Jorge's playground: 2020

Part 1 is here.

Part 2 is here.

Part 3 is here.

The release of Star Wars in the summer of 1977 had a profound impact on my comic book reading habits. I was ten years old at the time. (The movie itself of course blew my mind and opened up my world to all sorts of exciting possibilities—but that’s a subject for a future blog post.)

The Marvel Comics six-issue adaptation of the film was released in various formats, taking full advantage of the movie’s meteoric rise to pupularity.

My first foray into the Star Wars comics was by way of Marvel’s two-volume Special Editions. These over-sized 10” x 14” books were real gems.

One of the things that is so endearing about writer Roy Thomas’ adaptation is how much it reads like a Marvel Comics-style version of the story and not just a straightforward re-telling of the film.

Art is by Howard Chaykin, with Steve Leialoha on inks for issues #2 thru 5, and Rick Hoberg and Bill Wray on issue #6.

Another cool thing about the comic book adaptation is that it included some scenes that had been cut from the film—such as Luke’s conversation with childhood friends Biggs Darklighter and Fixer and Cammie.

Fixer and Cammie would make a brief return appearance in issue #31.

Another cut scene depicted Han Solo’s encounter with a noticeably different looking Jabba the Hutt than the one we would be introduced to years later in Return of the Jedi. This humanoid version would return in issue #28 and then briefly in issue #37 to help set up the events in The Empire Strikes Back.

I later picked up the first six issues at either Zayre or Kmart, where they sold comics in three-issue bagged multi-packs for 99¢ a bag.

After its initial print run the adaptation went on to sell over a million copies by way of reprints, helping Marvel climb out of the deep financial troubles it was experiencing in the 1970’s.

Of course I knew none of this at the time. I was busy immersing myself in all things Star Wars—trading cards, Burger King glasses, Artoo Detoo cookie jar, bed sheets, etc.

Incidentally, the glasses and cookie jar may be long gone—but the trading cards and bed sheets remain in my collection.

The pulse-pounding ad in the back of the second Marvel Special Edition tantalized readers with a sneak-peak at the cover to issue #7, which would continue the Star Wars saga with all-new original stories.

At the time, this was a huge deal. A second Star Wars film had yet to be officially announced, and the publication of Alan Dean Foster’s Splinter Of the Mind’s Eye (the first full-length Star Wars novel with an original storyline published after the release of the original film) was still a ways away.

The Star Wars universe was in its infancy. There was no episode number or A New Hope title in the opening crawl. No Emperor. No Yoda. No Vader/Anakin revelation. The mythology was still fresh and new and largely unexplored—with fans clamoring for more, waiting with bated breath for every new reveal.

Looking back, it was the best of times to be a Star Wars fan. A far cry from today’s toxic fandom.

My excitement was palpable when I finally came across Marvel’s next batch of issues. I picked them up by way of two multi-packs. One contained issues #7 thru 9, and the other issues #10 thru 12. Quite the treasure trove!

Keep in mind that I had no idea of the existence of comic book stores, so my exposure to comics was limited to what I came across in convenience store spinner racks, supermarket checkout stands, or those three-issue bagged multi-packs from Zaire and Kmart—which became my gateway to the monthly Star Wars comics.

Those first issues that followed the movie adaptation are a little rough around the edges, but still a helluva lot of fun.

Roy Thomas opted to focus on Han Solo and Chewbacca, who were arguably two of the most popular characters from the film. What followed was basically a retooled re-telling of the 1960 film The Magnificent Seven.

Issues #8 thru 10 were graced with Tom Palmer’s luscious inks. Palmer would return for a long run in the post-Empire era.

Issue #11 signaled a change in creative teams, with Archie Goodwin taking over the writing reins and Carmine Infantino handling the pencil art. Inks were by Terry Austin of X-Men fame.

Picking up on story threads planted during Roy’s run, Archie brought back space pirates Crimson Jack and Jolli (introduced in issue #7) and fleshed out their characters. They proved to be great foils for Han and Leia. The transition is seamless, building towards the reunion of the Star Warriors in issue #14.

By this point I’d become savvy enough to want to continue to pick up the Star Wars books as they were being released on a monthly basis. But much to my chagrin I missed issue #13, which promised a confrontation between Luke and an enraged Chewbacca, who mistakenly believed that Luke was responsible for Han’s death.

I stumbled across issue #14 at a 7-Eleven. The issue reunited the main cast for the first time since issue #7, bringing the Drexel Dragon Lords water world saga to a satisfying conclusion.

I picked up issue #15 from a local bookstore called Adolph’s. Such a cool cover! This issue was an epilogue of sorts to the previous issue, wrapping up lingering plot points remaining from the storyline begun by Archie back in issue #11. Crimson Jack and Jolli meet their untimely deaths here—with Jolli making the ultimate sacrifice to save Han’s life.

Issue #13 remained hard to find. As did any other new issues.

It wasn’t until several months later that I discovered the existence of comic book stores. Thanks to the good old fashioned Yellow Pages I was able to find two local stores in Miami—A&M Comics (the oldest comics shop in Miami, still there to this day) and Sunshine Comics, both conveniently located just a few blocks away from each other.

Needless to say, I was like a kid in the proverbial candy store.

Issues #22 and 23 were on the racks alongside other new releases. I snapped those up and scoured the back issue bins for the past issues I’d missed—including the elusive issue #13, which featured a cover drawn by John Byrne and Terry Austin, the fan-favorite art team who’d brought the Uncanny X-Men book to new heights of popularity.

I also picked up issues #16 thru 20 that day. Issue #21, which featured Darth Vader’s first post-movie appearance in the comics, was in high demand and had sold out. Despite my disappointment from missing what was clearly a milestone issue in the series, it had been a successful haul, exposing me to a world (entire stores devoted to selling comics!) I never knew existed.

Little wonder that shortly afterwards I would expand my comic book buying habits to include more books from Marvel as well as DC—a hobby that would continue through my teenage years and carry on through my adult life.

I’ll dive into how those early days played out in the next and final installment of My Love Affair with Comic Books. Spoiler alert: Forty-plus years later I’m still collecting comics.

Issue #16 is unique for several reasons.

The main protagonist is Valance the Hunter, brainchild of writer Archie Goodwin. Bursting with attitude, the droid-hating Valance is a memorable addition to the Star Wars mythos.

This was artist Walt Simonson’s first foray into the Star Wars universe. He would return as penciler for issue 49 and then join with writer David Michelinie for an acclaimed run in issues 51 thru 66 during the series’ post-Empire period. He was also the cover artist on Star Wars Annual #1 and contributed inks over Al Williamson’s pencils in the landmark 50^th issue.

Issue #16 was the first and only issue in the series’ long one hundred and seven issue history to not feature any of main the characters from the films—a pretty bold move for a series so early in its run. Luke and the gang make only a brief appearance in a series of flashback vignettes depicting the Hunter’s musings.

Armed with a compelling, tragic backstory and a cool arsenal, the character proved popular enough to make two return appearances later in the series.

Issue #17 is a fun flashback story telling an untold tale from Luke’s past life on Tatooine. Uncle Owen and Aunt Beru make an appearance, along with Luke’s childhood friend Biggs.

The story is notable in that we get to see Luke’s T-16 Skyhopper in action. The Skyhopper was first seen briefly in A New Hope. (Luke’s playing with a model of the ship in the screenshot below, while the actual Skyhopper can be seen parked outside the door, screen right of See Threepio.)

Issues #18 thru 23 kicked off a multi-part epic filled with political intrigue and Imperial skullduggery aboard a huge space station gambling casino known as the Wheel.

Gene Day and Bob Wiacek took over the inks as of issue #18, each working on alternating issues. I believe this was partly due to the demands of the Star Wars Weekly reprint series being published in the UK.

By the time Star Wars issues #24 and 25 had come out on the stands I’d gotten ahold of the Dark Lord’s return in issue #21. It did not disappoint, hinting at a future confrontation between Valance the Hunter and Darth Vader.

Issues #25 and 26 introduced villain Baron Orman Tagge into the mix.

Orman is the elder brother of Imperial Commander Cassio Tagge, whom we met on the ill-fated Death Star in A New Hope. Cassio served as the battle station’s Chief of Military Operations.

Other Tagge family members (brothers Silas and Ulric and their deadly sister Domina) would appear in future issues to plague our heroes.

Issue #27 saw the return of Valance the Hunter as he tracks down Luke Skywalker, intent on killing him. The encounter leaves Valance a changed man, forcing him to re-evaluate his hatred of droids.

Issue #29 is one of my favorite issues of the entire series. It features an epic showdown between Darth Vader and Valance the Hunter in which Valance makes the ultimate sacrifice to keep Vader from discovering the identity of the man who destroyed the Death Star.

All the while I was watching the second episode of The Mandalorian I couldn’t help but think back to issue #32 in which Han, Luke and Chewie team up with the Jawas against the Empire.

Issue #33 is special to me because the letters column featured my first-ever letter published in a Marvel comic—gushing with praise for issue #29. I wish I could reprint it here, but I don’t have access to my old comics at the moment.

Issue #38 was drawn by the amazing Michael Golden, whose work I loved on Batman and The Micronauts. The beautiful art speaks for itself.

Unlike Roy Thomas, Archie Goodwin stuck to a more straightforward approach for his adaptation of The Empire Strikes Back in issues #39 thru 44

It featured gorgeous artwork by the legendary Al Williamson and Carlos Garzon.

These first 44 issues easily remain some of my favorite comic books of all time. I’ve re-read those issues more than any other comics in my collection. I never get tired of them, and even just writing about them now makes me want to re-visit them again.

Issue #50 was Archie Goodwin’s swan song as writer on the monthly series.

The post-Empire period proved tricky because of the plight of Han Solo. Left frozen in carbonite at the end of The Empire Strikes Back, the popular character was unavailable for use.

The new creative team of writer David Michelinie and artists Walt Simonson and Tom Palmer more than rose to the challenge.

One of their biggest contributions to the Star Wars universe was a character named Shira Brie. Introduced as a capable Rebel pilot and possible love interest for Luke, she was later revealed to be an agent of the Empire.

Writer Jo Duffy would pick up the writing reins after Michelinie’s departure, aided by artists Ron Frenz and Tom Palmer, and later Cynthia Martin. Jo had a great handle on the characters, injecting some humor into the proceedings.

Archie Goodwin and Al Williamson would return for the adaptation of Return of the Jedi, which was published as a separate mini-series.

Han Solo’s return to the monthly book was chronicled in issue #81’s “Jawas of Doom”—an issue which came to mind while watching The Mandalorian’s second episode, much like did issue #32’s “The Jawa Express”.

Jo Duffy continued to introduce cool new concepts and alien races into the mix, including a mysterious new villain named Lumiya—later revealed to be Shira Brie.