Star Wars Sunday Page by Al Williamson from 1/13/1982 Large Half Page Size

Star Wars Sunday Page by Al Williamson from 1/13/1982 Large Half Page Size

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Star Wars Sunday Page by Al Williamson from 1/13/1982 Large Half Page Size:
$8.00

This is a Star WarsSunday Pageby Al Williamson and Archie Goodwin.Fantastic Artwork!This wascut from the original newspaper Sunday comics section of 1982 (Fifth Year!). Size: ~11 x 15 inches (Half Full Page). Paper:some have light tanning, a few have small archival repairs, otherwise: Excellent!Bright Colors! Pulled from loose sections!(Please Check Scans) Please include $5.00 Total postage on any size order (USA) $16.00 International Flat Rate. I combine postage on multiple pages. Check out my other sales for more great vintageComic strips and Paper Dolls.Thanks for Looking!

Al WilliamsonFrom Wikipedia, the free encyclopediaAl WilliamsonBornAlfonso Williamson
March 21, 1931
New York City, New York, U.S.DiedJune 12, 2010(aged79)
Upstate New AwardBest Inker (1991, 1997)
Eisner AwardHall of Fame (2000)
Inkwell AwardsJoe Sinnott Hall of Fame (2010)

Born in New York City, he spent much of his early childhood inBogotá,Colombiabefore moving back to the United States at the age of 12. In his youth, Williamson developed an interest incomic strips, particularlyAlex Raymond\'sFlash Gordon. He took art classes atBurne Hogarth\'sCartoonists and Illustrators School, there befriending future cartoonistsWally WoodandRoy Krenkel, who introduced him to the work of illustrators who had influenced adventure strips. Before long, he was working professionally in the comics industry. His most notable works include hisscience-fiction/heroic fantasyart forEC Comicsin the 1950s, on titles includingWeird ScienceandWeird Fantasy.

In the 1960s, he gained recognition for continuing Raymond\'s illustrative tradition with his work on theFlash Gordoncomic-book series, and was a seminal contributor to theWarren Publishing\'s black-and-whitehorror comicsmagazinesCreepyandEerie. Williamson spent most of the 1970s working on his own credited strip, another Raymond creation,Secret Agent X-9. The following decade, he became known for his work adaptingStar Warsfilms to comic books and newspaper strips. From the mid-1980s to 2003, he was primarily active as aninker, mainly onMarvel Comicssuperherotitles starring such characters asDaredevil,Spider-Man, andSpider-Girl.

Williamson is known for his collaborations with a group of artists includingFrank Frazetta,Roy Krenkel,Angelo Torres, andGeorge Woodbridge, which was affectionately known as the \"Fleagle Gang\". Williamson has been cited as a stylistic influence on a number of younger artists, and encouraged many, helping such newcomers asBernie WrightsonandMichael Kalutaenter the profession. He has won several industry awards, and six career-retrospective books about him have been published since 1998. Living in Pennsylvania with his wife Corina, Williamson retired in his seventies.

Williamson was inducted into theWill Eisner Comic Book Hall of Famein 2000.

Contents[hide]
  • 1Biography
    • 1.1Early life and career
    • 1.21950s
    • 1.31960s
    • 1.41970s
    • 1.51980s
    • 1.61990s
    • 1.7Later life and career
  • 2Legacy
  • 3Awards
  • 4References
  • 5Further reading
  • 6External links

Biography[edit]Early life and career[edit]

Al Williamson was born inManhattan, New York City, New York,[1]one of two children of Sally and Alfonso Williamson, who was ofScottishdescent and aColombiancitizen. The family relocated toBogotá, Colombia, when Al was two years old.[5]\"My father was Colombian and my mother was American,\" Williamson said in 1997. \"They met in the States, got married and went down there. I grew up down there so I learned both English and Spanish at the same time. It was comic books that taught me to read both languages.\"[6]At age nine, Williamson took an interest in comic strips via theMexicanmagazinePaquin, which featured American strips as well asUnderwater EmpirebyArgentinecartoonistCarlos Clemen. Later, Williamson was attracted toAlex Raymond\'sFlash Gordonstrip after his mother took him to see theFlash Gordon Conquers the Universemovie serial.[7]While living in Bogotá he met future cartoonist Adolfo Buylla, who befriended him and gave him artistic advice.[8]At age 12, in 1943, Williamson moved with his mother toSan Francisco, California; they later moved to New York.[5][9]

Late 1940s sketch

In the mid-1940s Williamson continued to pursue his interest in cartooning and began to take art classes withTarzancartoonistBurne Hogarth, and later at Hogarth\'sCartoonists and Illustrators School. There he met future cartoonistsWally WoodandRoy Krenkel. According to Williamson, \"Roy broadened my collecting horizons, he became my guide to all the great illustrators — the artists who directly influenced adventure cartoonists like [Alex] Raymond and[Hal] Foster. He showed meJ.C. Coll,Franklin Booth,Joseph Franke,Dan Smith,Norman Lindsay,Fortunino Matania, and the greatBlue Bookillustrators likeHerbert Morton StoopsandFrank Hoban.\"[10]As he continued to learn about the cartooning field, he would visit the comic-book publisherFiction House, meeting such artists asGeorge Evans,Bob Lubbers,John Celardo, andMort Meskin.[11]

Williamson\'s first professional work may have been helping Hogarth pencil someTarzanSunday pages in 1948,[12]although Williamson, who had initially believed so, reconsidered in a 1983 interview and recalled that hisTarzanwork had come after his first two pieces of comic-book art: providing spot illustrations for the story \"The World\'s Ugliest Horse\"[13]inEastern Color\'s seminal seriesFamous Funnies#166 (May 1948),[14]and a two-pageBoy Scoutsstory, his first comics narrative, inNew Heroic Comics#51 (Nov. 1948).[13][15][16](Williamson is also identified as co-penciler, withFrank Frazetta, of a three-page crime story, \"The Last Three Dimes\", inStandard Comics\'Wonder Comics#20 [Oct. 1948])[16]Williamson explained that while Hogarth had offered himTarzanwork, Williamson \"just couldn\'t do it. ... I couldn\'t get it into my little brain that he wanted me to do it exactly the way that he did it,\" and instead successfully recommended Celardo, artist of theTarzan-likefeature \"Ka\'a\'nga\" in Fiction House\'sJungle Comics.[13]As Williamson recalled:

...Hogarth got in touch with [Celardo], and the next thing you knew, he was penciling the Sunday page for him. He did it for quite some time and something must have happened ... but at that point I was going to the Hogarth school again in the evenings ... and he asked me again if I would like to give it a try, so I said OK. He gave me a page and he had already laid it out, so I just tightened it up. Then he gave me another page that I tightened up and he inked it. Then I said I\'d like to try laying it out myself and asked if I could do that, and he said, \'Go ahead, Al,\' and handed me the script. So I laid that page out on a sketchpad. He said fine and just made a couple of suggestions as to what I should do; then I just did it on the big Sunday page, and when I was through, he inked it and the other one I had done the same way, and that was it.[17]

During this period Williamson met his main stylistic influence, Raymond: \"I had just turned 18. I had been in the business about six months or so. He gave me about two hours.\"[18]

1950s[edit]

From 1949 to 1951, Williamson worked onscience-fictionandWesternstories for publishers such asAmerican Comics Group(AGC),Avon Publications,Fawcett Comics,Standard Comics, and, possibly,Toby Press.[16]He began collaborating withFrank Frazetta, who often inked his work; and withRoy Krenkel, who often did backgrounds.[19]Examples of his work from that period include \"Chief Victorio\'s Last Stand\", in Avon\'sChief Victorio\'s Apache Massacre(no number, no month, 1951); \"Death in Deep Space\", inMagazine Enterprises\'Jet#4 (no month, 1951); and \"Skull of the Sorcerer\", in ACG\'sForofferden Worlds#3 (Dec. 1951), inked byWally Wood[16][20]

Five Williamson panels from \"50 Girls 50\", inEC Comics\'Weird Science#20 (Aug. 1953).

In 1952, upon the suggestion of artists Wally Wood andJoe Orlando,[21]Williamson began working forEC Comics, an influential comic book company with a reputation for quality artists.[22]While at EC, Williamson frequently collaborated with fellow artistsFrank Frazetta,Roy KrenkelandAngelo Torres, a group which, along withNick MeglinandGeorge Woodbridge, became affectionately known as the \"Fleagle Gang\", named after a notorious criminal gang.[23]Williamson primarily worked on EC\'s science fiction comicsWeird Science,Weird Fantasy, andWeird Science-Fantasy, illustrating both original stories, primarily by writerAl Feldstein, and adaptations of stories by authors such asRay Bradbury[24]andHarlan Ellison,[25]but his work occasionally appeared in EC\'shorrorandcrime comicsas well.

Williamson worked at EC through 1956 until the cancellation of most of the company\'s line. Williamson\'s EC art has been lauded for its illustrative flamboyance, evident in such stories as \"I, Rocket\", inWeird Fantasy#20 (Aug. 1953), co-penciled and co-inked withFrank Frazetta; and \"50 Girls 50\", inWeird Science#20 (Aug. 1953), co-inked by Williamson and Frazetta.[16][26]His final published EC story was the 10-page \"A Question of Time\", inShock Illustrated#2 (Feb. 1956) with partial inking by Torres, who put his initials on the last page.[16]In the fall of 1956, writerLarry Ivieintroduced Williamson to future comics writers-editorArchie Goodwin, with whom he would become friends and, later, a frequent collaborator. Williamson eventually helped Goodwin enter the comics field, having him script aHarvey Comicsstory, \"The Hermit\", penciled byReed Crandalland inked by Williamson.[27]

From 1955 to 1957, Williamson produced over 400 pages of three-to-five-page stories forAtlas Comics, the 1950s forerunner ofMarvel Comics, working in various genres but primarilyWesterns. He continued to collaborate with Torres and Krenkel, as well as withGray Morrow,George Woodbridgeand Ralph Mayo.[28]With Mayo, one of the first editors to give Williamson work, atStandard Comics, Williamson collaborated on thejungle girlseriesJann of the Jungle#16–17 (April and June 1957). Following Mayo\'s death, Williamson drew stories solo for the planned #18, but the series was abruptly canceled before that issue could be published.[29]His \"prolific though somewhat uneven two-year stint at Atlas\",[30]where he first drewwar comics, yielded superlative art in such stories as \"The City That Time Forgot\", inMarvel Tales#144 (March 1956); \"Menace from the Stars\", inMystery Tales#44 (Aug. 1956); \"The Unknown Ones\", inAstonishing#57 (Jan. 1957); \"Dreadnaught\", inNavy Tales#2 (March 1957); and \"Helpless\", inBattle#55 (Nov. 1957).[16][30][31]While \"something appeared to be missing from a lot of his Atlas work: enthusiasm,\" Williamson\'s Atlas Westerns, at least, \"form a strongly consistent body of work, characterized by minimal to nonexistent action, a preponderance of closeups and reaction shots, and well-defined figures set against sparse backgrounds.\"[30]

From 1958 to 1959 Williamson worked forHarvey Comicscollaborating with former EC artistsReed Crandall, Torres and Krenkel and inking the pencils ofJack Kirby(forRace to the Moon#2–3 andBlast-Off#1). On inking Kirby, Williamson relates: \"I remember going up to Harvey and getting work there. They said, \'We haven\'t got any work for you, but we have some stories here that Jack penciled. Do you want to ink them?\' I\'d never really inked anybody else before, but I said, \'Sure,\' because I looked at the stuff, and thought, I can followthis, it\'s all there. I inked it and they liked it, and they gave me three or four stories to do.\"[32]

Additionally, Williamson drew stories forClassics Illustrated(in collaboration with Crandall and Woodbridge);Canaveral Press\'s line ofEdgar Rice Burroughsbooks (inked by Crandall);[33]Westerns forDell Comics(includingGunsmoke#8–12) andCharlton Comics, including two complete issues of the Cheyenne Kid, (#10–11) with Angelo Torres, and science-fiction stories for ACG, including \"The Vortex\", inForofferden Worlds#69 (1958).[28]He also worked with former EC artistJohn Severinon the \"American Eagle\" feature inPrize Comics Western#109 and 113 (1955).

Williamson\'s work during this decade was his most prolific in terms of comic book work and has garnered considerable praise for its high quality.[34]He has been noted for his perfectionism and love for the medium.[35]Despite its high reputation, S.C. Ringgenberg felt that Williamson\'s artwork from this period could at times be uneven and uninspired.[36]Williamson was single during this period and, according toThe Art of Al Williamson, had a bohemian and undisciplined lifestyle.[37]

1960s[edit]

In 1960, with little work to be found in the comic book field due to a downturn in the industry, he went to work as an assistant toJohn Prenticeon the Alex Raymond-created comic stripRip Kirbyfor a three-year period.[28]According to Williamson: \"The reason that I was called in to help him out was that John had decided to go to Mexico and Mac [Al McWilliams], John\'s prior assistant, didn\'t want to go... The deal was: would I be willing to go to Mexico?... and I said \'Si!\'...\"[38]It proved to be a solid learning period for Williamson, as he credits Prentice with teaching him many fundamental illustration methods.[39]According to Prentice: \"...he was terrific. He\'s the best guy I ever had by far.\"[40]During that time, Williamson assistedJohn Cullen Murphyon theBig Ben Boltboxing strip andDon Sherwoodon the stripDan Flagg.[41]He produced some sample pages for a proposedSunday stripversion ofModesty Blaise.[42]

Williamson panel fromKing FeaturesFlash Gordon#1 (Sept. 1966)

He returned to comics in 1965 doing one story each inGold Key Comics\'Ripley\'s Believe It or Not!#1 (June 1965),The Twilight Zone#12 (Aug. 1965), andBoris KarloffTales of Mystery#11 (Sept. 1965), and helped launchWarren Publishing\'s black-and-white horror-comics magazinesCreepyandEeriewith several stories in early issues, while contributing to Warren\'swar comicsmagazineBlazing Combat. He was instrumental in recruiting other formerEC Comicsartists as Frazetta, Krenkel, Torres, Crandall, and Evans, as well as artistGray Morrowand writer-editorArchie Goodwin.[43]

In 1966, he drew the first issue (Sept. 1966) of a newFlash Gordoncomic book series, published byKing Features. Williamson\'s work received positive reader response, and returned to draw issues #4–5 (March and May 1967), as well as the cover of #3 (Jan. 1967). Williamson received aNational Cartoonist SocietyBest Comic Book art award for his work on that title.[44]In 1967, on the strength of a backup feature he had done in theFlash Gordonbook, he took over another Alex Raymond creation, the long-runningSecret Agent X-9comic strip, collaborating with writer Goodwin.[45]At the start of their tenure, the title was changed toSecret Agent Corrigan.[46]

Williamson helped assemble the first major book on Alex Raymond\'sFlash Gordon, published byNostalgia Pressin 1967, and wrote the introduction.[47]In 1969,Wally Wood\'s alternative-press comic bookwitzend#1 published Williamson\'s \"Savage World\", a 1956 story originally drawn for aBuster Crabbecomic book that had been cancelled. With significant contributions by Frazetta, Krenkel, and Torres, the story is a prime sample of the \"Fleagle Gang\" style and has since been reprinted byMarvel Comics(in the black-and-white comics magazineUnknown Worlds of Science Fiction#1, January 1975),Pacific ComicsandKitchen Sink Press.[48]Wood would later write the script for a three-page story drawn by Williamson, \"The Tube\", in another alternative-press comic, publisherFlo Steinberg\'sBig Apple Comix(1975).

By the end of the decade, Williamson was beginning to encourage younger artists whom he would meet atcomic book conventions, helpingBernie Wrightsonto enter the comics Agent Corriganpanel (December 1, 1972) shows Williamson\'s skill with inking and contrasting techniques.

Williamson worked onSecret Agent Corriganthrough the 1970s until he left the strip in 1980. The first Corrigan anthology was published in France in 1975,Le FBI joue et gagne, reprinting Williamson\'s first episode on the feature.[50]He returned toWarren Publishingin 1976 and again in 1979 to draw three additional stories inCreepy(#83, 86, 112). These were published in France in the collectionAl Williamson: A la fin de l\'envoiin 1981.[51]

He drew a few more stories forGold Key Comics, inGrimm\'s Ghost Stories#5 and 8 (Aug. 1972, March 1973), andThe Twilight Zone#51 (Aug. 1973), as well two mystery stories forDC Comics, inThe Witching Hour#14 (May 1971), with inkerCarlos Garzon, andHouse of Mystery#185 (April 1970), withMichael Kaluta, another artist whom he helped enter the professional field, assisting him.[52]Comics historianLes Danielsnoted that \"Williamson\'s atmospheric technique, which relied on subtle textures as much as hard lines, was not typical of traditional DC art\" and that editor Joe Orlando \"got complaints from the production department\" over using Williamson\'a art.[53]He drew various Flash Gordon illustrations.[54]In the burgeoning fan movement, Williamson became an early subject of comics historians with the publication of Jim Vadeboncoeur\'sAl Williamson: His Workin 1971[55]and the \"Al Williamson Collector\" by James Van Hise, featured in the fanzineRocket\'s Blast Comicollectorin the early 1970s.[56]Samples of his sketches appear in variousfanzinesof the period.[57]Marvel Comicsbegan regularly reprinting Williamson\'s 1950Atlas ComicsWestern stories, starting withTheRingo Kid#1 (Jan. 1970) andKid ColtOutlaw#147 (June 1970), further introducing Williamson\'s early work to a latter-day generation.

1980s[edit]

After leaving theSecret Agent Corrigandaily strip, he illustrated theMarvel ComicsadaptationofThe Empire Strikes Backwith Carlos Garzon,[58]as well as the 50th issue of the monthlyStar Warscomic. Williamson wasLucasfilms\' first choice as illustrator for theStar Warsnewspapercomic strip, a project Williamson had been offered years earlier but had declined to take on at the time. He was offered theEmpire Strikes Backadaptation upon Lucasfilm\'s specific request, asGeorge Lucashad an appreciation of Williamson\'s EC Comics and Flash Gordon work.[59]Writer Archie Goodwin cited \"the comfort of knowing that I would be working with Al Williamson, an old friend that I\'ve worked with over the years. He was absolutely the bestStar Warsartist you could ever want to have. That makes it easier because you feel that whatever you do as a writer, you have an artist that will make it look great. He\'s also an artist that Lucasfilm kind of begged and pleaded for and always wanted to have doStar Warsmaterial. There was that comfort factor in it as well.\"[60]

A comic book adaptation of theDino De Laurentiis\' film,Flash Gordon,written by Bruce Jones and illustrated by Al Williamson, was released by Western Publishing in both hardcover and softcover formats to coincide with the film\'s release. A photograph of actorSam J. Jones, who played Flash Gordon, was pasted into the original cover art. It was serialized in three issues of Whitman\'sFlash Gordoncomic book, #31–33, March–May 1981.Alden McWilliamsinked the backgrounds for the last 25 pages. According to Williamson, \"It was the hardest job I ever had to do in my life.\"[61]He then began drawing theStar Warscomic strip in February 1981[62]followingAlfredo Alcala\'s tenure, with Goodwin writing. He drew the daily and Sunday feature until March 11, 1984, when the strip was canceled.[63]Williamson\'s daily strips on this series were completely reprinted in Russ Cochran\'s three-volume slipcase edition in 1991.[64]

Returning to comic books full-time for the first time since 1959, Williamson began work forPacific Comics, collaborating with writerBruce Jonesfor theAlien Worldstitle (#1, 4, 8), and \"Cliff Hanger\", a six-issue adventure-strip backup feature in theSomerset Holmesminiseries. For Marvel, he illustrated theBlade RunnerandReturn of the Jedimovie adaptations.[65]The two Archie Goodwin stories he illustrated forEpic Illustrated(\"Relic\" in issue #27, 1984; and \"Out of Phase\", in #34, 1986) have been considered to be some of his finest work,[66]and Williamson himself named \"Relic\" as one of his best works.[33]He drew a short story forTimespirits#4 and the full issue ofStar Wars#98.[16]ForDC Comics, he penciled and inked an eight-page story byElliot S. MagginforSuperman#400 (Oct. 1984)[67]and he inkedRick Veitchon the classic, oft reprintedAlan MooreSuperman/Swamp Thingstory \"The Jungle Line\" inDC Comics Presents#85 (Sept. 1985).[16]

Following the expiration of his contract on theStar Warsnewspaper strip, Williamson found that the weight of doing both pencil and inks suddenly became stressful to him, drastically reducing his output.[33]As a response to this, in the mid-1980s Williamson made a successful transition to becoming strictly aninker, beginning at DC Comics inkingCurt SwanonSuperman#408–410 and #412–416. The longtime Man of Steel artist would later describe Williamson as \"his favorite inker\".[68]Williamson then moved to Marvel where he inked such pencillers such asJohn Buscema,Gene Colan,Rick Leonardi,Mike Mignola,Pat Oliffe,John Romita Jr.,Lee Weeks, and many others.John Romita Sr., Marvel\'sart directorduring that time, considered Williamson to be \"one of the best pencillers in the world but he really can\'t make a living at penciling because he wants to do these beautifully pencilled pages with ample time to do them. That\'s why Al is inking now ... and adding a greater dimension to the penciller he\'s working with.\"[69]He won nine industry awards for Best Inker between 1988 and 1997.

1990s[edit]Williamson promotional art for cover ofDark Horse Comics\'Classic Star Wars:Han Soloat Star\'s End(1997)

Williamson provided the covers and additional artwork forDark Horse Comics\' 20-issueClassic Star Wars(Aug. 1992 – June 1994), which reprinted hisStar Warsdaily strips. He later inked theStar Wars: Episode I – The Phantom MenaceandA New Hopefilm adaptations for the company. Through 2003, he was active as inker on severalMarvel Comicstitles, 2099(#1–25), andSpider-Girl(#1–61), and such non-superhero projects as the four-issue Marvel /Epic ComicsminiseriesAtomic Age(Nov. 1990 – Feb. 1991), by writerFrank Loveceand pencilerMike Okamoto, for which Williamson won a 1991Eisner Awardfor Best Inker.DaredevilpencilerJohn Romita Jr.recalled that, \"Working with Al Williamson was much like working with my father [comics artistJohn Romita Sr.] in that I felt that I was protected from mistakes. ... If my art wasn’t correct, then Al would repair it. Oddly enough, Al said he never had to fix anything, claiming he just \'traced\' over my pencils.\"[70]In a 1988 interview Williamson indeed stated that \"I\'m just tracing [Romita\'s] pencils\" and claimed that the only changes he made were occasionally leaving out an unnecessary background if he was in a rush.[33]

In 1995, Marvel released a two-partFlash Gordonminiseries written byMark Schultzand drawn by Williamson, which was his last major work doing both pencils and inks. Also with Schultz, he illustrated the short story \"One Last Job\" forDark Horse Presents#120 in 1997. In 1999, he drew theFlash Gordoncharacter a final time when regular cartoonistJim Keefeasked for his help on aFlash GordonSunday page.[71]

Later life and career[edit]

Since 1998, there have been six career retrospective books published (see \"Further Reading\" section). Williamson cooperated with their production, with the exception of the books from Pure Imagination. He was interviewed for the 2003Frank FrazettadocumentaryPainting with Fire, along with fellow surviving \"Fleagle Gang\" membersAngelo TorresandNick Meglin.[72]In 2009, a Williamson illustratedSub-Marinerstory written by Schultz and dedicated to Sub-Mariner creatorBill Everettwas published.[73]The story itself was originally drawn ten years previously.[74]Williamson illustrated a \"Xenozoic Tales\" story written by Schultz that remains unpublished.[75]

Living in Pennsylvania with his wife Corina,[76]Williamson retired in his seventies[77]and died on June 12, 2010, inUpstate New York.[1]Some premature reports, based on unsubstantiatedTwitterclaims, erroneously gave June 13, 2010.[78][79]

Legacy[edit]

Williamson has been a stylistic influence on a number of younger artists such asTom Yeates,[80]Mark Schultz,[81]Frank Cho,[82]Steve Epting,[83]Tony Harris,[84]Jim Keefe,[85]Dan Parsons,[86]Dave Gibbons[87]andPaul Renaud.[88]

Awards[edit]
    1966National Cartoonists SocietyAward for Best Comic Book[89]
  • 1966Alley Awardfor Best Pencil Work[90]
  • 1967 Alley Award for \"Best Feature Story\" (for \"Lost Continent of Mongo\" fromFlash Gordon#4)[91]
  • 1969Nova Awardfor excellence in illustrative art.[92]
  • 1984Inkpot Award[93]
  • 2010Inkwell AwardsJoe Sinnott Hall of Fame Award[94]

Harvey Award

    1988 Al Williamson, forDaredevil,Marvel Comics[95]
  • 1989 Al Williamson, forDaredevil, Marvel Comics[96]
  • 1990 Al Williamson, forDaredevil, Marvel Comics[97]
  • 1991 Al Williamson, forFafhrd and the Grey Mouser, Marvel Comics imprintEpic Comics[98]
  • 1993 Al Williamson, forSpider-Man 2099, Marvel Comics[99]
  • 1994 Al Williamson, forSpider-Man 2099, Marvel Comics[100]
  • 1995 Al Williamson, forSpider-Man 2099, Marvel Comics[101]

Eisner Award

    1989 Nominee, Best Art Team, forDaredevil, Marvel Comics, with pencilerJohn Romita Jr.[102]
  • 1991 Winner, Best Inker, forAtomic Age, Marvel Comics imprint Epic Comics[103]
  • 1996 Nominee, Best Penciller/Inker forFlash GordonMarvel Comics imprintMarvel Select[104]
  • 1997 Winner, Best Inker, forThe Amazing Spider-ManandUntold Tales of Spider-Man#17–18, Marvel Comics[105]
  • 1998 Nominee,Hall of Fame[106]
  • 1999 Nominee, Hall of Fame[107]
  • 2000 Inductee, Hall of Fame (Voter\'s choice)[108][109]

Jack Kirby Hall of Fame

    Formally named finalist for induction in 1990,[97]1991,[98]and 1992.[110]
Star WarsFrom Wikipedia, the free encyclopediaThis article is about the film series and media franchise. For the original 1977 film, seeStar Wars (film). For other uses, seeStar Wars (disambiguation).Star WarsTheStar Warsfranchise\'s logo, introduced in the original filmA New HopeCreated byGeorge LucasOriginal workStar Wars(1977)Print publicationsNovel(s)List of novelsComicsList of comicsFilms and televisionFilm(s)

Trilogies:

    Original trilogy:
      IV – A New Hope(1977)
    • V – The Empire Strikes Back(1980)
    • VI – Return of the Jedi(1983)
  • Prequel trilogy:
      I – The Phantom Menace(1999)
    • II – Attack of the Clones(2002)
    • III – Revenge of the Sith(2005)
  • Sequel trilogy:
      VII – The Force Awakens(2015)
    • VIII – The Last Jedi(2017)
    • IX(2019)

Anthology films:

    Rogue One: A Star Wars Story(2016)
  • Solo: A Star Wars Story(2018)[1]

Animated film:

    The Clone Wars(2008)

TV films:

    Star Wars Holiday Special(1978)
  • Caravan of Courage(1984)
  • The Battle for Endor(1985)
Television series
    Untitled live-action series (2019)[2]
Animated series
    Droids(1985–1986)
  • Ewoks(1985–1986)
  • Clone Wars(2003–2005)
  • The Clone Wars(2008–2014)
  • Rebels(2014–present)
  • Forces of of role-playing gamesVideo game(s)List of video gamesAudioRadio program(s)Star Warsradio dramasOriginal musicMusic ofStar WarsMiscellaneousToysStar WarstoysTheme park attractionsStar Warstheme park attractions

    Star Warsis an Americanepicspace operamedia franchise, centered on afilm seriescreated byGeorge Lucas. It depicts the adventures of various characters \"a long time ago in a galaxy far, far away\".

    The franchise began in 1977 with the release of the filmStar Wars(later subtitledEpisode IV: A New Hopein 1981),[3][4]which became a worldwidepop culturephenomenon. It was followed by the successful sequelsThe Empire Strikes Back(1980) andReturn of the Jedi(1983); these three films constitute the originalStar Warstrilogy. A prequel trilogy was released between 1999 and 2005, which received mixed reactions from both critics and fans. Asequel trilogybegan in 2015 with the release ofStar Wars: The Force Awakens. All seven films were nominated forAcademy Awards(with wins going to the first two films released) and have been commercial successes, with a combined box office revenue of overUS$7.5billion,[5]makingStar Warsthethird highest-grossing film series.[6]Spin-offfilms include the animatedStar Wars: The Clone Wars(2008) andRogue One(2016), the latter of which is the first in a planned series ofanthologyfilms.

    The series has spawned an extensivemedia franchiseincludingbooks, television series,computer and video games,theme park attractionsandlands, andcomic books, resulting in significant development of the series\'fictional universe.Star Warsalso holds aGuinness World Recordstitle for the \"Most successful film merchandising franchise\". In 2015, the total value of theStar Warsfranchise was estimated atUS$42billion,[7][8]makingStar Warsthe second highest-grossing media franchise of all time.

    In 2012,The Walt Disney CompanyboughtLucasfilmforUS$4.06billion and earned the distribution rights to all subsequentStar Warsfilms, beginning with the release ofThe Force Awakensin 2015.[9]The former distributor,20th Century Fox, was to retain the physical distribution rights for the first twoStar Warstrilogies, was to own permanent rights for the original 1977 film and was to continue to hold the rights for the prequel trilogy and the first two sequels toA New Hopeuntil May 2020.[10][11]Walt Disney Studiosownsdigital distributionrights to all theStar Warsfilms, excludingA New Hope.[11][12]On December 14, 2017, the Walt Disney Company announced it is acquiring most of Fox\'s parent company,21st Century Fox, including the film studio and all distribution rights forA New Hope.[13]

    Contents[hide]
    • 1Setting
    • 2Theatrical films
      • 2.1Original trilogy
      • 2.2Prequel trilogy
      • 2.3The Clone Wars
      • 2.4Sequel trilogy
      • 2.5Anthology films
      • 2.6Future trilogy
    • 3In other media
      • 3.1Television
      • 3.2Print media
      • 3.3Audio dramas
      • 3.4Video games
      • 3.5Multimedia projects
      • 3.6Theme park attractions
    • 4Themes
      • 4.1Comparisons with historical events
    • 5Cultural impact
      • 5.1Industry
      • 5.2Fan works
      • 5.3Academia
    • 6Merchandising
    • 7See also
    • 8Notes
    • 9References
    • 10Bibliography
    • 11Further reading
    • 12External links
    Setting\"Star Wars galaxy\" redirects here. For the video game, seeStar Wars Galaxies. For the comic series namedStar Wars Galaxy, seeStar Wars (UK comics).See also:The Force (Star Wars)andList of Star Wars planets and moons

    TheStar Warsfranchise takes place in a distant unnamedfictional galaxyat an undetermined point in the ancient past, where many species ofaliens(oftenhumanoid) co-exist. People own roboticdroids, who assist them in their daily routines, andspace travelis common.

    The spiritual and mystical element of theStar Warsgalaxy is known as \"the Force\". It is described in the original film as \"an energy field created by all living things [that] surrounds us, penetrates us, [and] binds the galaxy together\".[14]The people who are born deeply connected to the Force have better reflexes; through training and meditation, they are able to achieve varioussupernaturalfeats (such andmind control). The Force is wielded by two major factions at conflict: theJedi, who harness the light side of the Force, and theSith, who use thedark side of the Forcethrough hate and aggression.

    Theatrical filmsMain article:List of Star Wars films and television seriesFilm trilogiesFilmRelease dateDirector(s)Screenwriter(s)Story byProducer(s)Distributor(s)Original trilogyEpisode IV –
    A New HopeMay25,1977George LucasGary Kurtz20th Century Fox[a]Episode V –
    The Empire Strikes BackMay21,1980Irvin KershnerLeigh BrackettandLawrence KasdanGeorge LucasEpisode VI –
    Return of the JediMay25,1983Richard MarquandGeorge Lucas[15]Lawrence Kasdan and George LucasHoward KazanjianPrequel trilogyEpisode I –
    The Phantom MenaceMay19,1999George LucasGeorge LucasRick McCallum20th Century Fox[a]Episode II –
    Attack of the ClonesMay16,2002George Lucas
    andJonathan HalesGeorge LucasEpisode III –
    Revenge of the SithMay19,2005George LucasSequel trilogyEpisode VII –
    The Force AwakensDecember18,2015J. J. AbramsLawrence Kasdan & J. J. Abrams andMichael ArndtKathleen Kennedy, J. J. Abrams andBryan BurkWalt Disney Studios Motion PicturesEpisode VIII –
    The Last JediDecember15,2017Rian JohnsonKathleen Kennedy andRam BergmanEpisode IXDecember20,2019[16]J. J. AbramsJ. J. Abrams &Chris Terrio[17][18]Kathleen Kennedy, Michelle Rejwan and J. J. AbramsStandalone filmsFilmRelease dateDirector(s)Screenwriter(s)Story byProducer(s)Distributor(s)Animated filmStar Wars:
    The Clone WarsAugust15,2008Dave FiloniHenry Gilroy, Steven Melching andScott MurphyGeorge Lucas andCatherine WinderWarner Bros.Anthology filmsRogue One:
    A Star Wars StoryDecember16,2016Gareth EdwardsChris WeitzandTony GilroyJohn KnollandGary WhittaKathleen Kennedy, Allison Shearmur & Simon EmanuelWalt Disney Studios Motion PicturesSolo:
    A Star Wars StoryMay25,2018[19]Phil Lord &
    Christopher MillerRon HowardLawrence Kasdan &Jon KasdanGeorge Lucas, the creator ofStar Wars, the director ofA New Hopeand the prequel trilogy, and the script supervisor of both the original and prequel trilogies. His work in the original film earned him Academy Award nominations, for best director, screenplay and film. In 2014, Lucas ceased creative involvement with the franchise.Original trilogy\"Original trilogy\" redirects here. For the video game, seeLego Star Wars II: The Original Trilogy.

    In 1971,Universal Studiosmade a contract for George Lucas to direct two films. In 1973,American Graffitiwas completed, and released to critical acclaim includingAcademy Awardnominations for Best Director and Original Screenplay for George Lucas. Months later, Lucas started work on his second film, by starting the script draft,The Journal of the Whillstold the tale of the training of apprentice CJ Thorpe as a \"Jedi-Bendu\" space commando by the legendary Mace Windy. After Universal rejected the film,20th Century Foxdecided to invest on it.[20]On April 17, 1973, Lucas felt frustrated about his story being too difficult to understand, so he began writing a 13-page script with thematic parallels toAkira Kurosawa\'sThe Hidden Fortress, this draft was renamedThe Star Wars.[21]By 1974, he had expanded the script into a rough draft screenplay, adding elements such as the Sith, the Death Star, and a protagonist named Annikin Starkiller. Numerous subsequent drafts would go through numerous drastic changes, before evolving into the script of the original film.

    Lucas insisted that the movie would be part of a 9-part series and negotiated to retain the sequel rights, to ensure all the movies would be made.Tom Pollock, then Lucas\' lawyer writes: \"So in the negotiations that were going on, we drew up a contract with Fox’s head of business affairs Bill Immerman, and me. We came to an agreement that George would retain the sequel rights. Not all the [merchandising rights] that came later, mind you; just the sequel rights. And Fox would get a first opportunity and last refusal right to make the movie.\"[22]

    Lucas was offered $50,000 to write, another $50,000 to produce, and $50,000 to direct the film.[22]Later the offer was increased.[23]

    Star Warswas released on May 25, 1977. It was followed byThe Empire Strikes Back, released on May 21, 1980, andReturn of the Jedi, released on May 25, 1983. The sequels were all self-financed byLucasfilm.[22]

    Theopening crawlof the sequels disclosed that they were numbered as \"Episode V\" and \"Episode VI\" respectively, though the films were generally advertised solely under their subtitles. Though the first film in the series was simply titledStar Wars, with its 1981 re-release it had the subtitleEpisode IV: A New Hopeadded to remain consistent with its sequel, and to establish it as the middle chapter of a continuing saga.[24]The plot of the original trilogy centers on the Galactic Civil War of the Rebel Alliance trying to free the galaxy from the clutches of theGalactic Empire, as well as onLuke Skywalker\'s quest to become aJedi.

    A New HopeMain article:Star Wars (film)The main cast members of the originalStar Warstrilogy, who reprised their characters in supporting roles on the sequel trilogy;from left:Carrie Fisher,Mark Hamill, andHarrison Ford(SDCC, July 2015).Cosplays of bounty hunterBoba Fett(left) and Sith lordDarth Vader(right), antagonist characters in the original trilogy (Fett has been digitally inserted into all director cuts ofA New Hopesince 1997). Vader\'s backstory became a central plot point inEmpire Strikes Back,Return of the Jedi, and the basis of the prequel trilogy.

    Near the orbit of the desert planetTatooine, a Rebel spaceship is intercepted by the Empire. Aboard, the deadliest Imperial agentDarth Vaderand hisstormtrooperscapturePrincess Leia Organa, a secret member of the rebellion. Before her capture, Leia makes sure the astromechR2-D2, along with the protocol droidC-3PO, escapes with stolen Imperial blueprints stored inside and a holographic message for the retired Jedi KnightObi-Wan Kenobi, who has been living in exile on Tatooine. The droids fall under the ownership of Luke Skywalker, an orphan farm boy raised by his step-uncle and aunt. Luke helps the droids locate Obi-Wan, now a solitary old hermit known as Ben Kenobi, who reveals himself as a friend of Luke\'s absent father, the Jedi Knight Anakin Skywalker. Obi-Wan confides to Luke that Anakin was \"betrayed and murdered\" by Vader (who was Obi-Wan\'s former Jedi apprentice) years ago, and he gives Luke his father\'s formerlightsaberto keep.[25]After viewing Leia\'s message, they both hire the smugglerHan Soloand hisWookieeco-pilotChewbaccato, aboard their space freighter theMillennium Falcon, help them deliver the stolen blueprints inside R2-D2 to the Rebel Alliance with the hope of finding a weakness to the Empire\'s planet-destroying space station: theDeath Star.[14]

    ForThe Star Warssecond draft, Lucas made heavy simplifications. It added a mystical energy field known as \"The Force\" and introduced the young hero on a farm as Luke Starkiller. Annikin became Luke\'s father, a wise Jedi knight. The third draft killed the father Annikin, replacing him with mentor figure Ben Kenobi. Later, Lucas felt the film would not in fact be the first in the sequence, but a film in the second trilogy in the saga. The draft contained a sub-plot leading to a sequel about \"The Princess of Ondos\", and by that time some months later Lucas had negotiated a contract that gave him rights to make two sequels. Not long after, Lucas hired authorAlan Dean Foster, to write two sequels as novels.[26]In 1976, a fourth draft had been prepared for principal photography. The film was titledAdventures of Luke Starkiller, as taken from the Journal of the Whills, Saga I: The Star Wars. During production, Lucas changed Luke\'s name to Skywalker and altered the title to simplyThe Star Warsand finallyStar Wars.[27]At that point, Lucas was not expecting the film to have sequels. The fourth draft of the script underwent subtle changes it discarded \"the Princess of Ondos\" sub-plot, to become a self-contained film, that ended with the destruction of the Galactic Empire itself by way of destroying the Death Star. However, Lucas previously conceived of the film as the first of a series. The intention was that ifStar Warswas successful, Lucas could adapt Dean Foster\'s novels into low-budget sequels.[28]By that point, Lucas had developed an elaborate backstory to aid his writing process.[29]

    Before its release, Lucas considered walking away fromStar Warssequels, thinking the film would be a flop. However the film exceeded all expectations. The success of the film, as well as its merchandise sales, and Lucas desire to create an independent film-making center. Both led Lucas to makeStar Warsthe basis of an elaboratefilm serial,[30]and use the profits to finance his film-making center,Skywalker Ranch.[31]Alan Dean Foster was already writing the first sequel-novelSplinter of the Mind\'s Eye, released in 1978. But Lucas decided not to adapt Foster\'s work, knowing a sequel would be allowed more budget. At first, Lucas envisioned a series of films with no set number of entries, like theJames Bondseries. In an interview withRolling Stonein August 1977, he said that he wanted his friends to each take a turn at directing the films and giving unique interpretations on the series.[citation needed]Also adding that the backstory in which Darth Vader turns to the dark side, kills Luke\'s father and fights Obi-Wan Kenobi on a volcano as the Galactic Republic falls would make an excellent sequel.[citation needed]

    The Empire Strikes BackMain article:The Empire Strikes BackLawrence Kasdanco-wroteThe Empire Strikes BackandReturn of the Jedi,The Force AwakensandSolo: A Star Wars Story.Ralph McQuarrie\'s sketches and conceptual art defined the aesthetics of the original trilogy, including the definitive designs of characters like Darth Vader, R2-D2, C-3PO, Chewbacca and sets like the Death Star, Dagobah, Bespin.[32]Right:Ben Burttcreated many of the iconic sound effects of the franchise, among them lightsaber sounds, the beeps of R2-D2, and Chewbacca\'s growls.

    Three years after the destruction of the Death Star, the Rebels are forced to evacuate their secret base onHothas they are hunted by the Empire. At the request of the late Obi-Wan\'s spirit, Luke travels to the swamp-infested world ofDagobahto find the exiled Jedi MasterYodaand begin his Jedi training. However, Luke\'s training is interrupted by Vader, who lures him into a trap by capturing Han and Leia atCloud City, governed by Han\'s old friendLando Calrissian. During a fierce lightsaber duel with the Sith Lord, Luke learns that Vader is his father.[33]

    After the success of the original film, Lucas hired science fiction authorLeigh Brackettto writeStar Wars IIwith him. They held story conferences and, by late November 1977, Lucas had produced a handwritten treatment calledThe Empire Strikes Back. It was similar to the final film, except that Darth Vader does not reveal he is Luke\'s father.[citation needed]

    Brackett finished her first draft in early 1978; in it, Luke\'s father appeared as a ghost to instruct Luke.[34]Lucas has said he was disappointed with it, but before he could discuss it with her, she died of cancer.[35]With no writer available, Lucas had to write his next draft himself. It was this draft in which Lucas first made use of the \"Episode\" numbering for the films;Empire Strikes Backwas listed asEpisode II.[36]As Michael Kaminski argues inThe Secret History of Star Wars, the disappointment with the first draft probably made Lucas consider different directions in which to take the story.[37]He made use of a new plot twist: Darth Vader claims to be Luke\'s father. According to Lucas, he found this draft enjoyable to write, as opposed to the yearlong struggles writing the first film, and quickly wrote two more drafts,[38]both in April 1978. This new story point of Darth Vader being Luke\'s father had drastic effects on the series.[39]After writing these two drafts, Lucas revised the backstory between Anakin Skywalker, Kenobi, and the Emperor.[40]

    With this new backstory in place, Lucas decided that the series would be a trilogy, changingEmpire Strikes BackfromEpisode IItoEpisode Vin the next draft.[38]Lawrence Kasdan, who had just completed writingRaiders of the Lost Ark, was then hired to write the next drafts, and was given additional input from directorIrvin Kershner. Kasdan, Kershner, and producerGary Kurtzsaw the film as a more serious and adult film, which was helped by the new, darker storyline, and developed the series from the light adventure roots of the first film.[41]

    Return of the JediMain article:Return of the Jedi

    A year after Vader\'s shocking revelation, Luke leads a rescue attempt to save Han from the gangsterJabba the Hutt. Afterward, Luke returns to Dagobah to complete his Jedi training, only to find the 900-year-old Yoda on his deathbed. In his last words Yoda confirms that Vader is Luke\'s father, Anakin Skywalker, and that Luke must confront his father again in order to complete his training. Moments later, the spirit of Obi-Wan reveals to Luke that Leia is his twin sister, but Obi-Wan also insists that Luke must face Vader again. As the Rebels lead an attack on the Death Star II, Luke engages Vader in another lightsaber duel asEmperor Palpatinewatches; both Sith Lords intend to turn Luke to the dark side of the Force and take him as their apprentice.[42]

    By the time Lucas began writingEpisode VIin 1981 (then titledRevenge of the Jedi), much had changed. MakingEmpire Strikes Backwas stressful and costly, and Lucas\' personal life was disintegrating. Burned out and not wanting to make any moreStar Warsfilms, he vowed that he was done with the series in a May 1983 interview withTimemagazine. Lucas\' 1981 rough drafts had Darth Vader competing with the Emperor for possession of Luke—and in the second script, the \"revised rough draft\", Vader became a sympathetic character. Lawrence Kasdan was hired to take over once again and, in these final drafts, Vader was explicitly redeemed and finally unmasked. This change in character would provide a springboard to the \"Tragedy of Darth Vader\" storyline that underlies the prequels.[43]

    Prequel trilogyJohn Williamscomposed thescoresfor the original trilogy, the prequel trilogy,The Force AwakensandThe Last Jedi.

    After losing much of his fortune in a divorce settlement in 1987, George Lucas had no desire to return toStar Wars, and had unofficially canceled thesequel trilogyby the time ofReturn of the Jedi.[44]At that point, the prequels were only still a series of basic ideas partially pulled from his original drafts of \"The Star Wars\". Nevertheless, technical advances in the late 1980s and 1990s continued to fascinate Lucas, and he considered that they might make it possible to revisit his 20-year-old material. The popularity of the franchise was reinvigorated by theStar Wars expanded universestorylines set after the original trilogy films, such as theThrawntrilogyof novels written byTimothy Zahnand theDark Empirecomic book series published byDark Horse Comics. Due to the renewed popularity ofStar Wars, Lucas saw that there was still a large audience. His children were older, and with the explosion ofCGItechnology he was now considering returning to directing.[45]

    The prequel trilogy consists ofEpisode I: The Phantom Menace, released on May 19, 1999;Episode II: Attack of the Clones, released on May 16, 2002; andEpisode III: Revenge of the Sith, released on May 19, 2005.[46]The plot focuses on the fall of theGalactic Republic, as well as the tragedy of Anakin Skywalker\'s turn to the dark side.

    The Phantom MenaceMain article:Star Wars: Episode I – The Phantom Menace

    About 32 years before the start of the Galactic Civil War, the corruptTrade Federationsets a blockade around the planetNaboo. The Sith Lord Darth Sidious had secretly planned the blockade to give his alter ego, Senator Palpatine, a pretense to overthrow and replace the Supreme Chancellor of the Republic. At the Chancellor\'s request, the Jedi KnightQui-Gon Jinnand his apprentice, a younger Obi-Wan Kenobi, are sent to Naboo to negotiate with the Federation. However, the two Jedi are forced to instead help the Queen of Naboo,Padmé Amidala, escape from the blockade and plead her planet\'s crisis before the Republic Senate onCoruscant. When their starship is damaged during the escape, they land on Tatooine for repairs. Palpatine dispatches his first Sith apprentice,Darth Maul, to hunt down the Queen and her Jedi protectors. While on Tatooine, Qui-Gon discovers a nine-year-old slave named Anakin Skywalker. Qui-Gon helps liberate the boy from slavery, believing Anakin to be the \"Chosen One\" foretold by a Jediprophecyto bring balance to the Force. However, the Jedi Council (led by Yoda) suspects the boy possesses too much fear and anger within him.[47]

    By 1993, it was announced, inVarietyamong other sources, that Lucas would be making the prequels. He began penning more to the story, now indicating the series would be a tragic one examining Anakin Skywalker\'s fall to the dark side. Lucas also began to change how the prequels would exist relative to the originals; at first they were supposed to be a \"filling-in\" of history tangential to the originals, but now he saw that they could form the beginning of one long story that started with Anakin\'s childhood and ended with his death. This was the final step towards turning the film series into a \"Saga\".[48]In 1994, Lucas began writing the screenplay to the first prequel, initially titledEpisode I: The Beginning. Following the release of that film, Lucas announced that he would also be directing the next two, and began work onEpisode II.[49]

    Attack of the ClonesMain article:Star Wars: Episode II – Attack of the Clones

    Ten years after the Battle of Naboo, Anakin is reunited with Padmé, now serving as the Senator of Naboo, and they fall in love despite Anakin\'s obligations to the Jedi Order. At the same time, the entire galaxy gets swept up in theClone Warsbetween the armies of the Republic, led by the Jedi Order, and the Confederacy of Independent Systems, led by the fallen JediCount Dooku.[50]

    The first draft ofEpisode IIwas completed just weeks before principal photography, and Lucas hiredJonathan Hales, a writer fromThe Young Indiana Jones Chronicles, to polish it.[51]Unsure of a title, Lucas had jokingly called the film \"Jar Jar\'s Great Adventure\".[52]In writingThe Empire Strikes Back, Lucas initially decided that Lando Calrissian was acloneand came from a planet of clones which caused the \"Clone Wars\" mentioned by both Luke Skywalker and Princess Leia inA New Hope;[53][54]he later came up with an alternate concept of an army of clone shocktroopers from a remote planet which attacked the Republic and were repelled by the Jedi.[55]The basic elements of that backstory became the plot basis forEpisode II, with the new wrinkle added that Palpatine secretly orchestrated the crisis.[50]

    Revenge of the SithMain article:Star Wars: Episode III – Revenge of the Sith

    Three years after the start of the Clone Wars, Anakin and Obi-Wan lead a rescue mission to save the kidnapped Chancellor Palpatine from Count Dooku and the droid commanderGeneral Grievous. Later, Anakin begins to have prophetic visions of his secret wife Padmé dying in childbirth. Palpatine, who had been secretly engineering the Clone Wars to destroy the Jedi Order, convinces Anakin that the dark side of the Force holds the power to save Padmé\'s life. Desperate, Anakin submits to Palpatine\'s Sith teachings and is renamed Darth Vader. While Palpatine re-organizes the Republic into the tyrannical Empire, Vader participates in theextermination of the Jedi Order; culminating in a lightsaber duel between himself and his former master Obi-Wan on the volcanic planetMustafar.[56]

    Lucas began working onEpisode IIIbeforeAttack of the Cloneswas released, offering concept artists that the film would open with a montage of seven Clone War battles.[57]As he reviewed the storyline that summer, however, he says he radically re-organized the plot.[58]Michael Kaminski, inThe Secret History of Star Wars, offers evidence that issues in Anakin\'s fall to the dark side prompted Lucas to make massive story changes, first revising the opening sequence to have Palpatine kidnapped and his apprentice, Count Dooku, murdered by Anakin as the first act in the latter\'s turn towards the dark side.[59]After principal photography was complete in 2003, Lucas made even more massive changes in Anakin\'s character, re-writing his entire turn to the dark side; he would now turn primarily in a quest to save Padmé\'s life, rather than the previous version in which that reason was one of several, including that he genuinely believed that the Jedi were evil and plotting to take over the Republic. This fundamental re-write was accomplished both through editing the principal footage, and new and revised scenes filmed during pick-ups in 2004.[60]

    Jump up*Please note: collecting and selling comicshas been my hobby for over 30 years. Due to thehours of my job I can usually only mail packages out on Saturdays. I send out First Class orPriority Mail which takes 2 - 7 daysto arrive in the USAand Air Mail International which takes 5 - 30 days or moredepending on where youlive in the world. I do not \"sell\" postage or packaging and charge less than the actual cost of mailing. I package items securely and wrap well. Most pages come in an Archival Sleeve with Acid Free Backing Board at no extra charge. If you are dissatisfied with an item. Let me know and I will do my best to make it right.

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