is a Hutt and commands a criminal empire. Even more than in the movie, in Star Wars: Return of the Jedi--Jabba’s Palace #1, Jabba reminds me of Leto II Atreides, who ruled Arrakis—and thus, the civilized universe--for thousands of years in Frank Herbert’s novel God Emperor Of Dune.

 

Dee Cunniffe’s coloring may not be bold and vibrant, but his softer shades blend well with Eightyem’s memoir. Each character stands apart from his fellows. Nothing gets murky or lost in the shadows. His cinematic style makes Kaan and Jabba stand out as the orange rays of sunset stream through the circular windows of Jabba’s court. He even spotlights characters by subtly adding background light amid surrounding darkness. 

 

 

 

Clayton Cowles makes Star Wars: Return of the Jedi--Jabba’s Palace #1 easy to read with large print and bold stressed words. While most characters get circular dialogue balloons, Eightyem speaks with rectangular ones, and his connecting arrows resemble lightning bolts. Once, when Jabba is outraged, his giant words inhabit a white dialogue balloon outlined in red. But mostly, we follow Eightyem’s commentary of white letters in rectangular blue narrative boxes. Like Hansel and Gretel’s breadcrumbs, we follow the fragile protocol droid's footsteps until his journey ends.

 

Final Thoughts

This tale of a droid with grand dreams will charm lovers of Lucasfilm lore. Star Trek fans may hiss when Kaan makes his entrance; like Captain Kirk in Star Trek II: The Wrath of Kahn, they may feel compelled to yell, "Kaaaaaaaannnnnn!" Eightyem reminds me of Yoda's words to Obi-wan in The Empire Strikes Back. While the droid's thoughts are always far away, he has patience. And while Luke has anger in his heart, Eightyem doesn’t.

 

Droids fill the Star Wars universe. Some, like R2-D2, have great character. Others—like C3PO—have great comic potential. Most merely do their jobs—clocking in and out of their duty shifts—without drawing attention to themselves. Eightyem reminds me a little of L3-37 in Solo: A Star Wars Story. He would have cared about droid rights. He might even have fought for them. Who knows what he might have done but for the restraining bolt that held him captive in Star Wars: Return of the Jedi--Jabba’s Palace #1?

 

Rating 8.7/10

 

To preview interior art see my review at Comic Book Dispatch