Star Wars #27: The Good People
Taking a break from the main storyline involving Leia and Luke, this series takes a moment to focus on the good people trapped in service to the Empire. One such couple, acting as spies for Crimson Dawn, is called into action and must bring along their own children and a lot of hope.
The majority of this series has been focused on either Leia trying to elude and defeat Commander Zahra or Luke looking fort Jedi secrets. On top of playing that double duty, it must also fill in the year gap betweenThe Empire Strikes Back and Return of the Jedi. Now that both characters stories have concluded for now, the series turns its attention away from Luke and Leia. New characters are introduced in a very ominous setting, the Second Death Star. This battle station has a very limited lifespan in the overall Star Wars timeline, which falls directly into this series. Even though this new story arc seems to be moving away from the larger story, it still has to fit into the timeframe between the films. It has been about two years in real time that the comics have focused on this period, and it must come to an end eventually. The ultimate opening scene in Return of the Jedi originally introduced the seemingly half built battle station. After the first act, the Rebels have a briefing to reveal that they have not only discovered the existence of the Death Star, but its plans. The plans are getting ahead of the tale, but it was more than time to introduce such this big plot device in the time of the original films and this seems like the right direction to get the plot caught up. Although that story is not at all new, the Death Star being in this series is. It is a clear indication that the year gap between Episodes five and six is starting to close in on the events of Return of the Jedi.
The characters introduced in the last issue, Bevelyn and Melton, act as the human face of the Empire. Melton is assigned to the Navy onboard the Death Star II, and his wife works in the warehouses. Because if the secrecy of the station’s constructions, no one leaves and there is no contact with the outside world. Many Imperials keep their families there too, which in itself is horrifying because the station’s time is ticking down. Melton and Bevelyn aren’t just Imperial employees, but deep Crimson Dawn spies. When they are called to action, they take no time in splitting with their children as they have grown more horrified by the Emperor and his atrocities. Two elements now make these characters very important. They are a direct tie to Qi’ra and Crimson Dawn. They also have information that is most valuable to the rebellion. This makes them a hot ticket in the up coming finial multi-media crossover event surrounding Crimson Dawn. It also makes them pivotal in the Rebellion’s discovery of the Second Death Star. Both of those bits of information almost certainly ensures that Bevelyn and Melton will become much bigger characters as this arc continues.
The theme of this issue is desperation and the art captures that externally well on the faces of the two defectors as well as the terror in their children’s eyes as they must flee their home. But these not the only examples of facial expressions done well. Current Death Star Commander Jerjerrod looks the smug and cool Imperial officer right up until he must act. The rebels display skepticism across their faces as well. The colors seem to focus on Imperial blues and grey, with Rebels tinted in a greyish green. The only moments of truly eye-popping color is when the setting shifts to Coruscant’s dangerous underbelly. The impact on the sage is felt in the presence of the Second Death Star, furthering the plot toward the final destination inReturn of the Jedi. This issue provide an excellent pathway to achieving that.
The family of survivors are in yet another tough spot, But the Rebellion has heard their cries for help. They are sending not only one of their moist celebrated heroes, but one equipped with a lightsaber and knowledge of the mystical Force.
Star Wars #27: Out of the Fryer
- Writing - 8/108/10
- Storyline - 9/109/10
- Art - 8/108/10
- Color - 6/106/10
- Cover Art - 8/108/10
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