Completely Self-absorbed Top 100 Comic Runs You Need to Read

[Colin YNWA]

Speaking of a series that could be said to be 'too cool for skool'...



Number 103 - Gunning for hits

Keywords: Pop music, 1st Album, Record industry sharks, rock music, assassins

Creators:
Writer - Jeff Rougvie
Art - Moritat
Colours - Casey Silver

Publisher: Image Comics

No. issues: 6
Date of Publication: 2019

Last read: 2023

Some comics early in a writer's career can show their inexperience, can be naive in their use of the craft and expose their formative mistakes as a storyteller. Just like first records from bands however they can have an energy and enthusiasm that just means they get away with it and pull you along. Such is the case with


Copyright - them what created it...

Gunning for Hits was the first and as far as I'm aware only comic written by 80s music A&R person Jeff Rougvie. In six issues he shares his experience working at the top of the industry in a fictionalised account of the cut-throat record business of the late 80s. I say cut-throat as the lead character, Martin Mills is not just an A&R person but an ex-assassin / special ops type. A clear allusion to the ruthless nature of the industry, and one that frankly probably wasn't necessary for the story, something I will return to.

The story starts as Mills does all he can to sign a new rock sensation, a real potential powerhouse for the industry managed by their very robust and no nonsense partner. Mills pulls out all the stops to get the deal done before more A&R folks see the band the following evening. Pulls out all the stops and indeed his guns. It's a no nonsense, vicious business!

Deal done, albeit at gunpoint, he then has to get the deal past his superiors, or at least seniors. The problems really start though when an old icon, not even thinly veiled as being modelled on David Bowie catches wind of the new talent and starts to influence him to further his own desire to resurrect his ailing career.


Copyright - them what created it...

And it is here that we find one of the things that really attaches me to this series.  Jeff Rougvie has lived this life. He's worked with Davis Bowie during this specific period of time. That's not to say this Bowie is the real Bowie, in the story he's actually called Brian Slade. He's a manipulated form of Bowie, crafted for the fiction here. There's a real sense that the characters in this piece are based on reality. Even if it's the specific reality of the writer. I should also note that Jeff Rougvie seems to have nothing but respect for Bowie, regardless of how Brian Slade is present in Gunning for Hits.

In the first issue he also gives a very exposition heavy detailing of the working of a record deal. A big record deal and how the numbers and apparent concessions made by a record company  involved to attract the talent aren't anything like as advantageous as they seem for the artist. Things that comics fans have seen reported and detailed on many occasions within the comics industry if you pay attention to that kind of thing.

Here though the story gives me a peek into a world that fascinates me and I've had less awareness of. That seems valid and based on reality and I trust it - though given the way Mills asks who knows if we can trust Rougvie! It's an aspect of this series that I really enjoy.

It also exposes a weakness in the series, or a potential weakness. The way these machinations within the record industry is a little clumsy from a craft point of view. We get a very specific pointed way of presenting the intricacies. A little 'cartoon' Martin Mills literally breaks down the pitfalls of the deal he has just brokered and how it's nowhere near as good as it might seem. It seems to be playing off the way Scott McCloud presented information about comics in Understanding Comics and there is why it both works and doesn't.


Copyright - them what created it...

From a craft point of view there would be smarter ways to build this into the story. It could have been developed via conversation when the deal is presented to Mills' boss to explain why it won't impact the record company in the ways the figures will make it seem to. Indeed in the scene where that happens there is some repetition of this. Smarter, or more experienced writers at least, filter in this sort of exposition heavy fact dump all the time. Both Ian Edginton and Dan Abnett are masters of doing just this. So this is an example of the inexperience Rougvie shows throughout the series.

Yet it really works. Breaking the fourth wall in a way that could be clumsy but here carries a charm and energy that the whole series does. It made me as the reader feel like I was being let in by a writer who has lived this. Indeed it was explicitly doing just that. So while technically there might be 'better' ways to deliver the information, indeed does all the information, in such detail, even need to be there? Does it enhance the story itself? Well no but I love that it's there and for me the way it broke the tone and flow of the tale really worked.

If these little 'breaks' to discuss the inner workings of the industry had occurred on a regular basis it might have become a neat feature. But it doesn't. Once we are past the 4-5 pages of delivery in issue one it never occurs again. A shame on one level, but again it works really nicely, like a song on an album that breaks the tone and feel of the album as a whole. As cute aside that actually in its conspicuous dropping in really enhances the slightly off centre feel of the whole series. It nods to the reader. Let's them know we're being given a peak behind the curtain and does so in such a direct, unfiltered way as to have an energy that it otherwise might not.

Something this story does in spades for me is when it does things badly or a little clumsy it does so with a charm, energy or just plain vigour that it's made to work. This is something I will be returning to.


Copyright - them what created it...

Before I go on any more about the inexperience shown in the writing side of Gunning for Hits I need to make it clear that the art suffers from none of this. The art by Moritat is superb. I've enjoyed his work on a number of titles and he will be appearing later in this list. Here though their work captures wonderfully the darker side of the energy in the music industry. Comics are of course a visual medium and therefore capturing the vibrancy and punch of music is a challenge, Moriat does a very impressive job of exposing the music scene.

It's not that he is able to provide a visual representation of the music itself, rather his work is  suited to presenting the grubby gigs I've been to so many of. They nail the greasy, seedier side of even the biggest stars, the sweat and grime of music shows. The lived in feel of recording studios, juxtaposed with the more glamorous commercial building and people who operate in them, while retaining a clear presentation of their dirty underbelly.

Their use of colour does however punch home the power and vitality of a fantastic music performance. You might not 'hear' the music but you are left in no doubt of the heat of venues, the glare of lights and the sweat on stage and in the crowds dancing before the stage. They add some fantastic effects as well to enhance the presence of music. It fills the backgrounds and the pages when its present.

It's an incredibly impressive job. Their characters are all fantastically delivered, Brian Slade is Bowie in all his glory and in the specifics of this story his dark desperation. Bands play with conviction and the posing and movement of the folks performing is sublime. All of this works so well to paper over the crack in the story.


Copyright - them what created it...

Those problems are there though, I got the sense that having Mills be an assassin who literally pulls his guns on people to get them to sign deals feels like it's left over from the initial pitch. It felt to me like Rougvie didn't quite have the courage and confidence as a writer to move away from it. When the elements of the story return to the guntrotting it does feel as if it's to remind us of that aspect of the character, not because it's enhancing or changing the story. The music business shenanigans provide quite enough conflict and tension in their own right to need the genre elements thrown in and that does make them feel tacked on.

The showdown at the end of the series left me feeling all

"Damn - REALLY that happened???"

When you look too closely.

In the end though all these apparent problems actually serve the story really well. They give it real dynamism and raw, unpolished power. You are pulled into the story, dragged along by your hair - well when I was this into music I had some! - and it doesn't let go. Which when you consider this is a tale of corporate wheeler dealing at its heart is very impressive.

There's a commonality in my response to this comic as to my response to music. It doesn't have to be technically good for me to have a positive reaction to something. Indeed sometimes something can be technically very good, have amazing craft and I can find that a bit cold and mechanical. Certainly the case with music but I think we'll see as we go on there are loads of examples of that reaction to the comics I read as well.

I've actually re-read the series - something I've not done with most of my entries as I was worried it didn't deserve the place I gave it on the list so intuitively. It sprang to my mind very early as I was putting together my long list of possible entries. I doubted whether it could be as good as I remember and having read it, for all the problems I see it absolutely is. It absolutely does deserve its place. There aren't enough great comics out there that deal with music, or at least that I've read, for possibly obvious reasons - it hard to represent the actual music effectively in a visual medium, this one does it really well. It's a rough first album, holding onto all the youthful naivety and best ideas of bands as they form. With an unshackled courage to do things that the more considered approach that comes with experiences might have edited out. I might not recommend it as readily as others, but if you find it and it works for you it's a real belter.


Copyright - them what created it...

Gunning for Hits is indeed a one hit wonder. As far as I'm aware Jeff Rougvie hasn't written anything else for comics. A sequel was planned, dealing with a later period in the record industry's history but never came to be. Maybe that's a good thing, well if the truism of the tricky second album holds up? Meaning as it is we get this rough diamond, his under produced, raw, energetic delight of a comic.

Where to find it

The trade collection is still readily available from all the usual places. You can pick it up digitally at those same places too.

It's not particularly hard or expensive to get in the aftermarket either if back issues are your bag.

If you're luckily enough to be in America, or know someone who'll get it for you there, there's a few LOVELY editions I'd love but can't get at Jeff Rougvie's Store as well.

Learn more

No Obligatory Wikipedia page for this one BUT it does have its own website.

Read the first issue online for free over at the Image Comics website!

Quick review over at Comics Bookcase

Appropriately there is also a Spotify playlist to accompany the series. It's available on most music streaming services with a quick search.

You don't Read Comics likes this one as much as me.

You'll get a much more balanced set of reviews in the typical places like Good Reads

What is all this?

Conscious that this is becoming a long thread and if you're wondering what the heck you've just read and can't be arsed (quite sensibly) to search back to find out I'll link to my opening posts that try to explain all this.

What this all came from

And of course a nerd won't do a list like this without setting 'Rules' / guidelines

Some thoughts on what will not be on the list.

[PsychoGoatee]

Sounds cool! Comics and rock music, that's the good stuff.

[Colin YNWA]

Number 102 - Zorro by Matt Wagner

Keywords: Western(ish), Matt Wagner, Favourite characters, Francesco Francavilla, Proto-superhero

Creators:
Writer - Matt Wagner
Art - Francesco Francavilla, Cezar Razek, Esteve Polls, John K. Snyder III
Colours - Various

Publisher: Dynamite

No. issues: 32
Date of Publication: 2008 - 2012

Last read: 2018

One thing I've not discussed as much as maybe I should is how much my favourite characters influence my favourite comics. I think of myself as a 'writer driven reader'. It's been clear from these write-ups that artists play a bigger part in my choice than I might consciously acknowledge. There's also a third determinant and that's character. And this is not better illustrated than the mysterious case of my love for


Copyright - Dynamite Comics I assume

See I love Zorro, or rather the concept of Zorro. Just in case someone had managed to live in a world without Zorro - The Fox -  he's a black clad, caped avenger of justice. His secret identity is Don Diego de la Vega the dandy son of Don Alejandro de la Vega a rich Spanish landowner in Alta California - modern day California under Spanish colonial rule in the early part of the 19th Century.  At night he wears his proto-superhero garb and fights the cruelty and injustice of that colonial rule, defending the rights of the indigenous people and commoners of that hot and dusty territory.

He was created as a prose pulp action hero by Johnston McCulley in 1919 and has been a mainstay of popular culture ever since, regularly appearing in books, tv series, films, theatre and yes of course comics, anywhere that carries stories of adventure.

The sad fact is not many of those Zorro stories are any good or I enjoy. I've owned quite a few Zorro comics, the old Marvel run, reprints of supposedly classic series by Don McGregor and Mike Mayhew and more and they've all been a bit rubbish and cast aside. Even the Zorro work by Alex Toth I've let go. Don't get me wrong, they looked astonishing. Alex Toth was a genius, but the stories didn't hold up at all so they went.

I like the Antonio Banderas movies well enough, but they aren't amazing. The older movies kinda suck to my modern (well ish these days) eyes. Years ago I'd even tried one of the original Johnston McCulley pulp books and well it was pretty horrible. I mean this was early 20th Century pulp fiction so... The best Zorro content I'd consumed, in fact the only Zorro content I'd enjoyed a lot was the 2005 novel by Isabel Allende which detailed Zorro's origin and I will of course (well of course to folks who know the comics I'm talking about) be returning to.

So yeah, not much good stuff, but I still love Zorro. There's something about the proto-western setting. The romance of the swashbuckler. The idea of a rich fop living a double life defending the poor and disenfranchised from the rich and powerful that really appealed. And of course he looks bloomin' fantastic. That black silhouette, all flowing movement and rapier thrusts. Galloping in on a jet black steed and springing athletically into the air. The sharp wit.

Sure there are a load of proto-superheroes but Zorro is the one. Surely there's no coincidence that Bruce Wayne loved Zorro, but the elements he gives to superheroes, swirling capes and all run much deeper. I'm so often drawn back to him, however much I bounce off such a large proportion of his actual appearances across almost all media.


Copyright - Dynamite Comics I assume

So when I get a series by one of my all time favourite comic creators Matt Wagner, with art by one of my favourite artists Francesco Francavilla. I'll be returning to both at different points on this list. It's not so much the fact I'm predestined to love them. Rather it's as if I owe them a massive debt of gratitude for finally giving me the Zorro story I've always craved!

Okay let's get a few facts straight in the order of things here. I'd read the Isabel Allende novel before discovering these comics. When I first picked them up I wasn't aware the first arc was a comic adaptation of that story. I also wasn't as big a fan of Matt Wagner as I am now when I first got these. I was aware of him, had dabbled a very little with Grendel and enjoyed a few of his Batman comics. Returning from my Wilderness Years I'm not delved into him properly yet and when I was first reading comics hadn't really got into his work.

It was these comics, over two series, the original 20 issue ongoing and then a 12 issue mini Zorro Rides Again that wraps the series up that introduced me to Matt Wagner properly. It was these comics that led me to tracking down more of his work. So another thing I owe to these comics! I'd also not read anything by Francesco Francavilla. So my affection for these comics sits very much for the story itself and the character. The rest I understood only after.


Copyright - Dynamite Comics I assume

The story across the 32 issues deals with all the Zorro standards. As said the first 8 issue arc details his origin based on the novel and then it solidly stamps itself on all the tropes that make Zorro great. He rights wrongs committed by the rich and powerful colonial powers. He fights for the rights of the oppressed and put upon. We meet all the key characters, Bernardo his mute 'brother', Don Alejandro de la Vega his father who resists the Spanish authorities in California of the early 19th Century in less dramatic ways than our lead. Lady Zorro arrives towards the end of the series. Thunder is his black stead. The villains of course include Sergeant Garcia the luckless clumsy soldier who increasingly bears the classic 'Z' scars of all Zorro's enemies with whom he crosses blades. Ramirez and the Dons.

It's all there and Matt Wagner does the smart thing and realises that none of this needs changing - well arguably his use of Garcia moves things beyond the fat, bumbling buffoon of the original stories. That aside he knew that the character and his world had been popular for 100 years for a reason. He side-stepped the desire to reinvent the character, to modernise him or throw him into scenarios that expanded onto the grounded classic battles of good vs evil in a world where power and wealth drives the villainous rich. There's no vampires, or zombies, magic or demons. Zorro works just fine if you tell great stories with all the elements 'The Fox' was created with. And boy does he tell good stories.

These are classic ripping yarns told by a master of the art form they are presented in. They read more modern and up to date than 'classic' tales, but that's by virtue of craft rather than re-imagining. These are the Zorro stories I craved for so many years. If only more creators realised that when a character has solid, perfectly defined roots you don't need to re-invent to make them work for a modern audience, you just need to tell the stories well and people will gravitate to the tropes and world of that character.

That is of course not to say changing classic characters and re-inventing is always a bad thing. Far from it. It can open new ideas and aspects to those well worn favourites. I don't dislike that by default. In fact I often welcome and embrace it. Rather it's not necessary for its own sake. This is for me very specifically the case with Zorro whose classical presentation had been so poorly served, so there was real purpose and reason to stick to the original model and just tell good stories.


Copyright - Dynamite Comics I assume

That is not to say that Matt Wagner rests on his laurels. After all this is Matt Wagner he's restlessly inventive when it comes to his use of comics. In the brilliant final arc of the ongoing series he plays with the very idea of re-imagining Zorro. It's done creatively however, in context. He provides short vignettes of how the characters and people who live in this world see him. The stories depict Zorro as others perserve the legendary hero, a demon riding a literal tornado. A monster in the night. A beast of indigenous folklore. He doesn't hold back on the imagination, he just controls it and uses it to tell classic stories of a classic character.

When teamed up with Francesco Franavilla the comics look amazing as well. Franavilla does the majority of the ongoing series, with one arc by Cezar Razek in the middle. This was at a time when (to my awareness) he was breaking into the American market hence they kept him before he understandably got snapped up by others. He's perfect for the series. His art echoes Alex Toth, perfect use of spot blacks, bold use of dark shadows to convey character and tone. It's deceptively simple, allowing it to portray atmosphere, emotion perfectly while retraining an energy and dynamism Zorro demands.

His page layouts are sublime. Creative and exciting, thrusting the story along with a verve and precision of Zorro's blade itself. Yet never needing to sacrifice clarity and storytelling. When he provides his own colours in issues 15-20 of the ongoing they are pitch perfect. Different palette and hues to capture the requirements of the scene and location. Enhancing atmosphere and story as the best colourists always do.

When the art is not by Franavilla it's honestly nowhere near as good. Cezar Razek is ... competent in the middle issues of that series. In the 12 issues when Zorro rides again Francavilla has moved on alas. Esteve Polls leans into the strengths of his style in the first half of that mini-series, but the execution just isn't in the same league. Its notable the art steps up when longtime Wagner collaborator John K. Snyder III steps in for the second half of that series. He's bolder, confident enough to do his own thing and those final 6 issues are the only ones that get close to the Francavilla issues, they are really nice, just not Francavilla nice!


Copyright - Dynamite Comics I assume

So we are left with the question; do I like these comics as I love the character of Zorro so much? Well no, as said from the start there are so many Zorro stories that don't work for me. Do I like these comics because of the creators, well yes great stories by great creators really appeal to me. Do I LOVE these comics because of the character or the creator and the answer is of course a bit of both. There is absolutely no doubt that I really rate these comics in and of themselves. These are great stories told well. The fact that they are great stories of a character that really appeals to me undoubtedly elevates them in my mind. I don't need to forgive their flaws as they are so few, so these comics make the list based on their craft I suspect. Their placing is almost certainly raised by the fact these are my favourite stories about a character I really like however and I suspect we will see other examples of that as we go on.

That is not to say I wouldn't recommend these comics to someone who is Zorro agnostic. Across the 32 issues you get a really satisfying complete tale of a character that is compelling, in a time and setting that feels different and atypical. Anyone can pick these up and enjoy them. I just hope by doing so they realise how wonderful and timeless Don Diego de la Vega, 'The Fox', Zorro really is.


Copyright - Dynamite Comics I assume

Where to find it

It appears as if most the trades are still readily available from the usual online places. Though alas an omnibus of the ongoing seems to be out of print at this time. Can be a bit of scrolling involved so I've pulled out the options for the mini Rides Again, to save you all time as you rush to get these!

All available digitally via Kindle it would seem too.

As ever the aftermarket is another good option and you can get these pretty quickly and cheaply.

Learn more

There is not an Obligatory Wikipedia page specific to this one so I've included Zorro Wikipedia page as it does mention the comics at least.

Not a great deal out there specific to this comic run. MTV of all places has an interview with Matt Wagner done ahead of the start of Zorro Riders Again.

Aside from that its the normal places Good Reads has its typical range of options always worth looking at.

Publisher Dynamite has a page of sorts and most issues get a preview when you open the specific entry.

What is all this?

Conscious that this is becoming a long thread and if you're wondering what the heck you've just read and can't be arsed (quite sensibly) to search back to find out I'll link to my opening posts that try to explain all this.

What this all came from

And of course a nerd won't do a list like this without setting 'Rules' / guidelines

Some thoughts on what will not be on the list.

[PsychoGoatee]

Added to the read list for sure, that sounds great. Also curious about Django/Zorro.

[Colin YNWA]

Added to the read list for sure, that sounds great. Also curious about Django/Zorro.

I keep an eye out for that one but the comics go for silly prices. One day!

[Colin YNWA]

Number 101 - Star Wars - Marvel original series (1977)

Keywords: Movie tie in, formative, needs a re-read, sci-fi adventure

Creators:
Writer - Various
Art - Various
Colours - Various

Publisher: Marvel Comics, then Dark Horse, now Marvel Comics again.

No. issues: 107 issues
Date of Publication: 1977 - 1986 - though I'm basing my reflections on the 7 Dark Horse Reprints 'A Long Time Ago...' released between 2002 and 2003... kinda... we'll get to that...

Last read: 2013

Interesting that having discussed my love of Zorro in my previous entry and how that impacts on how highly I rate the comics discussed there, this one extends that beyond to discuss how my love of a franchise can have a similar impact. Find out more as I discuss


Copyright - Marvel Comics

...well actually not that series... well come to think of it kinda that series... let's dig into it to try to explain.

I first read Star Wars comics, like so many fans in the UK I imagine, in Star Wars Weekly the Marvel UK reprint series of the 1977 Marvel Star Wars Comic. The UK comic started in 1978, in line with the later release of Star Wars in cinemas over here. I was 6 when this came out, I genuinely can't remember if they were my brother's or mine. I suspect it might well have been mine as I think my brother was getting 2000ad and Battle at this time and we each got two comics... look it doesn't matter, what matters is Star Wars Weekly was among the regular comics in the Taylor household from the off. I mean how could it not be it meant

MORE STAR WARS!!!!

In the world of young Taylor in the late 70s the possibility of more Star Wars was an enormous delight. It wasn't like these days where there's more Star Wars available on tap than can remotely be needed and more is squeezed from its ailing teat with each passing day. Back in 1978 there was the film, recently out, but now gone from the UK in cinemas and videos weren't really an option yet and it took yearssssss for things to get to telly. There were Star Wars figures to make your own adventures with, as long as your adventures involved maybe 10 characters (if you were lucky and spent all your pocket money on figures) and some cobbled together Lego spaceships and bases. There were a couple of books, I was too young to read them and a recording of a heavily edited version of the soundtrack. I will forever remember our LP had a scratch on it and went into a loop as Han told Luke he had to go pay Jabba rather than stay and join the battle to destroy the Death Star and Luke responds.

"All right. Take care of yourself Han. I guess that's what you're best at isn't it - CLICK

I guess that's what you're best at isn't it - CLICK

I guess that's what you're best at isn't it - CLICK..."

Well okay you don't need all that person reminiscence do you, but it demonstrates how important those films were to me, and so many others back then. So therefore how important Star Wars Weekly was because of that and the joy it gave me, by giving me stories of these characters, this world, or worlds I love so much.  New one's I'd not visited yet too. These comics blow my formative brain in a way maybe even 2000ad couldn't match... though fair to say the impact hasn't lasted quite the same into adult life as the impact of 2000ad... I'm going off target again, I need to stay on target, stay on target...ahem...


Copyright - Marvel Comics

Who cares if once we'd got past the adaptation of the movie we got a barely recognisable Han Solo forming a version of the Magnificent Seven that included a humanoid green space bunny. This was more Star Wars and these stories mattered and I read them over and over. There are images from these comics burnt onto my retinas.

Comics came and comics went in the Taylor household and however much we loved the movies after 2 or 3 years other comics got those precious slots - after all we have well over 100 of them already and there were so many great comics back then.

Fast forward to 2004(ish) and I'm getting back into comics after my Wilderness Years and to my delight I discovered Dark Horse then reprinted the entire Marvel 1977 series in 7 reasonably priced trade paperbacks. Even in those early days of my return to comics I snapped this up as quick as finances would allow.


Copyright - Marvel Comics

It's here that trying to unpick precisely why I love these comics so much gets a little tricky. Clearly there is a massive dollop of nostalgia involved. Luke fighting and riding giant water serpents on a water world I now know is called Drexel was so exciting to me. Han fighting Chewie on a space  wheel gambling hive (the name of which I've not stumbled across yet) BRILLIANT. Everyone seems to tussle with Chewie as fighting Chewie is cool. All drawn with the angular wonder that is Carmine Infantio's utter inability to capture likenesses, but who cared we knew who was who and that's all that mattered. These were objectively not great comics. So here nostalgia carries (there's a pun there if I tried harder!) the heavy lifting.

This can only go so far though as after the first couple of the Dark Horse collections I have we get to comics I'd not read in my Star Wars hungry childhood. Stories that will have been reprinted in Star Wars Weekly after we stopped getting it and there are many stories in the last 5 volumes of 'A Long Time Ago...' that I really, really enjoy.

Walt Simonson art with inks by Tom Palmer - yep him again, I do love Palmer's inks! - execute stories written largely by David Michelinie quite brilliantly. I really like their run on the comic, they are really good. Lando returning to Bespin. Luke and Leia on a commando mission to take out the Empire's next super weapon 'The Tarkin' standout without having to give it much thought at all.


Copyright - Marvel Comics

The later, post Return of the Jedi stories by Mary Jo Duffy and a variety artists, including the super stylised and dynamic work of Cynthia Martin whose work springs readily to mind as amongst my favourite across the whole run, are immense fun. They find a fantastic way to carry on the post Return stories in ways that it could be argued others could have looked at for inspiration. Duffy moves things forward and doesn't roll things back the way Force Awakens did. We get new threads that build on what's gone before, rather than try to recreate... but that's me getting distracted by things that aren't really relevant here. It does however illustrate how there are some great stories being crafted here regardless of the nature of these comics.

There are many more besides those highlighted that are great tales. There are also some dips it has to be said, but not as many as you might think. The inconsistency in writers and artists on the title is very apparent. These are comics produced in the monthly grind and while that shows in the ebb and flow of the quality they are largely good tales, often great tales and almost always very, very entertaining tales that build on my love of the movies. These aren't the greatest comics ever written, by any stretch, but they are some of the most fun to me.

It's fair to say there's an energetic delight to those comics that is difficult to beat. Especially when set in a universe I am incredibly invested in. With characters you just love spending time with. So while nostalgia does play a big part it's entirely possible the naive charm of the comics goes a long way to make them highly enjoyable regardless.


Copyright - Marvel Comics

To try to understand exactly where my love for these comics comes from it is interesting to me to contrast what I'm trying to unpick here with what I said in my previous entry (102) as to why I liked the Zorro comics of Matt Wagner particularly. As I discussed there I've sort out Zorro comics and stories in other media, and dismissed them as they are stories that I just wasn't able to invest in as an adult reader. I only love the Zorro comics when I enjoyed the craft that Matt Wagner and co brought to the carnival, to add to my affection for the character. I clearly am not seeking that level of craft when it comes to Star Wars - though see above that doesn't make these bad comics, they are just not Matt Wagner good!

With these Star Wars comics I find things to enjoy, even in the poorest of stories.  Well okay the very worst I don't get on with, but is it as simple as I like Star Wars so much I'll enjoy any story set in that Universe. Well no, I am able to read Star Wars comics and not like them. I certainly don't enjoy the lots of the Dark Horse material I've read. Regardless of whether it's set around the original trilogy in which I'm most invested. Even well regarded comics like original Dark Horse comics Dark Empire - with glorious art by Cam Kennedy and later by Jim Baike - who we'll learn as this list goes on I adore - I'm not a big fan of.

This is true in other media as well. I don't enjoy many of the newer (post original trilogy) tv and films, I do really enjoy some, but far from all. So setting things in and around the original trilogy isn't the only thing involved in my enjoyment. And to be honest I'm pretty Star Warsed out at this time of my life. I'm sure someone has come up with the term Star Wars fatigue. If they have I've got it!

I clearly do have some critical facility left when it comes to Star Wars as a setting as I do with Zorro. If I don't like Star Wars stuff I'll read them (or watched them) but quickly move on. Nostalgia doesn't dominate my thoughts with the comics I didn't read as a kid, yet I still love them. It's apparent the benchmark I judge those comics by is considerably lowered when it comes to Star Wars. Yet there must be something in them that is objectively fun and allows me to embrace them with glee, over most other comics of this time.

I think in a large part this might stem from what the creators bring to the party. In the 70s and early 80s I can only imagine the excitement creators felt when they were offered the chance to work in the Star Wars universe. They certainly aren't immune to the excitement the franchise generated. Heavens only knows how many pitches were made to get onboard creating these comics. So If they did get the gig, the best ideas cherry picked from a galaxy of potential stories (I'm guessing), they would have attacked the assignment with joyous abandon. It's that which really makes these comics so enjoyable, to me and anyone else who reads them.

I'm sure that's also the case with modern folks working in the Universe. With these comics though, there was just less. There was more freedom, possibly less pressure (well aside from meeting the monthly grind) to meet expectations. Less relentless feedback and critique from fan circles, so they could just have more fun and that shines through. I find it hard to imagine it's not some sort of combination of all the things I've tried to discuss, nostalgia, affection for character and setting and the fact these are just plain, fun, entertaining comics.

The fact that nostalgia and love of the movies help paper over numerous cracks is a factor for sure. That helps cover that many of these stories are objectively not far off the stories I used to create with my action figures. The energy and sheer joy the creators bring to the tales makes them more than just that and explains why they make the list in the position they do... or at least that's what I force myself to believe!


Copyright - Marvel Comics

Where to find it

These aren't hard to find - in reprint at least, as Marvel taking over the licence to Marvel Comics after years of Dark Horse doing the hard grind mean they have been collected in various ways.

The Dark Horse Collections, in the 7 comic sized volumes I have and the later just bigger than digest  'omnibus' collections aren't as readily available as they were.

That's cos Marvel have them in Epic Collections and Omnibus if that's your bag.

All of these are easily available digitally via Kindle.

The aftermarket for the original Marvel Stars Wars comics probably isn't your friend this time. They are out there and not particularly difficult to find but they are getting pricey these days. Some issues go for silly money. So unless you are feeling a real desire to invest I'd say reprints / digital is the way to go. The links below help work out which stories are in which collections.

Learn more

The Obligatory Wikipedia page for this one actually covers the history of Marvel Comics more generally, beyond the one's I'm talking about here.

Luckily Wookieepedia (always loved that pun!) has a specific section dedicated to the original Marvel run I'm covering here. This one even has entries with summaries of each issue. They also group things together really well so you can tell which issues are in which collections.

If that's too much detail the ever fantastic Grand Comics Database entry for the series so you can scan through and check the creative teams and runs etc at your leisure.

Lots of videos on YouTube discussing the original series. I've not watched many of these, but sure they are fun.

Also it's not hard to track down other reflections. How to Love Comics has a nice overview but plenty more are just a Google Search away.

We even have our own recent thread started by Barrington Boots discussing these comics. Why not jump in there and share your love for them?

What is all this?

Conscious that this is becoming a long thread and if you're wondering what the heck you've just read and can't be arsed (quite sensibly) to search back to find out I'll link to my opening posts that try to explain all this.

What this all came from

And of course a nerd won't do a list like this without setting 'Rules' / guidelines

Some thoughts on what will not be on the list.

[broodblik]

This is going back a few dozen years. I can remember that my brother and I got some issues when it came out. We did struggle to get most issues. I enjoyed it when I was younger but my older me (the sinical older grumpy me) just do not see this as proper Star Wars.

[Barrington Boots]

Like Colin I read these as a kid, and later picked up some of the Dark Horse trades. There was a period where the last few books were pretty costly, but when that changed I was able to complete my collection last year and then re-read the whole lot.
To quote myself:

Some of it is really good, some of it is pretty dark, and some of it is really boring. Jo Duffy's stuff in particular gets really enaging although I felt towards the end it's starting to collapse under the weight of too many Zeltrons and dark elves. I loved the almost all the Tay Vanis stuff, Lando's Drebble character, See You in the Throne Room, the story with the Stormtrooper from Alderaan - and of course the Han Solo magnificent seven pastiche.
The worst story: possibly the one where Luke has to join a jousting tournament on lizardman world although the John Carter reskin was abysmal.

On the whole I'm a big fan of these books. I'm not sure if anyone without the nostalgia factor could come into them and have the same level of affection, although when they're good they're sooo good - I'm not a fan of modern / extended universe SW either, but I know a bunch of characters and stuff have crossed over into the 'canon' universe because they're such great ideas.
Awesome choice Colin and a great writeup!

[Colin YNWA]

This is going back a few dozen years. I can remember that my brother and I got some issues when it came out. We did struggle to get most issues. I enjoyed it when I was younger but my older me (the sinical older grumpy me) just do not see this as proper Star Wars.

In many ways its not really, but that's kinda half the fun. Its Star Wars off the leash!

To quote myself:

...See You in the Throne Room, the story with the Stormtrooper from Alderaan...

Ohh I'd forgotten that Stormtrooper story that was really good. Is 'See You in the Throne Room' that Alan Moore + John Stokes (I think) Vader playing chess with a squid story? That was great.

[Colin YNWA]

Next post will actually see this thread turn into an actual top 100 so this feels like a good time to have another run down and recap for those joining us late:

Run down of top 100 - 133 -120

Run down of Top 100: 119 - 110

109 - Six Gun Gorilla

108 - Batman Year One

107 - Squid Bits

106 - Bad Company

105 - Y the Last Man

104 - X-Statix

103 - Gunning for Hits

102 - Zorro - Matt Wagner

101 - Star Wars (Original Marvel series 1977)

Not on the List - Dark Knight Returns

[Trooper McFad]

I'm looking forward to the top 100 👍🏻

The reviews of those that didn't make have been very interesting and I will go back and make a wee shopping list.

Keep up the good work

[Barrington Boots]

Is 'See You in the Throne Room' that Alan Moore + John Stokes (I think) Vader playing chess with a squid story? That was great.

I remember that one!
'See you in the Throne Room' is a Luke story where he helps some dude lead an overthrow of a tyrant only for the rebel leader to get assassinated and the Empire to immediately take over. The title is the last thing the guy says to Luke before his murder and he has to figure out who did it.
I was very impressed with it when i first read it: it's quite grim in places, with the female lead cut down by laser fire randomly and Luke having to stop her body being looted by a panicked mob. I also remember the gigantic evil tyrant crushing some guy and moaning about getting blood on his boots - a visceral scene for a Star Wars comic that isn't as good on the page as my youthful mind pictured it!

That story with the Alderaanian Stormtrooper is fantastic though.

[BadlyDrawnKano]

Afraid I haven't read the last three, but did want to just say how much I've enjoyed reading your reviews of them.

[Hawkmumbler]

Excellent write ups as ever Colin. Gunning for Hits is absolutely going on the reading list.

Left field question but is the 2006-7 limited series 52 making the list? Don't know why that ones been in my head lately, recall it getting a lot of buzz in the years following its conclusion and one I always meant to get around to reading.

[Colin YNWA]

Left field question but is the 2006-7 limited series 52 making the list? Don't know why that ones been in my head lately, recall it getting a lot of buzz in the years following its conclusion and one I always meant to get around to reading.

Not on the list BUT has very recently (like last weekend recently) survived a purge of my collection. Needed to clear out some space as there's been a bit of a shift of late in the stuff I'm reading and the nerd cave was getting full. There went in to see what might go and a couple of hours later turns out I could clear maybe 5 short boxes of comics (maybe more?) into the 'to sell' pile. A lot of my remaining superhero stuff (not all by any means) has gone and only have the really important to me stuff left (pretty much the stuff that makes this list). Even some GMozz stuff as I'm not seeing myself rushing to read certain series by him any time soon.

BUT amongst the other stuff 52 survived cos I want to give it another read. I loved it at the time and in my head is a really nice 'summary' series of the DCU at the time when I got back into comics.

The re-read is a few years off so we'll see how it does then but if you can find it cheaply it definiately worth a go.