Luke Skywalker

Star Wars #18

Straight from this comic’s first scene involving Chelli Lona Aphra it must have been abundantly clear to its audience that Jason Aaron loved “writing Kieron’s [Gillen] characters” and was getting “a huge thrill” spending some more time with the female archaeologist seeing “how she bounces off the cast of my book.” Indeed, due to the good doctor’s humorous-laden interplay with Sana Star...[Read More]

Star Wars #17

Somewhat annoyingly beginning this edition’s narrative after Princess Leia and smuggler Sana Starros have already apparently dealt with “a security breach” at Sunspot Prison, Jason Aaron’s script for Issue Seventeen of “Star Wars” certainly lived up to the Alabama-born author’s “idea of doing a Star Wars prison story, which is something very different than what we’ve done so far.” In fact, t...[Read More]

Star Wars #16

Confidently featuring a “new arc” about Princess Leia transferring Doctor Aphra “to a secret prison that the Rebel Alliance maintains for the most dangerous of Imperial prisoners” this twenty-page periodical probably demonstrated the best and worst aspects of Jason Aaron’s penmanship to its impressively large 110,407 strong audience in February 2016. For whilst the month’s second biggest selling c...[Read More]

Star Wars: The Last Jedi #2

Whilst Gary Whitta’s treatment for Issue Two of “Star Wars: The Last Jedi” valiantly tries to portray all the sense-shattering shenanigans of the “2017 American epic space opera film written and directed by Rian Johnson” with its depiction of the First Order preparing “to crush the rebels once and for all” courtesy of Snoke’s formidably-sized fleet, its arguably lifeless storyboarding and ‘b...[Read More]

Star Wars: The Last Jedi #1

Positively publicised by “Marvel Worldwide” as an adaption which features “never-before-seen scenes of your favourite characters”, this opening instalment to “Star Wars: The Last Jedi” arguably must have delighted the vast majority of its audience, including those who had already watched “the highest-grossing film of 2017”, with its noticeably new sequences and ‘extended shots’ from an earlier ver...[Read More]

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