Sequel Trilogy Companion Comics
It has been over a year since the sequel trilogy concluded, and though both other Star Wars trilogies inspired a variety of ambitious and complex spinoff comics during their heydays and wakes, the sequel trilogy has not. “The Rise of Skywalker” has not even gotten a comic adaptation -- the only SW movie to lack this honor. While Luke continued to fight his dad in newspapers and Marvel comics throughout the 80s, and Anakin kept lying to his teacher on the pages of Dark Horse and in early webcomics throughout the 00s, we haven’t heard much more, comic-wise, about Rey and Kylo’s will-they-won’t-they now in the 20s (besides the frustrating “The Rise of Kylo Ren,” which I will review soon).
The future of Star Wars -- both in terms of real-world media and fictional timeline -- is opaque to me. All upcoming projects seem to be prequels or in-between-quels, and there is an upsetting number of unresolved endings, especially for the protagonists. (Will they ever find Ezra? Are Mando and Grogu really separated forever? Will Finn become a Jedi?) So I won’t pretend to understand the lack of sequel-era comics, since I don’t understand even the higher-budget focuses of the franchise right now.
The lore-heavy Galaxy’s Edge theme park, the Star-Trek-like “Resistance” TV show, and a smattering of excellent books and short-form comics (especially the ones about Rose Tico) prove that the sequels’ setting can work just as well for spinoffs as any other era of Star Wars. But one obvious difficulty in creating more content set during the conflict between the First Order and the Resistance is the divisive, contradictory nature of the latter two films.
In fact, each of the sequel films have such distinct tones, themes, and messages, that I’ve found similar experiences reading comics set in completely different time periods. I wish there were multi-part comics with big casts and intricate themes inspired by the sequels’ settings and characters, but until then, here are three such comics that, in my opinion, could accompany each sequel film in spirit.
The Force Awakens: “TIE Fighter”
The most important thing that the sequel trilogy accomplished and that The Force Awakens established was shifting the focus to an all-new, more diverse set of characters. If the sequels had gone the route of the prequel trilogy and the EU books and comics, the story would have remained with the OT trio, their parents, their kids, and their girlfriends, almost all of whom are white.
Another intriguing premise from TFA is Finn’s stormtrooper backstory. Earlier SW movies had relied upon stormtroopers as cannon fodder, but Finn’s story humanizes them and shows that many are forced into service. This revelation complicates the violence of the OT’s Rebellion, since it is now possible that the Empire’s soldiers also had the capacity for heroism.
Like TFA, “TIE Fighter” features a cast of original characters of different races, and the story explores the humanity behind the Empire’s masks. “TIE Fighter” also shares some of TFA’s limitations: neither story can stand on its own, as they both lead so directly to a follow-up: TFA to TLJ, and “TIE Fighter” to the novel Alphabet Squadron.
“TIE Fighter,” issue 2. Marvel. May 15, 2019. Writer: Jody Houser. Pencillers: Rogê Antônio and Josh Cassara. Letterer: Joe Caramagna. Colorists: Arif Prianto and Neeraj Menon.
The Last Jedi: “Knight Errant”
I’ve talked before about my love for this series, but I don’t think I’ve mentioned how beautifully “Knight Errant” echoes my favorite movie of the sequel trilogy (and, honestly, one of my favorite movies of all time). “Knight Errant” and TLJ are both stories with big hearts and strong messages about hope, corruption, and searching for one’s purpose in life.
The two stories share similar characters -- a lonely leading lady, a disenchanted old Jedi, an ambiguous traitor, dwindling goodguys and unstoppable badguys -- and similar settings -- a rain-soaked planet symbolizing both depression and passion, exorbitant wealth on top of abject misery, fiery flashbacks of a demolished home. They even have plot points in common, such as the parallel with Luke’s triumphant return pictured above, and heartbreaking, unexpected revelations about our hero’s family. Victory is achieved through not only bravery, but trust (sometimes misplaced) and a clever magical trick that manipulates the villain’s wild emotions.
And unlike the abrupt endings of TFA and “TIE Fighter,” both TLJ and “Knight Errant” have endings that are open yet satisfying. Though the fight is not over, your imagination can fill in the bittersweet path forward.
If you’re going to check out “Knight Errant,” which I highly recommend you do, please keep your mental health safe. There are suicidal characters and themes, though I think they are addressed in an affirming and positive way. The story shows the value of life and hope in a way that has personally helped me through a dark time, just as TLJ’s belief in the power of failure and love has also meant so much to me.
“Knight Errant: Aflame,” issue 5. Dark Horse. February 16, 2011. Writer: John Jackson Miller. Penciller: Ivan Rodriguez. Inker: Belardino Brabo. Colorist: Michael Atiyeh.
The Rise of Skywalker: “Dark Empire”
TRoS was not the first Star Wars property to resurrect the Emperor -- “Dark Empire” had already done that back in the 90s, with a bit more explanation, flair, and nudity, though not necessarily any more purpose. I already reviewed “Dark Empire” back in August; in short, I find it disappointing. But while I can’t say I’m a fan of either the comic or TRoS, I admit that all three of us share a deep and abiding fondness for the institution of the Sith, in all its goth smugness.
Between TRoS, The Mandalorian, and The Bad Batch, Star Wars seems to be leaning into evil genetic manipulation right now, which is a bit too eugenics-y for me to get into. If you’d prefer your resurrections in a more Halloween-like flavor, with a side of lovable old hag and creepy rainbows, look no further than this historical relic of a Star Wars comic.
“Dark Empire I,” trade paperback. Dark Horse. May 1, 1993. Writer: Tom Veitch. Penciller, Inker, and Colorist: Cam Kennedy. Letterer: Todd Klein.
