Confessor
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Post by Confessor on Nov 7, 2016 11:36:27 GMT -5
I have to say while Leia's racism is very unattractive I do really like the way Duffy has managed to flesh out the Zeltrons, even though we have only met five of them, and only one for an extended period. Babh, Jahn, Marruc and Rahuhl share Dani's friendliness, aesthetic sense, fun and curiosity but they lack her greed and their adoration for Leia and Han is hero worship rather than strictly romantic. It paints a picture of a species that does have definite cultural traits but still allow for individuals. Dani became a smuggler and pirate (with a heart of gold) but that doesn't mean every Zeltron is like that. Yeah, I agree that Duffy's fleshing out of the Zeltron race is really good. Mind you, I like most of her character development in the series. Of all the writers who worked on the series, she was the biggest Star Wars nerd and I think that shows in how well she understands the characters and settings. No disrespect to the likes of David Michelinie or Archie Goodwin though, who also a had an excellent grip on how George Lucas's fictional universe should work, but yeah...I think Duffy being such a huge SW fan gives a little bit of an edge. This point in the series is where Dani really starts to show some maturity which I liked. And she sure seemed happy to know Kiro would live at the end of #87. She did, but I don't and never did perceive that as anything more than a friend and comrade's relief that a fellow friend and comrade was not going to die. However, Luke almost break s the fourth wall in that scene, giving a weird look sort of to the reader. I wonder if this was supposed to clue the reader into the fact that Luke realised that Dani's attentions had switched to Kiro, instead of himself. Trouble is, it's really not clear. |
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Post by Confessor on Nov 7, 2016 11:37:59 GMT -5
I' never heard of Pizazz before this forum (before my time)... what was it exactly? You say 'teen magazine', but, with comics? Or just Star Wars? I know I am responding to an old post; but, I had to comment on this one. Pizazz was Marvel's attempt to compete with DC, in an arena where they ruled. Well, not exactly (and not exactly compete with DC); but it did factor into DC coming back strongly to compete with Marvel. Back in 1974, Scholastic, Inc, the children's book publisher, launched a magazine, called Dynamite. It was primarily sold via their monthly school book club. It was the brainchild of Jenette Kahn, who had similar success with a magazine called Kids (created and produced by actual children) and, later Smash (for Xerox). Kahn oversaw the first 9 issues, before handing off to Jane Stine, wife of future Goosebumps author RL. Dynamite was a mixture of pop culture articles, educational material, puzzles and games, and comics. The comics were mostly from DC, including Batman (there were some Marvel stories, too). They later created their own heroes, the Dynamite Duo. The magazine lasted until 1992, which is a heckl of a run. Seeing the success of this, Marvel created their own version, Pizazz, which they heavily promoted in ads within their comics. It wasn't the success that Dynamite was and Star Wars was about the only major draw for it. It was cancelled after 16 issues. Marvel had similar, though better luck with Crazy, their attempt to compete with Mad and Cracked. It was success on these magazines that led to Jenette Kahn being approached about taking over the publishing of DC Comics. Kahn has remarked in interviews about the state of things when she arrived and how horrified she was with some of the business practices, compared to the world of mainstream book and magazine publishing. The old guard fought her tooth and nail; but, she found key allies in Neal Adams, Joe Orlando, and Paul Levitz and dragged DC out of the past and instituted many incentives and reforms that drew talent away from the competition. It took a while to get things done and many reforms (such as royalties and ownership) were highly compromised (and many have eroded since); but, it began to pay off. DC in the late 70s was a much better publisher than it was by the mid-70s and it really started rockin' in the 80s, setting off salvos that not only had the industry reeling; but, drew attention from the outside world, who used to poo-poo comics. Now, back to your regularly scheduled program.... Thanks for the background info on Pizzazz, codystarbuck. I had no idea about much of that...especially how the magazine was a response to DC's Dynamite. |
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Post by codystarbuck on Nov 7, 2016 23:57:28 GMT -5
I know I am responding to an old post; but, I had to comment on this one. Pizazz was Marvel's attempt to compete with DC, in an arena where they ruled. Well, not exactly (and not exactly compete with DC); but it did factor into DC coming back strongly to compete with Marvel. Back in 1974, Scholastic, Inc, the children's book publisher, launched a magazine, called Dynamite. It was primarily sold via their monthly school book club. It was the brainchild of Jenette Kahn, who had similar success with a magazine called Kids (created and produced by actual children) and, later Smash (for Xerox). Kahn oversaw the first 9 issues, before handing off to Jane Stine, wife of future Goosebumps author RL. Dynamite was a mixture of pop culture articles, educational material, puzzles and games, and comics. The comics were mostly from DC, including Batman (there were some Marvel stories, too). They later created their own heroes, the Dynamite Duo. The magazine lasted until 1992, which is a heckl of a run. Seeing the success of this, Marvel created their own version, Pizazz, which they heavily promoted in ads within their comics. It wasn't the success that Dynamite was and Star Wars was about the only major draw for it. It was cancelled after 16 issues. Marvel had similar, though better luck with Crazy, their attempt to compete with Mad and Cracked. It was success on these magazines that led to Jenette Kahn being approached about taking over the publishing of DC Comics. Kahn has remarked in interviews about the state of things when she arrived and how horrified she was with some of the business practices, compared to the world of mainstream book and magazine publishing. The old guard fought her tooth and nail; but, she found key allies in Neal Adams, Joe Orlando, and Paul Levitz and dragged DC out of the past and instituted many incentives and reforms that drew talent away from the competition. It took a while to get things done and many reforms (such as royalties and ownership) were highly compromised (and many have eroded since); but, it began to pay off. DC in the late 70s was a much better publisher than it was by the mid-70s and it really started rockin' in the 80s, setting off salvos that not only had the industry reeling; but, drew attention from the outside world, who used to poo-poo comics. Now, back to your regularly scheduled program.... Thanks for the background info on Pizzazz, codystarbuck. I had no idea about much of that...especially how the magazine was a response to DC's Dynamite. Well, Dynamite was from Scholastic, Inc, a book publisher (publishers of Harry Potter, in the US); but, they used a lot of Batman comics in their issues. Marvel tried to jump onto a lot of bandwagons in this era, including copying Mad and Cracked, with their Crazy magazine (with a mascot that was very much a copy of Cracked's Sylvester Smythe) and copying Heavy Metal with Epic Illustrated though Jim Starlin was no Moebius, no matter how good Metamorphosis Odyssey was). |
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Confessor
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Post by Confessor on Nov 10, 2016 13:27:24 GMT -5
Star Wars #96Cover dated: June 1985 Issue title: Duel with a Dark Lady!Script: Mary Jo Duffy Artwork: Cynthia Martin (pencils)/Bob Wiacek (inks) Colours: Glynis Oliver Letters: Rick Parker Cover art: Cynthia Martin (pencils)/Bob Wiacek (inks) Overall rating: 4½ out of 10  Plot summary: On the desolate planet of Kinooine, Luke Skywalker faces off against Lumiya, the Dark Lady of the Sith. Igniting his lightsaber, the young Jedi advances towards his enemy, as she activates her lightwhip. The pair silently engage in a ferocious duel, until Lumiya gains the upper hand, disarming Skywalker and knocking him unconscious. The Dark Lady then takes the Jedi prisoner, confiscating his lightsaber and keeping him alive on orders from her Nagai superiors. Later, while conferring with her Nagai accomplice Den Siva about the imminent arrival of a Nagai invasion fleet, the Nagai warrior requests that Dani – whom Lumiya had previously captured – be handed over to him for study. Elsewhere on Kinooine, the water-breathing Iskalonian, Kiro, who had earlier been grievously wounded by the Dark Lady, cobbles together some make-shift breathing equipment and manages to break into her hideout. After rescuing Luke, Kiro helps the Jedi fashion a short-bladed lightsaber from the Iskalonian's stinger weapon and some surplus power packs. Once they locate Lumiya on a nearby outcrop, Luke uses the Force to snatch his lightsaber away from her, as he engages the Dark Lady in combat with his two weapons. After a long fought duel, Luke eventually bests his adversary, slashing away her mask to reveal the face of his old comrade and romantic partner, Shira Brie. As she lies beaten, Skywalker attempts to explain to Shira that what Darth Vader taught her was a lie, but before he can convince her, the Nagai invasion fleet appears overhead. Comments: The "Dark Lady" story arc continues here with a much more detailed version of Luke Skywalker and Lumiya's duel than we saw last issue. In this extended version of the fight we get some very similar looking panels as last time, interspersed with new scenes of combat. While I admit that this duel is pretty spectacular and even more operatic than last issue – what with its drawn out, wordless, Sergio Leone style drama – it does also rather smack of "padding" or "filler". I mean, why do we actually need to see this duel again? Last issue ended with Luke unconscious and at Lumiya's mercy, so why the need to backtrack to the start of the duel again? It's almost as if this arc is really only about two issues worth of story being stretched out over three. It's not until we reach the eighth page of this comic that we actually get anything new, in terms of the narrative. That complaint aside though, Lumiya continues to be a threatening presence and a worthy opponent for Luke. The shocking twist where she is revealed to be Luke's old flame and comrade, Shira Brie, is an excellent one. Shira, who was an Imperial spy, was thought dead by Luke and the Rebels, and was last seen by readers barely alive and floating in a bacta tank in Star Wars #63. I can still remember what a complete shock it was to learn that Lumiya was, in fact, Shira, when the contents of this issue appeared in Return of the Jedi Weekly in the UK. I'm not sure how effective or easy to guess this shocking revelation might be to a modern adult reader, but 12-year-old me definitely didn't see it coming. While I'm on the subject of Lumiya, I'm not sure exactly why Luke has such a problem with the Dark Lady's lightwhip weapon. I mean, shouldn't his lightsaber blade just cut through the leather and metal parts of its tail? I'm not entirely convinced that he really needed two weapons to defeat her either. In addition, the young Jedi being able to fashion a working lightsaber from a blaster and some old power packs seems a little like something out of MacGyver or The A-Team (check out those totally rad '80s TV references, kids!). But I guess Luke has built a lightsaber by himself before (in a deleted scene from Return of the Jedi), so it's not too far fetched, I suppose. There's also some good character development for Kiro here, as we see him trying to follow Luke's example of how to be a noble warrior. The Iskalonian's conduct is rewarded when Luke finally agrees to train him in the ways of the Force, upon seeing just how responsible and well-balanced he can be. Something else that's cool is that we get to see just how badass and deadly Kiro is, as he enters Lumiya's base. On the down side, this issue suffers because of its artwork again. If you've been following my reviews recently, you'll know that I'm really not a fan of Cynthia Martin's pencils and there's certainly nothing in this issue to change that opinion. Bob Wiacek, who was a veteran of Marvel's Star Wars comic from its early years, provides some serviceable inking, but his work is noticeably less overbearing than Steve Leialoha's was last issue. As a result, the inherently cartoony nature of Martin's art is much more noticeable and I don't consider that a good thing. However, there are a few moments in this comic when Martin really does turn in some nice work. We see the return of her inventive, jagged panel boarders, which I made mention of in my last review, although she unfortunately abandons them after Luke and Lumiya's initial duel. Also, the shot of the Nagai invasion fleet arriving out of hyperspace above Kinooine on the final page is stunning (see my favourite panel below). Overall, this is a pretty intense and grim issue. However, writer Jo Duffy still manages to slip in a little humour where she can. The Nagai warrior Den Siva is an intriguing character and he will become even more interesting next issue, as will his relationship with Dani. Incidentally, this issue is actually the first time that the Nagai race are named, which is significant. Ultimately, although this issue is dark and tense, the unnecessary repeat of Lumiya and Luke's duel, along with the narrow narrative focus on Luke, Lumiya and Kiro, serves to make this the least satisfying instalment of the "Dark Lady" storyline. The fact that Martin's artwork still hurts my eyes, with the exception of a scant few panels, doesn't help things either. Continuity issues: None Favourite panel:  Favourite quote: "I was very stealthy … and I killed a few of them … not all, as I wanted to … but I didn't want to attract attention … and … and I knew you would not like it, if I killed needlessly." – Kiro recounts to Luke Skywalker how he managed to enter Lumiya's hideout.
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Post by rom on Nov 10, 2016 17:27:16 GMT -5
First of all, that panel above from issue #96 was great - say what you will about Cynthia Martin's art, but the tech/ships she draws looks fantastic!!! I question whether Leia's not liking Zeltron's as a whole would be considered racism - racism is a term used in reality to refer to humans who don't like other humans of a certain race. However, Zeltron's are aliens - obviously not human. So, a human not liking Zeltron's wouldn't be racist, would it? Is there even a term in sci-fi to describe someone who doesn't like another alien race?! Alien-phobe?! Xenophobe?! LOL  |
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Confessor
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Post by Confessor on Nov 10, 2016 18:12:17 GMT -5
First of all, that panel above from issue #96 was great - say what you will about Cynthia Martin's art, but the tech/ships she draws looks fantastic!!! It does, yes. Martin's artwork isn't to my tastes, but what's really frustrating about it is that sometimes she seems to draw a panel or a series of panels that look really, really good. That's frustrating to me because I want her to do more stuff like that. I also see vague traces of Art Nouveau in her work, which I like, but more often than not, it's buried beneath her more cartoon-y leanings. I also think she's an artist that benefits from a strong, confident inker. I question whether Leia's not liking Zeltron's as a whole would be considered racism - racism is a term used in reality to refer to humans who don't like other humans of a certain race. However, Zeltron's are aliens - obviously not human. So, a human not liking Zeltron's wouldn't be racist, would it? Is there even a term in sci-fi to describe someone who doesn't like another alien race?! Alien-phobe?! Xenophobe?! LOL That's a very good point, rom. I guess that technically it's not racism because Alderaanians and Zeltrons are actually completely different species. To strike an Earth analogy, it's like a human disliking sheep or something. It's not racism, its...errr...speciesism? Actually a quick Google tells me that "speciesism" is, in fact, "the assumption of human superiority leading to the exploitation of animals." So, I guess what we're seeing here is a kind of inter-planetary speciesism. However, whether it's technically racism or not, Leia's irrational dislike and prejudice against Zeltrons is definitely discrimination and that doesn't sit well with me. |
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Post by Roquefort Raider on Nov 11, 2016 8:00:50 GMT -5
(...) However, Luke almost break s the fourth wall in that scene, giving a weird look sort of to the reader. I wonder if this was supposed to clue the reader into the fact that Luke realised that Dani's attentions had switched to Kiro, instead of himself. Trouble is, it's really not clear. Thats how I interpreted it. He didn't seem to know whether he should be upset or elated! |
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Post by wildfire2099 on Nov 11, 2016 8:46:33 GMT -5
Wow, that panel you posted is pretty awesome... Cynthia Martin would have done a great job back in the day with New Mutants (those ships have a definitely Warlock vibe to me)
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Confessor
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Post by Confessor on Nov 11, 2016 10:22:09 GMT -5
(...) However, Luke almost break s the fourth wall in that scene, giving a weird look sort of to the reader. I wonder if this was supposed to clue the reader into the fact that Luke realised that Dani's attentions had switched to Kiro, instead of himself. Trouble is, it's really not clear. Thats how I interpreted it. He didn't seem to know whether he should be upset or elated! You know based on yours and tex1272's comments, I think I'm gonna add something into my review of issue #87 about this. I might well steal your "He didn't seem to know whether he should be upset or elated!" too, RR.  Wow, that panel you posted is pretty awesome... Cynthia Martin would have done a great job back in the day with New Mutants (those ships have a definitely Warlock vibe to me) It certainly is awesome, yes. Trouble is, moments of greatness like these are very few and far between. Most of these comics suffer from slightly cartoon-ish art, with wonky anatomy. It's frustrating because clearly Martin can produce some great comics work on occasion. Mostly though, her artwork tends to look like these panels from issue #94, which is a shame...  |
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Post by rossn on Nov 11, 2016 17:35:35 GMT -5
I question whether Leia's not liking Zeltron's as a whole would be considered racism - racism is a term used in reality to refer to humans who don't like other humans of a certain race. However, Zeltron's are aliens - obviously not human. So, a human not liking Zeltron's wouldn't be racist, would it? Is there even a term in sci-fi to describe someone who doesn't like another alien race?! Alien-phobe?! Xenophobe?! LOL That's a very good point, rom. I guess that technically it's not racism because Alderaanians and Zeltrons are actually completely different species. To strike an Earth analogy, it's like a human disliking sheep or something. It's not racism, its...errr...speciesism? Actually a quick Google tells me that "speciesism" is, in fact, "the assumption of human superiority leading to the exploitation of animals." So, I guess what we're seeing here is a kind of inter-planetary speciesism. However, whether it's technically racism or not, Leia's irrational dislike and prejudice against Zeltrons is definitely discrimination and that doesn't sit well with me. Hmm, while it's technically true Leia isn't racism as we understand it the Star Wars setting has numerous different intelligent races who can communicate with each other and Zeltrons are clearly 'people' - in fact they are much more like humans than Chewbacca or even Yoda. I think even if racism is not the technically right word it is quite close the the right concept if that makes sense (I'd classify the anti-droid prejudice we saw in the early comics as not being technically racism, but for all intents and purposes racism.) I hope that was clear and that it is less confusing than it looks to me! |
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Post by Confessor on Nov 11, 2016 18:43:29 GMT -5
That's a very good point, rom. I guess that technically it's not racism because Alderaanians and Zeltrons are actually completely different species. To strike an Earth analogy, it's like a human disliking sheep or something. It's not racism, its...errr...speciesism? Actually a quick Google tells me that "speciesism" is, in fact, "the assumption of human superiority leading to the exploitation of animals." So, I guess what we're seeing here is a kind of inter-planetary speciesism. However, whether it's technically racism or not, Leia's irrational dislike and prejudice against Zeltrons is definitely discrimination and that doesn't sit well with me. Hmm, while it's technically true Leia isn't racism as we understand it the Star Wars setting has numerous different intelligent races who can communicate with each other and Zeltrons are clearly 'people' - in fact they are much more like humans than Chewbacca or even Yoda. I think even if racism is not the technically right word it is quite close the the right concept if that makes sense (I'd classify the anti-droid prejudice we saw in the early comics as not being technically racism, but for all intents and purposes racism.) I hope that was clear and that it is less confusing than it looks to me! Well, I understood it. But my analyst was recently committed for smoking bananas, so... |
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Post by wildfire2099 on Nov 11, 2016 21:42:13 GMT -5
Broke open the Epic tonight... some comments:
#1
The blockade runner took a BIG hit... I think the explosion was a little much. Good opening page, though.
But the lettering!! Why not use the real Star Wars font?
Leia's first line is kinda bloodthirsty.. not exactly a way to garner sympathy. Dialogue is a little off all over... from C3P0s insults to Vader saying 'the cosmic force' to Admiral Motti... and seems to be thinking about being sneaky (he tells one of the admirals to send out a distress signal and tell the Senate the ship blew up accidentally), which is very jarring. I guess that comes from it coming out before the movie.
The scenes with Biggs were great... it's a shame those got cut from the movie.
I agree with Confessor that Chaykin is really sketchy here.. almost like he's not trying that hard. The storytelling is good, but Luke looks like a 50 year old overweight banker in ½ the panels.
#2
Wow, that cover.. totally 'wrong' from the standpoint of the scene, but it does jump out at you! Also, love the typical Stan Lee 'The Greatest Space Fantasy Film of All'. When the film wasn't out yet.
They really killed the initial cantina scene... it seems totally out of the blue that the fight starts, instead of doing the whole 'droids aren't allowed' thing. Also, no Max Rebo. And while Han did shoot first, having the gun over the table and it being a huge explosion is very different than the subtle way it happens in the movie (which suits the situation much better)
Continuity bit that Confessor missed.. the spy in the black hood isn't wearing the gas mask, but rather seems to be just a regular human (or maybe a similar alien)
I agree with the earlier sentiments that hyperspace panel at the end is awesome.
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Post by Confessor on Nov 12, 2016 10:48:34 GMT -5
Broke open the Epic tonight... Had no idea there was a Marvel Star Wars Epic Collection. How many issues does it collect? some comments: #1 The blockade runner took a BIG hit... I think the explosion was a little much. Good opening page, though. Hmmm...I dunno. I've always considered the opening splash of issue #1 to be a somewhat squandered moment in the comic adaptation, in much the same was as Darth Vader's entrance onto the Rebel Blockade Runner was squandered. Just think of how amazing that opening scene of the film was? With the huge Star Destroyer coming on screen overhead -- that opening really wowed cinema audiences at the time. The opening splash of the comic, with it's scratchily drawn ships and "bent" Star Destroyer (seriously, look at it, it's pointed nose is bending downwards), is nowhere near as spectacular or memorable. Of course, Howard Chaykin hadn't even seen a rough cut of the film when he drew this issue and only had reference photos to go on, so we shouldn't be too hard on him. It's a pity that he wasn't given access to the film's storyboards since that iconic opening is laid out in full on them. But the lettering!! Why not use the real Star Wars font? Do you mean the title font of the way that the opening crawl is rendered in plain rectangular boxes. Either way, I'm guessing that the title font on the splash page is Chaykin's approximation of the SW font and the iconic crawl is missing because, again, Chaykin hadn't seen a rough cut of the film. On a related subject, from issues #2 to #9, Marvel used an interesting, vaguely disco-themed font for the masthead on each splash page, with little stars in the A's...  Leia's first line is kinda bloodthirsty.. not exactly a way to garner sympathy. Yeah, but it's simply there to illustrate that she killed the stormtrooper, where as she was stunned by the Imperials. I agree that it's kind of jarring though. Dialogue is a little off all over... from C3P0s insults to Vader saying 'the cosmic force' to Admiral Motti... and seems to be thinking about being sneaky (he tells one of the admirals to send out a distress signal and tell the Senate the ship blew up accidentally), which is very jarring. I guess that comes from it coming out before the movie. Yes, and being based on the shooting script, rather than the dialogue actually spoken in the film. Incidentally, C-3PO calls R2 a "half-sized thermocapsulary dehousing assister" in the novelization of the film too, for the same reason. The scenes with Biggs were great... it's a shame those got cut from the movie. It is, but they would've slowed the first half of the film down too much. Lucas was right to cut them, even if they are really interesting. Incidentally, the Biggs scenes at Anchorhead were filmed as a way of injecting a little of the human, teen drama of American Graffiti into this otherwise inhuman, sci-fi film. I agree with Confessor that Chaykin is really sketchy here.. almost like he's not trying that hard. The storytelling is good, but Luke looks like a 50 year old overweight banker in ½ the panels. Yeah, that first issue loses a lot of points for it's scratchy, substandard artwork. Wrong band.  The Cantina band were not originally given a name, but they were retconed to be Figrin D'an and the Model Nodes. The Max Rebo Band, however, were the group playing in Jabba the Hutt's palace in Return of the Jedi. Continuity bit that Confessor missed.. the spy in the black hood isn't wearing the gas mask, but rather seems to be just a regular human (or maybe a similar alien) Good catch. I'll add that to my list of continuity problems for that issue. |
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Post by wildfire2099 on Nov 12, 2016 12:32:45 GMT -5
You're right, I did have my bands mixed up.. That's what happens when you post too late at night.
I definitely agree the opening didn't have nearly the same OOMPH as the movie, but it was a nice opening for the comic.
I disagree about the Biggs scene.. I think it would have added greatly to Luke's character. He had a REASON to be whiny (at least about this).. it makes him more relatable, rather than just seeming like a bit of a spoiled only child.
I didn't notice the disco lettering in #2... I'll have to look at that again tonight! I feel like they didn't try to get the font right, they just did their own thing.
The Epic came out I think last month.. I'll give you exactly what in it tonight, but I was really excited to see the Pizazz stuff and the UK stuff is included... I think it's just called 'The Star Wars Original Marvel Years Vol. 1' with the 'Legends' banner to denote it's not cannon. The 2nd one is due in July, IIRC from the CBR collection people (they are good for something!)
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Post by Confessor on Nov 12, 2016 18:14:37 GMT -5
I disagree about the Biggs scene.. I think it would have added greatly to Luke's character. He had a REASON to be whiny (at least about this).. it makes him more relatable, rather than just seeming like a bit of a spoiled only child. Oh, don't get wrong, I agree that the Anchorhead scenes help flesh out Luke's character and his motivation. However, from a purely directorial, editing and story pacing point of view, I think that those scenes would've slowed the opening of the film down too much. There are three missing scenes in total -- Luke spotting the ships fighting overhead with his macrobinoculars; rushing into Toshi Station to tell his friends and then seeing that Biggs had returned; and the scene where Biggs tells Luke that he's planning to join the Rebellion. The first two of those scenes have to occur before the droids arrive at the Lars homstead and the third one needs to happen before Luke has the argument with his Uncle at the dinner table. Inserting those three scenes, two of which are reasonably lengthy, would've slowed the first 15 minutes of the film down too much, I think. The Epic came out I think last month.. I'll give you exactly what in it tonight, but I was really excited to see the Pizazz stuff and the UK stuff is included... I think it's just called 'The Star Wars Original Marvel Years Vol. 1' with the 'Legends' banner to denote it's not cannon. The 2nd one is due in July, IIRC from the CBR collection people (they are good for something!) Ah, OK...cool. Well, really glad to have you on board and joining in discussing some of the earliest issues, wildfire2099. |
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