Confessor
CCF Mod Squad
Not Bucky O'Hare!
Posts: 10,220 
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Post by Confessor on Apr 11, 2021 5:20:17 GMT -5
Star Wars #28I thought this was a decent enough story but yeah, Jabba's appearance is a real issue. That's neither Goodwin nor Infantino's fault, of course. It was probably ill advised of Goodwin to cancel Han's debt to Jabba, too. And yes, the stone mites were a nifty plot device. Yes, Goodwin and Infantino were just following the lead of Thomas and Chaykin regarding Jabba's appearance. I guess that Lucasfilm were OK with it because Jabba wasn't slated to appear in the ESB and Lucas maybe hadn't realised that he was going to want to include Jabba in ROTJ at this point? Although the ending of ESB makes it pretty certain that Jabba would likely be seen in the next installment. As for the cancelling of the debt, yeah, it's particularly surprising that Lucasfilm allowed that – especially considering that filming of The Empire Strikes Back, in which the debt is an important plot point, was already underway at the time. Maybe they just missed it? I thought it was cool that the film Jabba was non-humanoid and so different looking, and certainly vile looking but you're right that it seems like it would be tough for him to rule a criminal empire with such a lack of mobility. Marlon Brando wasn't thin, but he was certainly no Jabba, either. Yeah, the movie Jabba, with his lack of legs and short stubby arms, always seemed quite vulnerable to attack to me, even as a kid. And as you say, it didn't take Princess Leia long to do him in. Plus, I've kind of always thought that Jabba being more mobile would perhaps enable him to rule his criminal empire more effectively, as I said in my review. Still, I do like the movie Jabba -- I mean, that is Jabba, after all. But I do remember being a little disappointed with the design when I first saw it in the promotional material for ROTJ. I think that was simply down to my being so used to the Marvel comics version of the Hutt. For me, from the ages of 5 until I was 10, the Marvel Jabba was Jabba. I had no concept of cannon back then: if it appeared in the official Star Wars comic, then it was correct. The new, slug-like Jabba from ROTJ took a little getting used to for this comic reader. Think of Jabba as a reflection of greed and desire taken to the ultimate visual physical representation and you get an idea of what Lucas was saying. Or see it in an historical/mythological way as a fat, over stuffed Roman Senator grown rich and soft, luxuriant in his stealing from the people in ruling. Bacchus overindulging in his wares. The slothful slug one can become in wanting, needing, demanding more riches in whatever way they can get it. That's an interesting way to look at Jabba's bloated body shape and it certainly has merit. Thanks for giving me a new perspective on it, brutalis. |
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Post by dbutler69 on Apr 11, 2021 6:08:55 GMT -5
Think of Jabba as a reflection of greed and desire taken to the ultimate visual physical representation and you get an idea of what Lucas was saying. Or see it in an historical/mythological way as a fat, over stuffed Roman Senator grown rich and soft, luxuriant in his stealing from the people in ruling. Bacchus overindulging in his wares. The slothful slug one can become in wanting, needing, demanding more riches in whatever way they can get it. Symbolism. I like it! |
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Post by dbutler69 on Apr 11, 2021 10:12:13 GMT -5
Star Wars #27Cover dated: September 1979 Issue title: Return of the HunterScript: Archie Goodwin Artwork: Carmine Infantino (pencils)/Bob Wiacek (inks) Colours: Petra Goldberg Letters: John Costanza Cover art: Carmine Infantino (pencils)/Bob Wiacek (inks) Overall rating: 6½ out of 10  Comments: Unfortunately, Infantino isn't the only one being unoriginal in this issue: Archie Goodwin also repeats himself somewhat, by attempting to keep Valance's cybernetic secret hidden from the readers on the opening pages of this comic, before "shockingly" revealing the bounty hunter's true makeup. I appreciate that some readers of this comic may not have picked up issue #16 and Goodwin obviously wanted to give those newcomers the "big reveal", but for a long-time reader of this series it just seems like a cheap reuse of an old gimmick. Goodwin also writes a really weird moment between Princess Leia and General Dodonna, where we see Leia put her arm around the older man and seductively caress his hair and beard, while apparently whispering into his ear (or maybe even puckering up to kiss him!). The dialogue that Goodwin ends this scene with only reinforces the impression that the princess is hitting on Dodonna and that nookie is imminent, when he has her say "Now, let's go inside...this night air makes me talk too much." The ending of this scene is a real head-scratcher. Leia's relationship with Dodonna is not supposed to be like that at all and nothing else is ever mentioned in the Marvel comic series to indicate that there is any suggestion of a romantic connection between the two. It makes me wonder whether this scene was accidentally misinterpreted by Infantino and that he maybe thought that Leia was supposed to be hitting on Dodonna or something. Like I say, it's a real head-scratcher. Oh, also, while I thought the scene between Leia and Dodonna was a bit odd (and I wonder if Infantino misunderstood Goodwin's intentions) I just saw it as her flirting with him a bit, in order to get her way, but I didn't get any sort of romantic vibe at all. And I, too, thought that the "reveal" of Valence being a cybog fell a bit flat, since we already knew it, though no doubt some readers hadn't read that issue. |
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Post by dbutler69 on Apr 11, 2021 10:15:38 GMT -5
I thought it was cool that the film Jabba was non-humanoid and so different looking, and certainly vile looking but you're right that it seems like it would be tough for him to rule a criminal empire with such a lack of mobility. Marlon Brando wasn't thin, but he was certainly no Jabba, either. Yeah, the movie Jabba, with his lack of legs and short stubby arms, always seemed quite vulnerable to attack to me, even as a kid. And as you say, it didn't take Princess Leia long to do him in. Plus, I've kind of always thought that Jabba being more mobile would perhaps enable him to rule his criminal empire more effectively, as I said in my review. Still, I do like the movie Jabba -- I mean, that is Jabba, after all. But I do remember being a little disappointed with the design when I first saw it in the promotional material for ROTJ. I think that was simply down to my being so used to the Marvel comics version of the Hutt. For me, from the ages of 5 until I was 10, the Marvel Jabba was Jabba. I had no concept of cannon back then: if it appeared in the official Star Wars comic, then it was correct. The new, slug-like Jabba from ROTJ took a little getting used to for this comic reader. I also think that the closing scene, where Jabba gets in a space suit and floats out into space, getting rescued by the Millennium Falcon, is not too plausible with the film Jabba. |
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Post by dbutler69 on Apr 11, 2021 10:31:54 GMT -5
Star Wars #29Cover dated: November 1979 Issue title: Dark EncounterScript: Archie Goodwin Artwork: Carmine Infantino (breakdowns)/Bob Wiacek (finished art & inks) Colours: Glynis Wein Letters: John Costanza Cover art: Carmine Infantino (pencils)/Bob Wiacek (inks) Overall rating: 8 out of 10  Plot summary: While interrogating a Rebel spy, Darth Vader discovers that a deserter from the Alliance named Tyler Lucian knows the identity of the Force using Rebel pilot who destroyed the Death Star. Meanwhile, the former droid-hater Valance has come to realise that the relationship Luke Skywalker shares with R2-D2 and C-3PO represents hope for a galaxy where cyborg's like him may one day not be social outcasts. Valance manages to learn of Tyler and the information he possesses, prompting him to pursue the former Rebel in an attempt protect Skywalker, by preventing the deserter from revealing Luke's name to Vader and the Empire. Valance catches up with Tyler near the deserter's hideout, on the shores of Rubyflame Lake on the planet Centares, but before he can kill the ex-Rebel, Vader arrives in his TIE Advanced fighter. Valance and Vader battle each other, with Valance giving his life to prevent Vader from learning the information he seeks, as the Sith Lord sends him plunging into the highly corrosive waters of Rubyflame Lake. With Valance dead, Vader turns his attention to Tyler, but, inspired by Valance's brave sacrifice, the former Rebel commits suicide by jumping into Rubyflame Lake himself, thwarting Vader's plans. Comments: This issue sees the series back on form again, after the somewhat lacklustre story and huge continuity problems of last month. We have the return of the cyborg bounty hunter Valance and, in a way, this issue functions as the third instalment of a Valance trilogy, along with "The Hunter!" in issue #16 and "Return of the Hunter" in issue #27. Archie Goodwin's writing of the bounty hunter is, as ever, really excellent. Valance is a very complex character, especially now that his droid-hating days are behind him and he has new-found respect for Luke Skywalker, a man who Valance believes is fighting for a better galaxy. A galaxy in which even a cyborg like him might one day be accepted. I think in the hands of a lesser writer, Valance's change of motivation between Star Wars #27 and #29 might have seemed contrived and unlikely, but Goodwin has already defined this character in such a way that his moral about-face seems perfectly plausible. I love how badass Valance is in this issue, especially during the barroom shoot-out where he learns Tyler Lucian's name. Also, the way Valance behaves during his battle with Darth Vader is very powerful, as he tries to prevent the Sith Lord from learning Skywalker's name, in order to buy Luke more time to gain mastery of the Force, so that he can one day defeat Vader. For Valance to ultimately give his life in order to save Luke is an unexpected and yet totally believable end for the bounty hunter. To then have the disgraced Rebel deserter Tyler Lucian commit suicide to thwart Vader, after being inspired by Valance's sacrifice, makes this a very heavy issue and a testament to how great a writer Goodwin could be. The opening pages do a great job of reminding the reader just what a ruthless and sadistic villain Vader is. It's kind of chilling to see how driven the Dark Lord of the Sith is to learn the name of the Force user who destroyed the Death Star. The fact that the artwork never allows us to see the poor Rebel spy who is being interrogated only serves to make the torture that the man has to suffer seem more stomach churning. Talking of queasy stomachs, it's cool to see Captain Wermis make another appearance, as he squeamishly watches Vader conduct his interrogation. I also like that the climax of this issue occurs on the planet Centares, where, in issue #25, Luke and Princess Leia exchanged Senator Greyshade's space-yacht at Jorman Thoad's used spacecraft dealership. Something that I really want to mention is that there's an intriguing and enigmatic scene right at the end of this issue, when Vader returns to his Star Destroyer. He seems to overhear a stormtrooper complaining to a fellow infantryman that he's been in his armour so long he's beginning to "feel like a blasted borg...or worse." Vader then turns to Wermis and instructs him that, for the time being, all off-duty personnel must remain in full armour. This is fascinating because it suggests that, being a cyborg himself, Vader understands what Valance was fighting for on some level and that he takes exception to the stormtrooper's derogatory attitude towards those who are half man, half machine. The order to force all off-duty stormtroopers to remain in their armour is presumably a punishment for the remark and an attempt to give the men responsible a taste of what it's like to never be able to escape your armour, just as Vader can't. As such, this scene provides a fascinating glimpse into the twisted humanity of the Sith Lord. Goodwin really is firing on all cylinders here. As far as the artwork is concerned, there's some superb sequential storytelling from Carmine Infantino in this issue, with the artist giving us lots of inventive "camera angles", excellent pacing, detailed backgrounds and some striking splash pages. Here are a few examples...    While it's true that all of the usual aspects of Infantino's art that I dislike, such as his overly angular inclinations and inaccurate depictions of Star Wars spacecraft, are still evident here, Bob Wiacek's finished pencils and inking make the art look nicer than usual. This really is just about as good as the art gets during Infantino's tenure on the book. Still, I'd be lying if I said that I didn't wonder how much more awesome this issue would've been if we'd have had Walt Simonson pencilling, with Wiacek on inks, as we did in the excellent issue #16. Talking of Wiacek, there's an explanation on the letters page as to why he and the series' other regular inker, Gene Day, are working more or less alternately on this series. Apparently, Marvel UK's Star Wars Weekly comic was reprinting almost two issues worth of U.S. stories every month – and, in point of fact, Star Wars Weekly had been printing these stories in advance of the U.S. publication date for some time now. Marvel therefore needed to quickly amass a lot of material to keep up with demand in Britain and this necessitated two regular inkers on the series. In fact, before the year was out, Marvel UK would begin publishing UK exclusive stories by Goodwin and Infantino, that American readers had wait a couple of years or more to read, as we shall see. Ultimately, although this is a very good comic from Marvel's original Star Wars run, it isn't quite up to the high standards of issues #16 and #17, which are the two best issues of the series so far, in my opinion. Nonetheless, it's really not far off and is definitely a comic that I would recommend to anyone who wants to read the cream of the issues from the period between A New Hope and The Empire Strikes Back. Continuity issues: None Favourite panel:  Favourite quote: "That boy you're seeking...and his droid...held out hope of something better, Vader. A time, a life, when even someone like me might not be a freak. A foolish dream, no doubt...but so was destroying the Death Star!" – Valance explains his motivation for protecting Luke Skywalker to Darth Vader. I really liked the opening scene with Vader torturing the rebel spy. It gives us a nice look at Vader's ruthlessness plus, Wermis's squeamishness give us some comic relief. The scene with Valence in the bar was also pretty cool. It's also interesting to see that he's no longer hiding his cyborg half. It's also interesting to see that this cynical bounty hunter has become an idealist. It happened rather suddenly, but it still works pretty well. That was a nice Force leap by Vader across the broken bridge, foreshadowing Luke's Force leap in The Empire Strikes Back, not to mention several more to follow in the cinematic Star Wars Universe. Also a nice prediction by Valence that Luke would some day become greater than Vader, and Valence stalling Vader's discovery to let Luke learn more about the force was a nice touch. The rebel deserter's sacrifice at the end, after seeing all that nobility, was a nice touch, too. |
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Post by tarkintino on Apr 11, 2021 11:28:59 GMT -5
I really liked the opening scene with Vader torturing the rebel spy. It gives us a nice look at Vader's ruthlessness plus, Wermis's squeamishness give us some comic relief. The scene with Valence in the bar was also pretty cool. It's also interesting to see that he's no longer hiding his cyborg half. It's also interesting to see that this cynical bounty hunter has become an idealist. It happened rather suddenly, but it still works pretty well Its a major character transformation, one that made the hard, violent ideologue Valance the most developed villain in Marvel's SW series. Original art from the issue--  I love the energy, variety of angles and power Infantino brought to his layouts. The conflict--as he lays it out--is both dramatic and tragic from start to finish. As usual with Infantino, he gave the Lightsaber a feeling that it was a true weapon of energy and danger, not just some glow-stick, as some other artists would render it. Wonderful work in one of--if not the best story arc of Marvel's Star Wars run. |
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Post by tarkintino on Apr 11, 2021 11:33:37 GMT -5
Yet more reasons the comic--from start to finish--was never going to be able to fit into the movie events and continuity. To be honest, weight has little to do with how hard your fist or how you wield it. In fact, several notorious real life Mafia members were obese, and were among the most notorious in U.S. history, including Paul Vario (the Lucchese family), Vincent "Fat Vinnie" Teresa (Patriarca family) and Fat Tony Salerno (Genovese family) who lost some weight as he aged, but he earned that nickname. In the SW universe, the worlds are so accustomed to alien life, that it never appeared to be a stumbling block to their activities. Jabba finally being a true alien (similar to the storyboards made for ANH's possible FX placement) was one of the better ideas to go into ROTJ I was referring to Confessor's comment about Jabba's lack of mobility " It has always seemed to me that a two-legged Jabba would be able to rule his criminal empire much more effectively than a slow moving, slug-like beast" (and I was focused more on the slow moving, slug-like part of that comment rather than the bipedal aspect) not about an ability to throw a punch. However, with those short stubby little arms, I don't imagine Jabba throws much of a punch, either. Anyway, overall, I do like Jabba's movie look, but in the back of my mind, his lack of mobility was always an issue to me. After all, Leia strangled him with her own chain, and he couldn't even move to defend himself. did not mean fist in the literal sense, but in how one wields and enforces power. |
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Post by dbutler69 on Apr 11, 2021 12:42:46 GMT -5
I really liked the opening scene with Vader torturing the rebel spy. It gives us a nice look at Vader's ruthlessness plus, Wermis's squeamishness give us some comic relief. The scene with Valence in the bar was also pretty cool. It's also interesting to see that he's no longer hiding his cyborg half. It's also interesting to see that this cynical bounty hunter has become an idealist. It happened rather suddenly, but it still works pretty well Its a major character transformation, one that made the hard, violent ideologue Valance the most developed villain in Marvel's SW series. Original art from the issue-- I love the energy, variety of angles and power Infantino brought to his layouts. The conflict--as he lays it out--is both dramatic and tragic from start to finish. As usual with Infantino, he gave the Lightsaber a feeling that it was a true weapon of energy and danger, not just some glow-stick, as some other artists would render it. Wonderful work in one of--if not the best story arc of Marvel's Star Wars run. A pretty dramatic page! |
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Post by thwhtguardian on Apr 11, 2021 16:51:57 GMT -5
I really liked the opening scene with Vader torturing the rebel spy. It gives us a nice look at Vader's ruthlessness plus, Wermis's squeamishness give us some comic relief. The scene with Valence in the bar was also pretty cool. It's also interesting to see that he's no longer hiding his cyborg half. It's also interesting to see that this cynical bounty hunter has become an idealist. It happened rather suddenly, but it still works pretty well Its a major character transformation, one that made the hard, violent ideologue Valance the most developed villain in Marvel's SW series. Original art from the issue-- I love the energy, variety of angles and power Infantino brought to his layouts. The conflict--as he lays it out--is both dramatic and tragic from start to finish. As usual with Infantino, he gave the Lightsaber a feeling that it was a true weapon of energy and danger, not just some glow-stick, as some other artists would render it. Wonderful work in one of--if not the best story arc of Marvel's Star Wars run. Maybe it's just the way it looks on this particular page, but for my money Vader's lightsaber definitely looks more like a static glow stick to me...I didn't even know it was a lightsaber when I first looked at, it just looks like a cylinder to me. |
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shaxper
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Post by shaxper on Apr 12, 2021 10:15:56 GMT -5
Maybe it's just the way it looks on this particular page, but for my money Vader's lightsaber definitely looks more like a static glow stick to me...I didn't even know it was a lightsaber when I first looked at, it just looks like a cylinder to me. Maybe seeing it in color helps? Personally, I keep seeing a ruler.  |
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Post by Roquefort Raider on Apr 12, 2021 10:52:23 GMT -5
Maybe it's just the way it looks on this particular page, but for my money Vader's lightsaber definitely looks more like a static glow stick to me...I didn't even know it was a lightsaber when I first looked at, it just looks like a cylinder to me. Maybe seeing it in color helps? Personally, I keep seeing a ruler. Lightsabers rule!!! |
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shaxper
CCF Site Custodian
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Post by shaxper on Apr 12, 2021 10:53:10 GMT -5
I appreciate your measured response. |
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Post by brutalis on Apr 12, 2021 12:07:57 GMT -5
I appreciate your measured response. The lightsaber humor here is immeasurable! |
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Post by dbutler69 on Apr 13, 2021 15:11:11 GMT -5
Star Wars #30Cover dated: December 1979 Issue title: A Princess Alone!Script: Archie Goodwin Artwork: Carmine Infantino (pencils)/Gene Day (inks) Colours: Petra Goldberg Letters: Joe Rosen Cover art: Carmine Infantino (pencils)/Bob Wiacek (inks) Overall rating: 6 out of 10  Plot summary: Princess Leia Organa has travelled to the Imperial factory planet of Metalorn on a mission to inspire hope and raise awareness of the Rebellion among its worker-slaves. The planet is ruled over by Governor Corwyth, who has prevented word of the Rebel Alliance from reaching the subjugated labourers, while feeding them a constant stream of Imperial propaganda as they toil for the greater glory of the Empire. Once on the planet, Leia evades pursuing stormtroopers and manages to locate her former history teacher Arn Horada, with the intention of having him spread word among the labourers of the Rebellion and its fight against the Empire's tyranny. But before she can say much to Horada, she is confronted by Baron Orman Tagge, who is visiting the facility as an overseer and plans to capture the princess to gain favour with the Emperor. After a short scuffle, Leia manages to escape Tagge with the help of a young girl named Tammi. Upon leaving the planet, Leia reflects that her actions will possibly inspire the worker population to sabotage the Imperial war machine in any small way that they can. Comments: This is another stand-alone issue of Marvel's Bronze Age Star Wars series. I must say that it's cool to have an issue that focuses entirely on Princess Leia, since, as I've noted in other reviews, she seems to be the character that Archie Goodwin has the best grasp of at the moment. Unfortunately, Goodwin's writing here isn't as good as it could be and as a result, what might've been a real corker of an issue ends up being a more average affair. One problem is that Goodwin writes the Empire as a bit too Orwellian and the planet Metalorn as perhaps a bit too dystopian for a Star Wars story. The idea that the Empire would control the labour force on Metalorn (who are really little more than slaves) so tightly certainly makes sense. However, the sterile, dead world of Metalorn itself, the Imperial propaganda that the workers are fed, talk of "approved visitation periods" and the strictly regimented way in which the pseudo-robotic labourers are treated feels much more like George Orwell's 1984 or Aldous Huxley's Brave New World than it does Star Wars. In fact, the status quo inside Metalorn's factory complex isn't a million miles away from the society that George Lucas himself gave us in his earlier film THX-1138. Now, I'm not adverse to seeing the Empire using propaganda and historical revisionism to control its citizens – and I quite like the cover story we have in this issue that Alderaan was destroyed by a freak meteor shower, rather than by the Empire itself – but the way that it's executed in this comic just doesn't feel very Star Wars-y somehow. On the plus side, it's cool to see Baron Tagge make another appearance and, is it just me, or is there a touch of Marvel super-villain about him here? Maybe a hint of Dr. Octopus or something? Anyway, it's nice to see that this issue advances the ongoing storyline about Tagge's attempts to win the Emperor's favour and replace Darth Vader as his right-hand man. In particular, I like that we get to see the consequences of Luke Skywalker's successful mission to destroy the Tagge-owned turbine back in issue #26, with Tagge now needing to prove his worth to the Emperor as a result. Governor Corwyth is a fairly neat, if somewhat unmemorable, character who seems to have the persona of a dastardly upper-class British villain. Certainly, I can't help but read his dialogue with the accent of the English aristocracy. Art-wise, there's an interesting snippet of behind the scenes information in the "Bullpen Bulletins" column inside of this issue (and in every other Marvel comic published this month). By this point in the run, Goodwin was apparently providing very basic sketches of every panel for artist Carmine Infantino to base his work on. That's interesting because it means that an awful lot of the story pacing and panel composition in issues from this period must've originated with Goodwin, rather than with Infantino. Regardless, Infantino provides some really nice industrial scenery in the backgrounds of the panels in which the Imperial stormtroopers are perusing Leia through the factory complex. There's also a fair bit of action in this issue, which Infantino renders very well, creating some striking artwork in the process. Still, it goes without saying that we get the signature Infantino angular style and shoddy depictions of Star Wars tech that I love to hate and the comic suffers because of it. Also, Infantino's drawings of the Imperial stormtroopers appear to have reverted back to the highly stylised take on the foot soldiers that we saw earlier in his run, making me wonder if the comparatively excellent drawing of a trooper in issue #25, which I mentioned in my review of that comic, was actually redrawn by inker Gene Day or something. Overall, this is a reasonably entertaining issue, although it's not one of Goodwin's best. He writes Leia here as a little too sure of herself and even a touch arrogant, especially when you consider that her mission was, at best, a disaster and, at worst, a total failure. However, I like the idea of Leia acting as a figurehead to inspire hope among the worker populace of Metalorn, but I just wish that the princess wasn't quite so self-congratulatory about it. Yes, the message of hope in this issue is a bit heavy-handed, but still, the metaphoric parallel between the plants that the little girl Tammi is trying to grow and the seed of Rebellion that Leia is attempting to germinate works much better than you might think. Continuity issues: None Favourite panel:  Favourite quote: "Find her! If it takes every stormtrooper on Metalorn...find that Rebel witch!" – Governor Corwyth orders his men to intensify their search for Princess Leia Organa. Overall, I really liked this issue. It was great to have a Leia solo story, and to see her singlehandedly get into and out of danger. I also liked that they showed the Empire’s cruelty and oppressiveness, so that we can actually see for ourselves that the Empire is evil, instead of only believing it because the opening scroll said so. The Orwellian aspect of Metalorn hadn’t occurred to me, but you may have a point there. I also like how Tagge was able to figure out that Leia was the spy. I hadn’t thought about the Marvel supervillain aspect of Tagge. I’ll have to look out for it. Very interesting information about Goodwin providing basic sketches to Infantino! And yes, I’m still in agreement with you about the flaws in Infantino’s art. I do like to fantasize that this was drawn by somebody else. Oh well. It’s what we’ve got, and it’s still enjoyable. |
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Post by tarkintino on Apr 13, 2021 16:09:29 GMT -5
An early, rare Leia solo story, where she's fully able to take care of herself. This period of the comic featured many opportunities for the heroes to grow as individuals, as opposed to being a traveling stage troupe of "your favorite stars" as too many TV and movie adaptations leaned on, because the writers thought that was what readers wanted.
As usual, Infantino not only delivers his wealth of action art knowledge, but--for the second time--points to a costume that would appear in a then-future Star Wars film; previously, it was Obi-Wan's outfit (#24) forecasting Luke's Jedi uniform from ROTJ, now Leia's white bodysuit points to the kind of outfit worn by Padme in Attack of the Clones.
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