In the year 2023, Star Wars fandom doesn’t know how good they’ve got it. Even with the stumbles, we now live in an era where new Star Wars films and glossy TV shows are persistently on the horizon. Multiple comics and novels exist to explore different characters and eras within the universe, with video games and theme parks available to interact with these locales in real-time. If anything, there is too much Star Wars content to truly absorb! The recent reprintings of runs from the de-canonized Legends comics provide a great window into a very different time in the franchise’s history. The final Epic Collection of the Marvel comic series form the 1980s is a real treat to discover, giving a glimpse into a very different Star Wars universe than the one we are now accustomed.
Prior to Dark Horse taking over the reins of the Star Wars comic universe, Marvel had rights to the property between 1977 and 1986. In the immediate years following the release of A New Hope, the larger plot and ethos of the universe had yet to materialize, even in the mind of George Lucas. That meant Marvel was able to fill in the holes and write stories that would later have to be de-canonized (even as soon as The Empire Strikes Back was released). Yet, even though the issues gathered in this collection (#89-107) all came after Return of the Jedi, you can tell that the door was still open as to what Star Wars would become after the end of the film trilogy.
There is too much plot to summarize in full, but the book focuses on standard Star Wars plot elements, with Luke learning to become a Jedi Master and the Rebellion moving from a resistance movement to guiding the Alliance of Planets. Lando, Han, Leia, and the droids all get ample moments to interact, and their characterization from the films is firmly established by this point in the series. Planets go to war, a new Dark Lord emerges, and our heroes must find a way to bring peace to the galaxy.
Most of these issues were written by Jo Duffy, a staple of Marvel comics from this era. Her lighthearted, comical approach to comics might not to everyone’s taste (especially current Star Wars fans), but I appreciate how charming her plotting and dialogue can be. Her writing gives this book such distinct character, which is not something most Star Wars comics can claim. Even though the book is lighthearted, there are moments of great tension. My favorite issue is #96, a predominantly visually narrated fight between Luke and Lady Lumiya. Cynthia Martin’s linework can be awkward at moments, but it presents the battle in a creative, yet peculiar and enchanting manner. I loved just looking at this issue, and as it concludes with a massive starship invasion by the Nagai, exhibiting just how stimulating this run of comics was.
Tonally, there is a jovial sense to these issues that are not present in more recent Star Wars comics. It’s downright silly at points, with cat like Hoojibs and insectoid Hiromi, to the flamboyant costumes, or even a reference to Guys and Dolls in issue #104. This is Star Wars in a playful incarnation. Sure, the universe always had strange and cute creatures, but the varieties that exist here seem designed specifically for a younger, comic reading audience. When placing these issues next its successors from the ’90s and beyond, the colors are so spirited and vibrant that it’s almost shocking to see in a Star Wars comic. Yet, it’s perfectly in-tune with the story being told and feels like a real journey down an alternate path for the franchise.
The final issues, while providing an adequate end to this story, felt rushed and imprecise in its execution. They clearly knew that this book was abruptly coming to an end, and major plot lines are quickly wrapped up. Even the art feels unfinished and scratchy, as if the artists were given little time to craft the visuals. This is recuring phenomenon in the comic industry, but it stands out when compared to the issues at begin this trade. Interestingly enough, Marvel did publish a sequel issue (#108) for this run decades later, which is thankfully collected here. It doesn’t look or feel anything like the original run, but it does try to fill in plot holes related to the cast’s mission to Mindor.
I’d argue that the issues collected in the final Epic Collection of The Original Marvel Years won’t be anyone’s favorite Star Wars tales, but that doesn’t mean they aren’t worth exploring. For those interested in a tonally dissimilar Star Wars Universe, removed from the culturally omnipresence it currently occupies, this trade offers a vibrant fresh air of adventure and fun. Frankly, Marvel would be wise to look back at the tone of these issues when considering future Star Wars projects, as not everyone in a galaxy, far, far away needs to be dour and gray.
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