1993 Topps Star Wars GALAXY Series 1 Trading Cards

Introduction

1993! A new "Galaxy" is born!

Ten years after the last set of trading cards dedicated to the Star Wars Universe (1983 Return Of The Jedi Series 1 and Series 2), Topps revived the collection with a completely different approach.

Due to the lack of new Star Wars movies and therefore, no new pictures to publish about, Topps created a new collection based on the art surrounding Star Wars.

This completely new collection is composed of 140 cards divided into 7 subsets or sections, as described on the back of the Title Card:

Card #1: TITLE CARD containing the Credits/Contents of the collection.
Card #2: A TRIBUTE TO GEORGE LUCAS with art by Drew Struzan.
Cards #3 to #14: THE STAR WARS ENSEMBLE. Showing twelve portraits of the main characters by Joe Smith.
Cards #15 to #47: THE DESIGN OF STAR WARS. Contains illustrations, sketches, drafts from the production and development art of Star Wars.
Cards #48 to #81: THE ART OF STAR WARS. Destined to poster, promotional and merchandising art related to Star Wars.
Cards #82 to #139: NEW VISIONS. New art related to Star Wars made by comics illustrators.
Card #140: CHECKLIST.

In addition to the standard base set collection, a Limited Edition Set was released, called "Millennium Falcon Factory Set", of which only 10,000 were produced.

Base Cards

Early poster concept of the heroes by Ralph McQuarrie

Darth Vader's TIE Interceptor charging after Luke Skywalker's X-Wing Fighter by Ralph McQuarrie

LEIA ORGANA in rebel foot soldier outfit

GAMORREAN GUARD initial gorilla-like concept

GAMORREAN GUARD initial boar-like concept

EWOKS setting a trap for the AT-ST walkers

A Gamorrean guard marches Artoo and Threepio into a boiler room-turned droid torture chamber

LUKE SKYWALKER'S CONFRONTATION with the Rancor

THE SPEEDER BIKE CHASE. Luke Skywalker races ahead of Imperial scouts

THE EMPEROR STRIKES BACK shooting Luke Skywalker with blinding bolts of energy

Main reactor of the half-finished Death Star

Coca-Cola Villains poster by Del Nichols

The Empire Strikes Back theatrical poster by Noriyoshi Ohrai

The Empire Strikes Back early sketch by Sanjulian

The Empire Strikes Back promotional poster for the Coca-Cola Co. by Boris Vallejo

The Empire Strikes Back poster by Boris Vallejo

Return of the Jedi poster by Noriyoshi Ohrai

Birthday card by Bunny Carter for Drawing Board Greeting Cards

Lucasfilm's Christmas greetings card by Ralph McQuarrie

Star Wars 10th anniversary plate from Hamilton Collection by Thomas Blackshear

Mediascene magazine back cover by Jim Steranko

Mediascene magazine front cover by Jim Steranko

Han and Chewie try to rescue Lando from the Sarlacc by Kyle Baker

Princess Leia on speeder-bike by June Brigman

Luke stares at the sunset, yearning for adventure by Paul Chadwick

Obi Wan Kenobi portrait by Mark Chiarello

Tauntaun rider chased by probots by Geof Darrow

Leia slaying the garbage chute monster by Fastner & Larson

Han Solo and Boba Fett on Dagobah by Bo Hampton

Han Solo wins the Millennium Falcon from Lando Calrissian in a card game by Cynthia Martin

Sandperson (Tusken Raider) by Michael Mignola

Darth Vader with bounty hunters by Mark Nelson

Wookies tribal-dancing around a bonfire by Earl Norem

Gamorrean guard close-up by George Perez

Cutaway view of Darth Vader by Bill Sienkiewicz

Darth Vader fights Ben Kenobi by Walter Simonson

Luke on a T-16 chasing womp rats by Ken Steacy

AT-ST shooting at ewoks by Angelo Torres

Yoda and Luke on Dagobah by Charles Vess

Luke riding a dragon-like creature by Thomas Yeates

STAR WARS GALAXY CHECKLIST #1 - #70. SERIES ONE

GARY GERANI - Editor-in-Chief STEPHEN J. SANSWEET - Consulting Editor SEAN TAGGART - Managing Editor CARD# CONTENTS 1 TITLE CARD (Credits/Contents) 2 A TRIBUTE TO GEORGE LUCAS Art by Drew Struzan 3-14 THE STAR WARS ENSEMBLE Twelve portraits by Joe Smith 15-47 THE DESIGN OF STAR WARS Production and development art 48-81 THE ART OF STAR WARS Poster, promotional and merchandising art 82-139 NEW VISIONS New art by comics illustrators 140 CHECKLIST

GEORGE LUCAS was determined to film his space fantasy despite turndowns by two major studios. Finally, Twentieth Century Fox agreed to take a chance on the young director. It was an arduous journey, with script revisions, a limited budget and time pressures before the May 25, 1977 premiere. But when STAR WARS opened to rave reviews and huge lines, Lucas changed the course of movie making. Book cover art by Drew Struzan

LUKE SKYWALKER leaves Tatooine to search for an endangered princess - and his own destiny. As he helps the Rebel Alliance battle the evil Darth Vader and the Emperor, he learns the ways of the Force, an energy field created by all living things that binds the galaxy together. He also has to confront a terrible truth: Vader is really his father. With cunning and new-found inner strength, Luke helps lead the Alliance to victory. Character portrait by Joe Smith

DARTH VADER leads the Imperial forces that, through treachery and overwhelming fire power, have overthrown the Old Republic. Answerable only to the corrupt Emperor Papatine, the Lord of the Sith was once a proud Jedi Knight who was seduced by the dark side of the Force. But he hasn't counted on the growing power of a new seeker of the Force, the young Luke Skywalker. As they battle, it becomes clear that there can be just one survivor. Character portrait by Joe Smith

LEIA ORGANA, a young princess and representative to the Imperial Senate from Alderaan, is a secret leader of the Rebel Alliance. Tortured, imprisoned and forced to watch the destruction of her adopted planet, Leia becomes more determined to help lead the Alliance to victory. She develops strong attachments to smuggler Han Solo and farm boy Luke Skywalker. The Force begins to stir in her too, since -unbeknownst to either- she is Luke's twin sister. Character portrait by Joe Smith

OBI-WAN "BEN" KENOBI appears to be a crazy old hermit, but is really a Jedi Knight who trained Anakin Skywalker in the ways of the Force. When Anakin turned to the dark side, becoming Darth Vader, a distressed Obi-Wan left the world behind… until Princess Leia Organa and Luke Skywalker urgently seek his help. Even after he is transformed into another state, Obi-Wan's words and spirit give Luke strenth in times of peril. Character portrait by Joe Smith

HAN SOLO, an infamous spice smuggler, is also an ace starship pilot. With his faithful companion, Chewbacca, he seeks his fortune while eluding galactic bounty hunters and Imperial forces. A simple "taxi" job puts him in the middle of the titanic clash between good and evil. Ever the reluctant hero, he helps rescue Princess Leia, saves Luke's life, and gets frozen in carbonite before being rescued by his new friends. Character portrait by Joe Smith

CHEWBACCA is a 200-year-old Wookiee from the planet Kashyyyk. A born fighter, he is especially proficient with an antique weapon, the bowcaster, which shoots explosive projectiles. He is a natural mechanic who can get even the most stubborn starship running. Captured and enslaved by Imperial forces, he was rescued by Han Solo and joined the Corellian in his galaxy-wide exploits - including helping the Rebel Alliance in its fierecest battles. Character portrait by Joe Smith

LANDO CALRISSIAN is a smuggler, gambler, con artist and "all-around scoundrel" in the words of Han Solo - who knows the type well. Calrissian gambled his way to the position of administrator of Cloud City of Bespin, where Han and Princess Leia seek his help in their escape from Darth Vader. Forced to betray his friend, Lando turns on the Empire. He is recruited into the Rebel Alliance and helps rescue Han and defeat the Imperial forces. Character portrait by Joe Smith

YODA, the Jedi Master, is a 900-year-old being who began training Jedi Knights when he was 100. Despite his better judgment, he agrees to train yet another in the ways of the Force: Luke Skywalker. For he knows that despite Luke's anger and impatience, the young Skywalker is capable of overthrowing the Emperor. "Try not", Yoda tells a frustrated Luke, who is ready to abandon training. "Do. Or do not. There is no try." Character portrait by Joe Smith

C-3PO is a protocol droid who is fluent in more than six million galactic languages, including the electronic language of his squat sidekick, R2-D2. Threepio is something of a fuss-budget, always complaining of the scrapes his droid companion has gotten them into. After following Artoo to Tatooine, Threepio is purchased by Luke Skywalker and begins a frightening adventure. Along the way, he is disassembled and nearly melted down. Character portrait by Joe Smith

R2-D2, a three-legged, barrel-shaped utility astromech droid, functions as a sophisticated computer-repair and information retrieval robot. Princess Leia uses his holographic storage ability to hide stolen plans for the Empire's Death Star. Artoo's ability to operate in deep space and interface with such craft as X-Wing fighters, makes him Luke's companion in the Death Star trench. The droid uses a seemingly endless array of gadgets to aid the Rebels. Character portrait by Joe Smith

BOBA FETT is the most notorious bounty hunter in the galaxy. He is sheathed in armor like that worn by the Mandolore warriors when they were defetead by the Jedi Knights during the Clone Wars. It is rigged with numerous weapons including a missile-firing back pack, wrist laser and rocket darts. Boba Fett, flying his distinctively-shaped Slave I, is hired by Darth Vader to pursue the Millennium Falcon and capture Han Solo. Character portrait by Joe Smith

THE EMPEROR PALPATINE is supreme ruler of the Galactic Empire. A small, shriveled old man, he uses a gnarled cante to support his bent frame. But appearances deceive, for he has enormous powers drawn from the dark side of the Force. The 12 character studies commissioned for The STAR WARS Ensemble were rendered by JOE SMITH, one of the most respected painters of Hollywood movie posters and portraits. His celebrated work ranges from epics like DR. ZHIVAGO, JULIUS CAESAR and BEN-HUR ("After that one", Joe recalls, "everybody wanted their logos chiseled in rock!") to fantasy thrillers like HORROR OF DRACULA, GORGO and THE DAY OF THE TRIFFIDS.

THE DESIGN OF STAR WARS. RALPH McQUARRIE, the first artist hired by George Lucas, was responsible for the early look of the STAR WARS universe. But as the script evolved, the characters changed and the artwork was constantly updated. In an early version, the character that evetually became Luke (back) was a young girl, and the heroes (front, part of an early poster concept) included a combination Han and Obi-Wan, a more humanoid Chewbacca and a female C-3PO.

THE DESIGN OF STAR WARS. THE DEATH STAR TRENCH was the site of STAR WARS' climactic battle, with Luke having to choose between his on-board computer and the power of the Force to guide his proton torpedo. Ralph McQuarrie (front) captures the excitement of Darth Vader's TIE Interceptor charging after Luke Skywalker's X-Wing Fighter in art that became a STAR WARS Fan Club poster. The actual trench was built in miniature by Lucasfilm's Industrial Light & Magic division.

THE DESIGN OF STAR WARS. RON COBB's popularity was already established as an "undeground" cartoonist whose sharp wit and deft pen strokes skewered the pompous. When he as called upon to romp in George Lucas' playground, he came up with a slew of bizarre and wondrous alien creatures to populate the Cantina, perhaps the most well-known bar and hangout in the galaxy. One can only guess what this blue alien with the slit elliptical eyes is thinking.

THE DESIGN OF STAR WARS. HAMMERHEAD (front) was envisioned by Artist Ron Cobb as a water creature who could also breathe air (or suck up a drink) through his bizarrely-shaped head. Although the Cantina scene was relatively short, its uniqueness made the creatures big hits, especially the ones turned into small toy action figures like Hammerhead. The exotic tropical rain forest creature (back), with languorous leaves for arms and feet, was a bit too complex to make three-dimensional.

THE DESIGN OF STAR WARS. "TYPICAL WOOKIEE FAMILY" is the way artist Joe Johnston described this drawing (front) based on a skit for the 1978 STAR WARS Holiday Special on CBS-TV. The main characters are Chewbacca's father Itchy, Chewbacca, his wife Malla, and his mischievous son Lumpy. Wookiees live on the planet Kashyyyk, where the jungle is so dense, they can walk on the treetops. Their houses, circular wooden structures (back), are built on the treetops as shown in a painting by Ralph McQuarrie.

THE DESIGN OF STAR WARS. THE STAR WARS HOLIDAY SPECIAL was more like vaudeville than it was like the film. Among those appearing were Art Carney, Beatrice Arthur and Harvey Korman, who dressed as a woman to play Chef Gormaanda, the "Julia Child of the Milky Way." The special is best remembered for an animated sequence from Nelvana Studios (cels on front and back), which introduced the fierce bounty hunter, Boba Fett, and showcased the film's heroes.

THE DESIGN OF STAR WARS. TOO-ONEBEE, a surgeon droid on the planet Hoth, is shown in nearly final form (front) in a sketch by Ralph McQuarrie. The droid with a human brain is head of the Rebel Alliance's medical staff on the planet. It treats Luke Skywalker in a liquid-filled bacta chamber after his encounter with a Wampa and his overnight exposure to Hoth's fierece environment. Too-Onebee is programmed to do complex computerized surgery on humanoids.

THE DESIGN OF STAR WARS. THE ALL-TERRAIN ARMORED TRANSPORT, or AT-AT, was initially visualized (front, by Joe Johnston) as a futuristic tank for Imperial snow troops on Hoth. It evolved into the mighty, four-legged armored walkers that caused great damage to the Rebel base. Eighteen-inch models (back), meant to appear 50 feet tall in the film, were built and used in the most incredible stop-motion animation sequence ever filmed.

THE DESIGN OF STAR WARS. YODA plays an essential role in THE EMPIRE STRIKES BACK, but it took scores of sketches to settle on the look of the 900-year-old Jedi Master. The artists at first were told only that he was to appear very old and have non-human characteristics. The early efforts made Yoda too animalistic, but they evolved into a character that was smaller, more wrinkled and gnome-like and who seemed to have the weight of the galaxy on his shoulders. Both concepts by Joe Johnston.

THE DESIGN OF STAR WARS. A SPACE SLUG, a humongous worm-like creature living inside an asteroid, seems to spit out the Millennium Falcon and its crew, who had unknowingly sought refuge in its mouth while fleeing Imperial ships (front by Ralph McQuarrie). Though the slug is seen only briefly, Nilo Rodis-Jamero, assistant art director-visual effects, devoted considerable time to giving the model (back) just the right texture and scale to make the fantastic seem real.

THE DESIGN OF STAR WARS. IG-88, a battered chrome war droid, originally was envisioned by Ralph McQuarrie (front) as a somewhat sleeker specimen. Also known as the Phlut-droid, IG-88 was one of several bounty hunters summoned along with Boba Fett by Darth Vader, who was intent on capturing Han Solo. His familiarity stems from his reproduction as both a small action figure and the largest and rarest of the Kenner line of oversized dolls.

THE DESIGN OF STAR WARS. THE DEATH STAR, destroyed once by Luke Skywalker, is being rebuilt as a larger, even deadlier armored space station as RETURN OF THE JEDI opens (front sketch by Joe Johnston). The actual model is a six-foot tall half-hemisphere that contains lots of lacy, laser-cut pieces to make the battle station look like it's under construction. For the final confrontation, when the Rebels try to blast the station's reator core, the special effects crew built 360 feet of tunnels.

THE DESIGN OF STAR WARS. JABBA THE HUTT is monarch of the underworld and has a score to settle with Han Solo. George Lucas suggested Jabba have a slug-like body, and three artists and one model maker collaborated to come up with the repulsive, long-tailed creature with a maniacal grin. The sketch (front) is by Joe Johnston based on a model built by Phil Tippett, supervisor of stop-motion photography. The full-scale Jabba was operated by puppeteers and with hydraulics.

THE DESIGN OF STAR WARS. COSTUME DESIGN can play a vital role in defining the nature of a character as well as add to the realism of the action. Having a trilogy also gave the costumers a chance to show character development. Luke, for example, goes from rough-hewn farm boy togs in STAR WARS to an austere and somewhat mystical all-black look as a Jedi Knight in RETURN OF THE JEDI. Sketches by Nilo Rodis-Jamero based on concepts by him and Aggie Guerard Rodgers.

THE DESIGN OF STAR WARS. PRINCESS LEIA, While always strong-willed, develops into much more of an adventurer in RETURN OF THE JEDI. A flowing regal gown simply wouldn't do for the rough-and-tumble action on Endor. Leia's rebel foot soldier outfit (front) is topped with poncho and hard hat for the thrill-a-second speeder bike chase. The costumes for the film were designed by Aggie Guerard Rodgers and Nilo Rodis-Jamero, and were sketched by Rodis-Jamero.

THE DESIGN OF STAR WARS. ORIGINAL SKETCHES for Han Solo in STAR WARS showed him in a tailored military outfit that looked more like a general than a rapscallion. But George Lucas quickly made it clear that his heroes and villains wouldn't be clad in the kind of Spandex-tight, "futuristic" duds that were the hallmark of so many 1950's science fiction epics. Han, shown here in Nilo Rodis-Jamero sketches from RETURN OF THE JEDI, kept the same basic look throughout the trilogy.

THE DESIGN OF STAR WARS. LANDO CALRISSIAN goes from amoral scoundrel to general in the Rebel forces. By the time of the Ewok party that ends RETURN OF THE JEDI, he is envisioned wearing (front) a tailored outfit with vest to ward off the forest chill. Lando also disguises himself as a skiff guard (back) to infiltrate Jabba the Hutt's crew and help Luke rescue Leia and Han from the clutches of the galactic gangster. Sketches by Nilo Rodis-Jamero.

THE DESIGN OF STAR WARS. YODA AS GREMLIN, troll, gnome, pointy-eared proffesor -even Santa Claus- are some of the permutations that artists Ralph McQuarrie and Joe Johnston and makeup artist Stuart Freeborn went throught before coming up with the final version of the Jedi Master (front and back by Johnston). Since Yoda was a puppet operated by Frank Oz and assistants, he also had to have a face that could be made expressive through moving eyes, brows, mouth and ears.

THE DESIGN OF STAR WARS. BAD HAIR DAY? Jabba the Hutt seems unhappy in these developmental sketches by Joe Johnston. Actually, George Lucas had a second chance with Jabba, who appeared as a humanoid in a scene that was cut from STAR WARS. For RETURN OF THE JEDI, the artists started out again with a human form, but with jowly, sagging flesh and a drooping chin that completely hid any neck. Once cetipede-like legs were eliminated, Jabba the slug was born.

THE DESIGN OF STAR WARS. THE RANCOR, a monster that truly lives up to its name (bitter hate, ill will, deep malice), got uglier, scarier and more fierce with each sketch (these two by Joe Johnston). The 16-foot-tall scaly beast lived in a pit beneath Jabba the Hutt's palace, and his powerful jaws and large fanged mouth were meant to devour helpless victims. At first, Rancor was to be a man in a suit, but once it was decided to make a puppet, Rancor became more animal-like.

THE DESIGN OF STAR WARS. JABBA'S MENAGERIE of workers, advisers and hangers-on topped even the Cantina scene from STAR WARS. Among the fiercest were Jabba's personal security force, the Gamorrean guards, first envisioned (front by Ralph McQuarrie) as heavy, upright creatures with gorilla-like faces. Another palace guard was Klaatu, with armadillo-like skin and facial horns. He was designed by visual effects expert Ken Ralston and sketched (back) by Nilo Rodis-Jamero.

THE DESIGN OF STAR WARS. GAMORREAN GUARDS changed from monkey to pig when Joe Johnston (front) drew them as upright wild boars. The final look (back) was designed by Dave Carson of Industrial Light & Magic's Monster Shop. The pig-guards were going to be bare-chested and dressed in skimpy gladiator-like clothes. But they ended up wearing a fuller cloth and leather uniform with metal epaulets to cover the seams of the molded rubber costume.

THE DESIGN OF STAR WARS. BIB FORTUNA, Jabba the Hutt's major-domo and right-hand man, is a human-like alien with two head tails that can be waved in obeisance whenever it's necessary to placate the boss. Fortuna was designed by stop-motion animation ace Phil Tippett and drawn here (front) by Nilo Rodis-Jamero. It is Bib, a Twi'lek by race and spice smuggler by vocation, who first greets C-3PO and R2-D2 and utters those memorable workds: "Nee Jabba no badda."

THE DESIGN OF STAR WARS. CREATURE COLLABORATION: Design suggestions for STAR WARS trilogy aliens came from many fronts. And details that didn't work on one creature sometimes showed up on another. An early Rancor monster (front, by Jeo Johnston) had dangling, grasping tusks to hold victims before devouring them. A form of the tusks, smaller but more numerous, showed up on Squid Head (back), designed by Chris Walas in a sketch by Nilo Rodis-Jamero.

THE DESIGN OF STAR WARS. PRINCESS LEIA'S HAIR was the subject of much talk when it looked like a pair of black Danish pastries had been pinned to her head in STAR WARS. By RETURN OF THE JEDI, the princess had a couple of hair stylists, Patricia McDermott and Paul Le Blanc, who gave her this natural, primitive look for Endor (fron sketch by Le Blanc). She also goto to disguise herself as bounty hunter Boushh (back by Nilo Rodis-Jamero) to infiltrate Jabba's palace.

THE DESIGN OF STAR WARS. EWOS look like little furballs, but these simple, primitive beings are strong-willed, fiercely loyal, and attuned to their environment on Endor. At first encounter, it looks like they will make a stew of the Rebels they capture, but after explanations are made they become staunch allies against the Imperial invaders. Here, Joe Johnston, art director-visual effects, shows the Ewoks setting a trap for the seemingly invincible AT-ST walkers (front), then springing it (back).

THE DESIGN OF STAR WARS. LEIA AS A PIN-UP was probably the last thing audiences expected in the chaste STAR WARS universe. But in RETURN OF THE JEDI, the princess' plan to steal into Jabba's palace in disguise and rescue Han Solo is thwarted; as revenge, Jabba dresses her as a dancing girl to replace Oola, whom he has dispatched to Rancor-dom. Here (front) is a near-final version of the costume.designed by Aggie Guerard Rodgers and Nilo Rodis-Jamero in a sketch by Rodis-Jamero.

THE DESIGN OF STAR WARS. RALPH McQUARRIE provided much of the conceptual art for the STAR WARS trilogy, and he was also responsible for the production art, or paintings that depict key scenes from the script. Here, in action from RETURN OF THE JEDI, a Gamorrean guard marches Artoo and Threepio into a boiler room-turned droid torture chamber presided over by EV-9D9, a seven-foot tall, reed-thin and human-like robot who heads Jabba's Cyborg Operations.

THE DESIGN OF STAR WARS. THE MAX REBO BAND consists of Max on the Red Ball Jett Organ, Droopy McCool on wind, and that irrepressible song stylist with those impossibly far-out lips, Sy Snootles. In this production painting (front) by Ralph McQuarrie, Max and the band play before the denizens of Jabba's palace before journeying to Jabba's sail-barge - the last performance they are likely to give. Rebo and Snootles were designed by Phil Tippett, McCool by Wesley Seeds.

THE DESIGN OF STAR WARS. LUKE SKYWALKER'S CONFRONTATION with the Rancor, in this production painting by Ralph McQuarrie (front), occurs in a dungeon-like cage below Jabba's throne room, with bars allowing the palace crowd to watch the mayhem. The monster has already killed a Gamorrean guard unfortunate enough to have fallen into the pit with Luke. Now it grabs Luke, who picks up the long arm bone of an earlier victim and wedges it into the Rancor's salivating mouth.

THE DESIGN OF STAR WARS. THE SPEEDER BIKE CHASE in RETURN OF THE JEDI was a heart-pumping, non-stop action sequence that took dozens of crafts people months of time and effort. In a Ralph McQuarrie production painting (front), Luke Skywalker races ahead of Imperial scouts on the antigravity bike at a speed of 200 miles an hour. In its various incarnations, the vehicle was a rocket-powered scooter, souped-up hot rod and heavy-duty motorcycle.

THE DESIGN OF STAR WARS. THE EMPEROR STRIKES BACK in the final cataclysmic battle between good and evil in this production painting (front) by Ralph McQuarrie from RETURN OF THE JEDI. After Luke Skywalker has defeated his father, Darth Vader, in a fierce battle but won't turn to the dark side of the Force, the Emperor shoots him with blinding bolts of energy - "evil lightning" - in order to kill him. But Vader, who was once Anakin Skywalker, musters his last ounce of strength to save his son.

THE DESIGN OF STAR WARS. WEDGE ANTILLES in an X-Wing Fighter and Lando Calrissian in the Millennium Falcon reach the main reator of the half-finished Death Star and bombard the power regulator and main reactor with proton torpedoes, setting off a chain reaction that will doom the Empire's "impregnable" weapon. The production painting by Ralph McQuarrie (front) can only begin to hint at the power of the scene, as the ships barely escape before the battle station erupts into a super nova.

THE ART OF STAR WARS. CARTOONIST HOWARD CHAYKIN'S collage of characters (front) was marked "STAR WARS Corporation Poster #1." One thousand copies were printed for sale for $1 each at the summer, 1976 San Diego Comic Con. Most went unsold; today they bring $400 and up on the collectors' market. In December 1976 U.S. movie theaters displayed their first posters (back) promising "an adventure as big as the cosmos itself."

THE ART OF STAR WARS. ARTIST JOHN BERKEY, known for his landscape and science fiction paintings, did this painted sketch (front) as a concept for a STAR WARS theatrical poster, but didn't do a completed poster because of an unrelated legal issue. The first illustrated campaign poster (back) was painted by Tom Jung with design work by Smollen, Smith and Connolly. It has become one of the best known of all movie poster designs, even if its main characters are a bit idealized.

THE ART OF STAR WARS. JOHN BERKEY'S CONCEPT (front) was further refined to become the cover art for the novelization of the STAR WARS script; more than five million papaerback versions have been sold worldwide. Twin brothers Greg and Tim Hildebrandt did their own version of the first STAR WARS poster (back) without the benefit of any likenesses of the main stars, and it became the basis for many foreign and commercial posters. Here it's shown in a 15th anniversary version.

THE ART OF STAR WARS. A HUGE SPACE BATTLE, in a concept sketch (front) later polished by John Berkey, became a poster that was inserted into the STAR WARS soundtrack record album. The artist notes that it was the first time he was asked to paint fictional spacecraft not of his own design: "Not exactly a paint by numbers piece, but close." A variation on the original U.S. theatrical one-sheet is this Japanese version by Seito, released after STAR WARS had won seven Academy Awards.

THE ART OF STAR WARS. A MORE REALISTIC STAR WARS universe (front) painted with the benefit of photographs from the filsm, appears in this luminescent poster concept by Jim Campbell. More artists than usual were hired to come up with different ideas to promote the film. On the first anniversary of release in 1978, a poster filled with toy action figures (back), photographed by Weldon Anderson, was released to theaters. It's one of the rarest posters today.

THE ART OF STAR WARS. THE CONTINUING SUCCESS of STAR WARS led to the demand for fresh poster art. One concept that was later adapted by different artists is Luke and Leia swinging on a rope, gun blazing, to make their escape from stormtroopers aboard the Death Star. This concept art is by Dan Goozee with design work by Tony Seiniger and Associates. Its army of stormtroopers on the bottom seems reminiscent of posters of biblical epics.

THE ART OF STAR WARS. FOREIGN MOVIE POSTERS often use different art than the domestic one-sheets, or art that hasn't been widely seen. The painting by Tom Cantrell (front) was used on one STAR WARS poster in the U.S., but wasn't printed in large quantities. However, because it shows more action and gunplay than the Tom Jung or Hildebrandt brothers' artwork, it was in great demand for foreign posters such as one from Hong Kong (back).

THE ART OF STAR WARS. RECAPTURING THE STYLE and excitement of posters for movie serials from the 1940s, this art was commissioned for the 1978 summer re-release of STAR WARS. It is by Charles White III and Drew Struzan, with design work by White "and friends." With its weathered and tattered look, as if it had been slapped up on a nearby fence, it earned the nickname of "the circus poster." Because it caught the spirit of the film, it is said to be one of George Lucas' favorites.

THE ART OF STAR WARS. ARTISTS' IMAGINATIONS can unleash some beguiling, if strange concepts. Wojtek Siudmak (front) has used near photo-realism on Obi-Wan Kenobi and the two droids, though his Leia is considerably more statuesque and his Luke substantially more muscular than the actual characters. The real fun comes in his etheral landscape and his shattering Death Star with Darth Vader at the core. A more commercial design (rear) makes a point-literally.

THE ART OF STAR WARS. ITALIAN POSTER ART adopted a more cartoo-like look. The design decisions were usually left to local marketing and distribution people who presumably were more attuned to what would best sell the film. While some of the art was fairly true to character, this final oversized poster (back) had Leia as a sultry Gina Lollobrigida-type and Luke looking like he had stepped out of an Italian "spaghetti Western." Both drawings by Papuzza.

THE ART OF STAR WARS. AN EVIL DARTH VADER dominates this painting by Ralph McQuarrie, done before filming began on STAR WARS. Thus, the "prototype" look of all the characters. It was McQuarrie who devised Vader's mask, believing the Dark Lord would need some breathing apparatus in space. George Lucas incorporated the look, but made the reason for the mask more significant. The art was used for the first edition STAR WARS paperback (back).

THE ART OF STAR WARS. A CLOSE ENCOUNTER of a different kind is portrayed in this Ralph McQuarrie painting (front). Darth Vader confronts Luke Skywalker and Princess Leia at the temple of Pomojema in the swamplands of Mimban, where they were searching for the all-powerful Kaiburr crystal. What? You don't remember that in the film? That's because the story is from "Splinter of the Mind's Eye", (back) the first follow up novel in the STAR WARS universe.

THE ART OF STAR WARS. IF DROIDS CAN FROLIC, that's what R2-D2 is doing in this painting (front) by Bunny Carter, used for a Drawing Board greeting card that wishes: Hope this special day is full of wonder for you. The little rabbit-like creatures resemble the telepathic Hoojibs from the STAR WARS comic book series. One of George Lucas' favorite pieces of merchandise from the trilogiy is this early Artoo ceramic cookie jar (back) produced by Roman Ceramics.

THE ART OF STAR WARS. THE POPULARITY OF VILLAINS in everyday culture was never more apparent than in the STAR WARS trilogy. Editorial cartoonists had a field day making Darth Vader stand for the Soviet Union (the "evil empire") and other forces of malevolence. When kids acted out the movie, everyone wanted to be the Dark Lord. This painting of Vader, Grand Moff Tarkin and Imperial stormtroopers by Del Nichols became a Coca-Cola premium poster.

THE ART OF STAR WARS. DAVE DORMAN is one of the latest in a long line of comic artists to draw the STAR WARS pantheon, as shown in this cover (front), one of six from the Dark Horse Comics limited series, "Dark Empire." Who could be more appropriate to announce the National Public Radio STAR WARS series than C-3PO with earset and microphone (back) in this painting by Clia Strain. The series included many parts of the saga that never appeared on screen.

THE ART OF STAR WARS. TWO LUKES are better than one? In this piece of concept art (front), the Jedi Knight-in-training gets two portraits and his teacher, Yoda, is nearby (if facing the wrong way). But nowhere to be seen are the seemingly star-crossed lovers, Han Solo and Princess Leia. The theatrical advance poster (back), a photograph of just a menacing Darth Vader in a star field said plenty; after all, the name of the movie was THE EMPIRE STRIKES BACK.

THE ART OF STAR WARS. THE MAIN INTERNATIONAL art for theatrical posters for THE EMPIRE STRIKES BACK (front) was painted by famed Japanese illustrator Noriyoshi Ohrai. While keeping the general design theme of an overpowering Darth Vader and the embrace between Princess Leia and Han Solo, like many foreign posters, it contains more design elements, space hardware and action. The design was used in Japan (back), Australia and many European countries.

THE ART OF STAR WARS. ONCE A DESIGN FIRM comes up with the basic concept for a "campaign" to sell a film, artists set to work on rough sketches and sometimes more polished art. Here's an early sketch (front) for THE EMPIRE STRIKES BACK from the artist Sanjulian. Larry Noble came up with a different, powerful image (back) of Darth Vader practically punching through the paper, over an icy-cold scene on Hoth. It later was used for an EMPIRE 10th anniversary poster.

THE ART OF STAR WARS. THE MOUNTAIN in this poster concept (front) may be Hoth, or it may be a metaphor for the difficulties faced by the Rebel Alliance. "Gone With the Wind" is the nickname for the first campaign poster (back) for THE EMPIRE STRIKES BACK by Roger Kastel, because of the romantic Rhett and Scarlett pose of Han Solo and Princess Leia. For international use the poster was changed to add Lando Calrissian, Boba Fett and other elements.

THE ART OF STAR WARS. THE NOBLE TAUNTAUN is a major element in nearly all poster concepts for THE EMPIRE STRIKES BACK (front). The filmmakers had three versions of the creature ready: man-in-beast suit; full sized mechanical; and stop motion miniature. Most scenes in the movie use the latter. National Public Radio did its own sequel, with a serial devoted to EMPIRE. For the poster (back), they chose this pensive-looking Yoda painted by Ralph McQuarrie.

THE ART OF STAR WARS. A PASTICHE of different scenes, most seeming to float in space, make up this piece of concept art (front) for THE EMPIRE STRIKES BACK. George Lucas didn't want to give away too many surprises, so Yoda and the Imperial Walkers weren't used in the earliest U.S. posters. Noriyoshi Ohrai, whose skill runs the gamut from photo-realism to fantasy art, dashed off this concept (back) of what looks like a Darth Vader-inspired Doomsday scenario.

THE ART OF STAR WARS. THE REBELS TRANSCEND evil in this concept (front) by Japanese artist Noriyoshi Ohrai. Even in its non-finished form and subdued color, this work for THE EMPIRE STRIKES BACK shows an undeniable strength in its composition. Trying a different hue and featuring Darth Vader more prominently (back), Ohrai works to blend the Dark Lord in with the surrounding cosmos. The spacecraft is the artist's own version of a Star Destroyer-type ship.

THE ART OF STAR WARS. BORIS VALLEJO, the fantasy artist renowned for his Amazonian women and Herculean men, took on a commission from the Coca-Cola Co. to do four promotional posters for THE EMPIRE STRIKES BACK. His largest (front) is a collage of the heroes and Darth Vader, with cut-in scenes of action on Hoth and Dagobah. He also captures a spiritual Luke Skywalker (back) taking instruction from Yoda, the Jedi Master, in the steamy swamps of Dagobah.

THE ART OF STAR WARS. MALE BONDING comes into play in this Boris Vallejo poster (front) as Luke Skywalker astride a Tauntaun and Han Solo with gun drawn "race across the windswept ice fields of Hoth to warn the rebels" of the Imperial onslaught. Not quite the way it happened in THE EMPIRE STRIKES BACK, but that's artistic license. The chilling scene (back) on Bespin shows Han frozen in carbonite with our heroes powerless to save him -until the next film.

THE ART OF STAR WARS. WHEN GEORGE LUCAS decided that Jedi don't seek revenge, this teaser poster (front) became an overnight collectible. The art direction and design was by Bill Pate, photographic special effects by Ron Sato, and retouch illustration by Drew Struzan. While the first poster for RETURN OF THE JEDI simply showed a pair of hands holding a lightsaber, Kazuhiko Sano illustrated more of the film's overall elements in the follow-up theatrical poster (back).

THE ART OF STAR WARS. HEAT SEEMS TO RISE from this poster by Japanese artist Noriyoshi Ohrai (front), which has a very realistic C-2PO and R2-D2 against what appears to be a galaxy of super novae. The poster was printed as a limited edition for sale in Japan. Clearly the most unusual of all the foreign posters for RETURN OF THE JEDI (or in this case, POWROT JEDI), is this exploding Darth Vader head (back), a lithograph from Poland by artist Witold Dybowski.

THE ART OF STAR WARS. "WE'RE MOVING!" While most businesses might send drab change-of-address postcards, having an artist like Ralph McQuarrie on staff let the folks at Lucasfilm send out this intriguing card (front) when they moved off the Universal Studios lot to their own building down the street. Another kind of move is that of Luke Skywalker's X-Wing Fighter on the exhaust port of the first Death Star (back).

THE ART OF STAR WARS. EVEN DROIDS CELEBRATE birthdays (front) in this whimsical art by Bunny Carter for Drawing Board Greeting Cards. "Hope your birthday is out of this world!" the card excalims. Ms. Carter also pictures Artoo and Threepio taking a joyride in Luke's landspeeder (back) near Uncle Owen's moisture farm on Tatooine. "Blast off for the happiest birthday you've ever had", the droids say in this line of cards that came out in 1984.

THE ART OF STAR WARS. SANTA THREEPIO and an antlered Artoo-Detoo (front) cozy up before the fireplace to send Lucasfilm's Christmas greetings in this card, one of a series painted over five years by Ralph McQuarrie. Santa Yoda (back by McQuarrie), seems loaded down with toys for all good little Jedi. The back of the card has a painting of Santa Toda's back. Cards and other limited-run Lucasfilm items tied to the STAR WARS trilogy are a collector's dream.

THE ART OF STAR WARS. STRIKE UP THE DROIDS: This whimsical painting by artist John Alvin (front) shows C-3PO and R2-D2 as virtual one-droid bands. Lore has it that the art was commissioned for a concert tour that was cancelled after only one performance, and that the finished poster (back) was sold only one night at the Hollywood Bowl. This is perhaps the most sought-aftere trilogy poster, with authentic copies fetching more than $1,000.

THE ART OF STAR WARS. THOMAS BLACKSHEAR, a well-known commemorative plate artist, painted this collage (front) for a STAR WARS 10th anniversary plate from Hamilton Collection. He also painted the images on a full series of eight collectible plates for Hamilton. Coming full circle, Tom Jung, artist for the first STAR WARS theatrical poster, illustrated this covere (back) for the best-selling novel, "Heir to the Empire", part one of a Timothy Zahn trilogy that wxpands the STAR WARS universe.

THE ART OF STAR WARS. JIM STERANKO, artist extraordinaire and magazine publisher, had the first comprehensive story and illustrations for the upcoming STAR WARS film in his magazine, then called Mediascene. Featured on the front of this card is the left half of a breathtaking Stereanko painting based on THE EMPIRE STRIKES BACK, which was designed for a wraparound cover. This image became the back cover of Mediascene; to see what the rest of the painitng looks like (the right half, or "front cover"), check out card #81.

THE ART OF STAR WARS. STERANKO'S "EMPIRE" captures the sweep and excitement of George Lucas' epic and served as a cover for the artist's popular Mediascene magazine, now called Prevue. What you see on the front of this card is actually half of the painting; the unseen left side, or "back cover", is pictured on card #80. Jim Steranko inspired an entire generation of comics fans and pros with his ground breaking style of graphic storytelling. His NICK FURY - AGENT OF SHIELD work for Marvel in the late 60's is still dazzling, even by today's standards.

NEW VISIONS. KYLE BAKER. Han and Chewie try to rescue Lando from the jaws of that insatible sand monster, the Sarlacc, in this scene inspired by RETURN OF THE JEDI. "STAR WARS was one of my favorite movies as a child", recalls Kyle Baker, "so it was a joy working on this project." Baker started drawing comics for Marvel and DC back in 1984, and has also written two graphic novels, WHY I HATE SATURN and THE COWBOY WALLY SHOW. His work has appeared in SPY, THE VILLAGE VOICE, ESQUIRE, NATIONAL LAMPOON and other publications too numerous and low-paying to mention.

NEW VISIONS. BRET BLEVINS. "The character of Princess Leia combines the qualities of charm, whimsy, nobility, and just plain fun that defines STAR WARS for me", offers Bret Blevins. "And besides, I love this costume." A long time fan of fabled fantasy, Blevins began his career as an illustrator with his 1982 adaptation of THE DARK CRYSTAL for Marvel. Since then he's rendered "buckets of stuff", including THE NEW MUTANTS, THE BOVV CHRONICLES, BATMAN, TARZAN and THE TROUBLE WITH GIRLS.

NEW VISIONS. TED BOONTHANAKIT. A sleek, sexy, almost Amazonian Princess Leia is Jabba's prize catch and worst nightmare. "Lying on the ground during safari", recalls Ted Boonthanakit, "I'd look up at the sky and wonder: are there really Darth Vaders up there?" Born in Bangkok, Thailand, Boonthanakit spent his formative years in Kenya. Now based in Atlanta, Georgia, he divides his time between comics (MICRA, written by Lamar Waldron), advertising, movie storyboarding and Topps trading card illustrations.

NEW VISIONS. JUNE BRIGMAN. "All three STAR WARS films have great joy-ride scenes", remembers June Brigman. "The speeder-bike chase from RETURN OF THE JEDI is one of my favorites." Brigman began working as an artist for Marvel Comics at age 22. Although continually active in the comics field, she also works in advertising and produces a monthly comic strip for NATIONAL GEOGRAPHIC WORLD magazine. Brigman is currently illustrating a series of STAR WARS Young Adult books for LucasArts.

NEW VISIONS. PAUL CHADWICK. After his uncle forbids him to apply to the Academy, Luke stares at the sunset, yearning for adventure. "It's a favorite moment of mine", reflects Paul Chadwick, "unusually quiet but full of wonder as the twin suns remind us we're on another world." Chadwick enterd the field of comics, pencilling DAZZLER for Marvel. By 1986 his own creation, CONCRETE, began appearing in Dark Horse Comics, and it continues to this day in various formats.

NEW VISIONS. HOWARD CHAYKIN. "My favorite sequence in STAR WARS is the assault on the Death Star,” says Howard Chaykin, "with its references to all those terriﬁc air war pictures of the late ཤs to the mid-཮s." Chaykin pioneered the graphic novel form with EMPIRE and THE STARS MY DESTINATION, de-constructed a number of mainstream characters in the ྌs (most notably THE SHADOW and BLACK-HAWK), created AMERICAN FLAGG! and recently developed MIDNIGHT MEN for Epic.

NEW VISIONS. MARK CHIARELLO. "Disco, pet rocks, CB radios,” ponders Mark Chiarello. "Somehow, out of that cultural wasteland called the ྂs, a worthy, lasting memory endures - STAR WARS." Chiarello's comics-related work includes the STARS OF THE NEGRO LEAGUE card set, short stories for THE RAY BRADBURY CHRONICLES and HELLRAlSER, coloring and portrait work for BRAM STOKER'S DRACULA (Topps) and the BATMAN/HOUDINI graphic novel published by DC Comics.

NEW VISIONS. GEOF DARROW. Geof Darrow "saw STAR WARS 18 different times in the theater, not on video, like most weenies in America today. lt's still my #1 favorite movie. Thanks, George!” After working as a cartoonist for Filmation and Hanna-Barbera, Darrow moved to Paris, France where he collaborated with Moebius on the CITY OF FIRE portfolio. Then it was back to Los Angeles where he and Frank Miller developed HARD BOILED and eventually BIG GUY AND RUSTY THE BOY ROBOT.

NEW VISIONS. STEVE DITKO. "I don't understand how that is meant,” answers Steve Ditko when asked about what inspired him to do this STAR WARS rendering. "The card situation was given to me to illustrate." Ditko is one of the most respected names in the comic book cosmos, having pioneered the visual styles of classic Marvel characters like THE AMAZING SPlDER-MAN and DR. STRANGE, as well as creating characters of his own, such as the critically-acclaimed MR. A. Recently, he rendered Jack Kirby's SECRET CITY SAGA for Topps Comics.

NEW VISIONS. DAVE DORMAN. "Although they may lay a minor role, the droids are the indispensable work-horses of the STAR WARS movie universe, and deserve to be spotlighted", observes Dave Dorman. An illustrator for twelve years, Dorman is best known for his photo-realistic renderings of adventure and science-ﬁction subjects, including BATMAN, STAR WARS, INDIANA JONES and DUNGEONS AND DRAGONS. ALIENS: TRIBES, an illustrated novel featuring 24 of his paintings, has recently been released. DAVE'S CARICATURE BY B. STELFREEZE

NEW VISIONS. GEORGE EVANS. George Evans on George Lucas: "It's said that he was inspired to do a tribute to the beautiful old Flash Gordon Sunday ‘comic', as a long time fan. He took this George along on one wonderful Time Machine trip with him!" Veteran illustrator Evans worked on pulp mags and comics durin the ཤs after his Air Force service in WWII. Among the companies he's worked for are Fiction House, Fawcett and E.C. under Bill Gaines. Evans currently renders the SECRET AGENT CORRIGAN strip for King Features.

NEW VISIONS. FASTNER & LARSON. Say Steve Fastner and Rich Larson: "We always thought that Leia Organa — smarter, wittier, and yes, manlier than her cohorts — should've been the one to slay the garbage chute eyeball monster." Seriously wacked out on early Marvels, psychotronic movies and good girl art, Fastner and Larson have produced lurid airbrush fantasies for comics, paperbacks and records since 1976. Tlheir trend-setting BARBARIAN BABE portfolios are available from S.Q.P.

NEW VISIONS. KEITH GIFFEN. Noted comics illustrator Keith Giffen stands by an unsubstantiated claim that he was reincarnated from Bantha stock. His choice of character was motivated by an intense fascination with anybody named after an infant drool catcher. lndeed, Jabba's righthand entity, Bib Fortuna, never looked so intriguing. Giffen's other memorable work includes the retoolin of JUSTICE LEAGUE OF AMERlCA and LEGION OF SUPERHEROS for DC and his tough-as-nails creations LOBO and TRENCHER, the latter for Image.

NEW VISIONS. PAUL GULACY. "I had a ball drawing the two mercenaries (from RETURN OF THE JEDI), but Id've much preferred Habba the Jut,” proclaims Paul Gulacy, apparently a graduare of the Dan Quayle Institue for Misspelling. Gulacy ﬁrst achieved fame wlth Marvel's MASTER OF KUNG FU (྆-ྉ), then continued to dazzle comics fans with SABRE, NIGHTMARES, SIX FROM SIRUS, BATMAN (in ྒ), CONAN, VALKYRIE! and JAMES BOND and THE TERMINATOR for Dark Horse.

NEW VISIONS. BO HAMPTON. "l wanted to do Han Solo on Dagobah mainly because l like the character and l like the planet,” explains Bo Hampton. "Where else but in science ﬁction can you make a statement like that?” After assisting his former teacher, Will Eisner, back in the late ྂs, Hampton broke into the comics biz with limited work for DC 's WITCHING HOUR. Recent projects include LEGEND OF SLEEPY HOLLOW for Tundra and UTHER, THE HALF-DEAD KING for Tundra, U.K.

NEW VISIONS. SCOTT HAMPTON. Striking a pleasant smile, Grand Moff Tarkin clearly fancies himself "a good man.” "I've been a Peter Cushing fan since those halcyon days of Hammer," offers Scott Hampton. "lt was a pleasure painting one of the great faces of ﬁlm. Hampton began his illustration career in 1983, rendering SILVER-HEELS for Paciﬁc Comics. Marvel's EPIC ILLUSTRATED followed, along with HELLRAISER and various graphic novels including BOOKS OF MAGIC, BATMAN-NIGHT-CRIES, and one of his ﬁnest offerings, PIGEONS FROM HELL.

NEW VISIONS. MICHAEL WM. KALUTA. "Every great being has humble beginnings," proclaims Michael Wm. Kaluta. "I see young Ackbar's schoolmates struggling together with the finer points of this difficult training..." In 1969 the prolific Kaluta began working for DC Comics. Jobs on BATMAN, DETECTIVE and one of his most critically-acclaimed assignments, THE SHADOW, followed. Other well-known works include STARSTRUCK (for Marvel/Epic), MY NAME IS PARIS, BILL THE GALACTIC HERO and THE ABYSS.

NEW VISIONS. GIL KANE (A). "I've wanted to do STAR WARS for years," admits comics veteran Gil Kane. "I was most happy at the opportunity to add (George Lucas' creations) to a long list of characters I've done that go back, seemingly, to the beginning of time. "Kane began his impressive career back in the 1940's, with INSPECTOR BENTLEY OF SCOTLAND YARD for Pep Comics. This led to lucrative jobs for DC and eventually Marvel, as well as the PRINCE VALIANT and TARZAN newspaper strips.

NEW VISIONS. GIL KANE (B). Han Solo appears to be defying the laws of physics in a rendering by Gil Kane that captures the outrageous-but-always-entertaining spirit of the STAR WARS movies themselves. Kane's career in comics spans six decades. Over the years he's drawn just about every major character in the DC and Marvel Universes and recently embarked on his first assignment for Topps Comics, the official adaptation of Steven Spielberg's JURASSIC PARK.

NEW VISIONS. CAM KENNEDY. "STAR WARS has given me the chance to contribute something to an already established and wonderful concept," observes Cam Kennedy, who lives and works in Scotland. The current illustrator of Dark Horse's STAR WARS comic (interiors), Kennedy has also scored big with OUTCASTS, SPECTRE, DAREDEVIL, BATMAN and LOBO, as well as JUDGE DREDD and ROGUE TROOPER for Europe. The ruthless bounty hunter Boba Fett is one of his favorite characters.

NEW VISIONS. DALE KEOWN. "STAR WARS has had a huge impact on me," reveals Dale Keown. "At the time of its release, I strapped a small tape recorder to my stomach, and taped the audio portion of the movie so I could take it home and listen to it while I ﬂipped through the STAR WARS comic book adaptation.” One of the most popular and critically-acclaimed artists in the comics biz, Keown’s works include SAMURAI, DRAGONRING and DRAGONFORCE (Aircel), Nth MAN and INCREDIBLE HULK (Marvel) and PITT for Image Comics.

NEW VISIONS. KARL KESEL. What inspired Karl Kesel to illustrate Jabba’s rock'n'roll trio? "I drew them because they're wacky, and I like wacky. And Boba Fett was taken.”Kesel began working in the comics ﬁeld in 1984, naturally gravitating toward uncommercial characters (AMETHYST, 'MAZlNG MAN, etc.). He's recently illustrated a series of STAR WARS Young Adult novels, is currently writin and drawing an INDIANAJONES mini-series, and became the regular writer on ADVENTURES OF SUPERMAN just in time to watch him die.

NEW VISIONS. SAM KIETH (A). lt was Topps Comics’ Editor-in-Chief Jim Salicrup who suggested the vile, bloated Jabba the Hutt as a possible subject for Sam Kieth to illustrate. "Why not?" Kieth responded philosophically ."In 40 years, l’ll look like that my self." Kieth is a native Califomian who leamed the comic book ropes as the inker on Comico's well-received MAGE. After various other projects he hit national acclaim once again with THE SANDMAN for DC (1988).

NEW VISIONS. SAM KIETH (B). "He had a big nose,” offers Sam Kieth as an explanation for why he chose Jabba's cackling henchcreature, Salacious Crumb, to illustrate. "For some reason, l’ve always drawn people whose noses are too big." After wowing the comics world with DC's SANDMAN in ྔ, Kieth went on to illustrate EPICURUS THE SAGE and eventually wound up drawing WOLVERINE covers and stories for Marvel Comics. His own creation, THE MAXX, was recently published by Image Comics.

NEW VISIONS. DAVID LAPHAM. "l was only seven when my parents took me to see STAR WARS," remembers David Lapham. "Wow, All little kids deserve a place like that." ln 1990, just a month before marrying his beautiful wife Maria, Lapham began working as an artist for Valiant Comics. While helping to build the Valiant universe. he created SHADOWMAN and co-directed the lives of THE HARBlNGER KlDS. Additionally, Lapham has contributed to MAGNUS, RAI and the H.A.R.D. CORPS.

NEW VISIONS. MIKE LEMOS. Greedo, a bounty hunter working for Jabba the Hutt, gets zapped. "My painting is really a story about Han Solo," explains Mike Lemos. "You're looking at his signature without seeing him, and in that, you know a little about him.” From the ླྀs to the ྖs, Lemos has been drawing BEMS with knuckles dragging on the ground, or spacemen of one sort or another, "things invented when I was a kid frightened at what lurked under my bed or in the closet at night, good monsters to fight off the bad ones. Guess things haven't changed much."

NEW VISIONS. ESTEBAN MAROTO. "l would love to draw (the STAR WARS characters) in their remote worlds far away from the limits of our galaxy," reﬂects Esteban Maroto, "in the deep comers of my fantasy away from this reality that saddens me in its monotony.” A successful fantasy illustrator in Spain, Maroto ﬁrst came to the attention of U.S. fans with splendid work for Warren’s CREEPY, EERIE, VAMPIRELLA and DRACULA books. Equally interesting was his DC period (AMETHYST, ZATANNA THE MAGICIAN, ATLANTIS CHRONICLES) and recent work for Topps (VLAD THE IMPALER).

NEW VISIONS. CYNTHIA MARTIN. They spoke about it in THE EMPIRE STRIKES BACK, but we never saw it — until now: Han Solo wins the Millennium Falcon from Lando Calrissian in a card game. "Seeing the movie when I was 15 was like being transcended onto another level of being," remembers Cynthia Martin. "What a ride!” Martin's impressive work includes the original STAR WARS comic for Marvel, a PUNlSHER graphic novel and JASON GOES TO HELL for Topps Comics.

NEW VISIONS. MICHAEL MIGNOLA. Mike Mignola's Sandperson (or Tusken Raider) reﬂects the artist’s feelings about STAR WARS: "Robot junk, dirty spaceships and cool-looking aliens — everything a 16-year-old kid could have wanted!" Mignola began comics work in the early ྌs, pencilling such titles as ROCKET RACOON, THE HULK and ALPHA FLIGHT. In the ten years since, he's rendered COSMIC ODYSSEY and GOTHAM BY GASLIGHT for DC, Marvel's WOLVERINE and BRAM STOKER’S DRACULA for Topps, among many others.

NEW VISIONS. JEAN 'MOEBIUS' GIRAUD. "When STAR WARS ﬁrst came out,” remembers Moebius, "I was ecstatic because it was exactly the kind of science ﬁction that l love... and I draw.” Lauded in France for his luminous fantasy illustrations, Moebius has won every major international comics award and has even been honored with a stamp! Significant work includes ARZACH (1975), THE AIRTIGHT GARAGE (1979), HEAVY METAL contributions and Marvel's SILVER SURFER: PARABLE, with Stan Lee.

NEW VISIONS. JEROME MOORE. Jerome Moore on the Emperor's Royal Guard: "Silent, statuesque, and utterly mysterious, this crimson-robed sextet appears only brieﬂy in Episode Six. Nevertheless, theirs is an intimidating presence as beﬁts their station." Compelled by the Force to graduate from New York's High School of Art and Design, Moore began working for DC Comics, illustrating the company's top superhero characters. Not long ago he made his mark as cover artist for DC's STAR TREK titles. Currently he's rendering the comics adaptation of Arnold Schwarzenegger's LAST ACTION HERO, for Topps.

NEW VISIONS. JON J MUTH. "The robots in STAR WARS were like children, but they were also slightly menacing," concludes Jon J Muth. "lf Too-Onebee (the robo-surgeon from THE EMPIRE STRIKES BACK) had found Luke's lost hand he would have been fascinated." Born in 1960 in Cincinnati, Ohio and originally trained as a painter, Muth's graphic novels include MOONSHADOW, DRACULA - A SYMPHONY IN MOONLIGHT AND NIGHTMARES, HAVOK & WOLVERINE - MELTDOWN, THE MYTHOLOGY OF AN ABANDONED CITY and FRITZ LANG'S M.

NEW VISIONS. MARK. NELSON. Recalls Mark Nelson: "I remember seeing STAR WARS when it was ﬁrst released in the theaters, being mesmerized through the ﬁlm, and as the ﬁnal credits rolled, thinking: this ﬁlm has action, adventure, heroes, villains, story; it's creative, direct and honest. l want more! Luckily, STAR WARS was just the ﬁrst taste of what was to come.” Beginning his career in the early ྌs, Nelson's works include ALIENS, NIGHTBREED, HELLRAISER and many others.

NEW VISIONS. EARL NOREM. "Gary (Gerani, Editor of STAR WARS GALAXY) told me he read somewhere that George Lucas always wanted to see the Wookiees on their native planet, doing some kind of tribal war dance around a bonﬁre," recalls Earl Norem. "Gary thought l’d be perfect for the assignment. l hope George approves!” Norem, the gentleman's gentleman of fantasy illustration, has worked for companies as diverse as Marvel Comics and Reader's Digest. His masterful paintings for SAVAGE SWORD OF CONAN, RAMPAGING HULK and DINOSAURS ATTACK! are among the most respected in the ﬁeld.

NEW VISIONS. ALLEN NUNIS. "I feel, nest to Boba Fett's outfit, Leia's bounty hunter costume (from RETURN OF THE JEDI) is one of the best of the series," says Allen Nunis. A protegé of Al Williamson, Nunis has spent five years providing artwork for the role-playing game industry, including the STAR WARS RPG from West End Games. Recent projects include cover work on the Classic STAR WARS reprint, an ALIENS mini-series (both for Dark Horse) and JASON GOES TO HELL (inks) for Topps Comics.

NEW VISIONS. JASON PALMER. "Although no match for our Jedi", states Jason Palmer, "the Rancor was perhaps the most fearsome creature to come out of the STAR WARS trilogy." Born and raised in Los Angeles, Palmer began working professionally in comics in 1991, painting covers for LOST IN SPACE, THE GREEN HORNET, STAR TREK trade paperbacks, DEBT OF HONOR and THE STARLOST. Recent assignments include pencilling covers for DC's STAR TREK: THE NEXT GENERATION and a series of STAR WARS posters with Hasson Productions.

NEW VISIONS. GEORGE PEREZ. "I felt that the Gamorrean guard would be quite intimidatin in extrerne close-up, offers Geor Pgerez "Besides, comic art is one of the few places you can make a rubber mask look like the real thing!” A comics pro for 18 years, Perez has done considerable work for both Marvel and DC, including THE AVENGERS, THE FANTASTIC FOUR, THE NEW TEEN TITANS, CRISIS ON INFINITE EARTHS, WONDER WOMAN and INFINITY GAUNTLET. Recent accomplishments include HULK: FUTURE lMPERFECT and GLADIATOR for Dark Horse and JURASSIC PARK (inks) for Topps.

NEW VISIONS. GEORGE PRATT. "STAR WARS was exactly what a kid would think of as the movie he would make if he could, observes George Pratt. "You'd look at all your favorite comics books, all your favorite science-ﬁction books, World War II war movies, and you'd say this is what I would do if l was in charge." Pratt's comic-style work has a ppeared in Marvel's EPlC lLLUSTRATED, HEAVY METAL and EAGLE magazine. A successful painter, his creations have been showcased in a number of prestigious museums.

NEW VISIONS. JOE QUESADA. What prompted Joe Quesada to render the Jedi Master Yoda? "He looks like my cat!” Quesada has illustrated more comic book covers than he can remember. His accomplishments include the RAG 6-issue mini—series for DC comics, the BATMAN/SWORD OF AZREAL 4-issue mini-series (also for DC) and monthly pencilling duties on Marvel’s X-FACTOR. Quesada "desperately needs a day off,” and knows Mike Mignola personally.

NEW VISIONS. P. CRAIG RUSSELL. "Despite his ‘marginal' status," explains P. Craig Russell, "Bib Fortuna is one of those characters who's fun to draw because of all the care put into his original design." A twenty year comics veteran, Russell established a name for himself at Marvel and went on to win acclaim for ELRIC, his stylish adaptations of opera by Wagner (PARSlFAL) and Mozart (THE MAGIC FLUTE), as well as literary classics such as Kipling's JUNGLE BOOK stories and SALOME.

NEW VISIONS. MARK SCHULTZ. "l always enjoyed the early scenes of Luke on Tatooine," recalls Mark Schultz, "because it became obvious to me during these that Lucas had a real understanding and love for the myths and conventions of western and adventure ﬁlms.” A longtime frustrated cartoonist, Schultz left the commercial illustration ﬁeld in 1986 to take the plunge into comics. His popular creation for Kitchen Sink Press, XENOZOIC TALES, evolved into the equally-successful CADILLACS AND DINOSAURS and DINOSAUR SHAMAN.

NEW VISIONS. BILL SIENKIEWICZ. "Seeing STAR WARS for the ﬁrst time was an incredible experience," recalls Bill Sienkiewicz. "This cutaway view of Darth Vader suggests THE MAN IN THE IRON MASK to me... a human being forever trapped in his own personal dungeon." A comics professional since 1978, Sienkiewicz also designs and illustrates magazines and record albums. Comics credits include FANTASTIC FOUR, ELECTRA: ASSASSIN, MOON KNlGHT, STRAY TOASTERS, MOBY DICK and his most recent project for Random House: VOODOO CHILD, a visual biography of Jlimi Hendrix.

NEW VISIONS. WALTER SIMONSON. "I once pencilled the STAR WARS comic but was never allowed to show any of the principle characters in conﬂict," laments Walter Simonson. "Now's my chance!" Simonson began working professionally as an artist in 1972. He became a writer in ྋ with Marvel's BATTLESTAR GALACTICA book. Since then, he's written or drawn everything from MANHUNTER to SUPERMAN to THOR to ROBOCOP VS. THE TERMINATOR to the original comic adaptation of ALIEN. Simonson recently adapted the JURASIC PARK screenplay for the Topps Comics four-issue series.

NEW VISIONS. KEN STEACY. Explains Ken Steacy: "The scene I chose to depict is based on a throwaway line Luke delivers late in the ﬁrst ﬁlm —‘l used to bull's-eye womp rats in my T-16 back home.’ l knew what a T-16 was; Luke toys with a model of one early in the ﬁlm, but what the hell was a ‘womp rat’? Well, now we know! Thanx, George... l hope l got it right!” Writer-illustrator Steacy has depicted practically every major fantasy-heroic character you could name, including Luke Skywalker (for Marvel).

NEW VISIONS. BRIAN STELFREEZE (A). "Princess Leia was a great character," observes Brian Stelfreeze, "because she got away from the ‘helpless heroine' cliche found in most fantasy literature of this kind.” After years of commercial art and product illustration, Stelfreeze took a crack at the comics ﬁeld in 1988 with a three-issue mini-series entitled CYCOPS, published by Comics lnterview. Since then he's done extraordinary work for both Marvel and DC.

NEW VISIONS. BRIAN STELFREEZE (B). "To me, Boba Fett is visually the most interesting character in the entire STAR WARS universe," declares Brian Stelfreeze. "He was super-bad, truly ominous... a HIGH PLAINS DRIFTER kind of guy who wasn't intimidated by Darth Vader.” Stelfreeze's imaginative compositions and unique color choices have earned him a legion of admirers. Notable covers includle THE SHADOW OF THE BAT for DC and the fetching She-Hulk rendering that adorns the cover of MARVEL SWIMSUIT ISSUE #1.

NEW VISIONS. DAVE STEVENS. "The portrait study of Luke on the face of this card was originally drawn in the winter of 1979,” explains Dave Stevens, "and included in a group of ‘audition drawings’ submitted to Lucasﬁlm for the STAR WARS Sunday strip.” Stevens, best known for his creation, THE ROCKETEER, also wrote and drew two complete Sunday pages at the request of Lucasﬁlm. He returned the followin summer (1980) to assist artist Rick Hober in ghosting several weeks of the STAR WARS dailies.

NEW VISIONS. WILLIAM STOUT. "l believe that the Ewoks may have been inspired in part by the amazing African Pygmies," suggests William Stout. "l wanted to try to capture the dignity of one of the so-called primitive races that lives in harmony with nature, a harmony that thus far seems to elude our more ‘civilized' society." Stout's breathtaking natural history studies have been exhibited in some of the world's most important museums. He's an intemationally knowm motion picture designer and an award-winning comics artist. Stout recently rendered the cover for an all-dinosaur issue of RAY BRADBURY COMICS (#1), for Topps.

NEW VISIONS. GREG THEAKSTON. "My favorite STAR WARS memory was taking Ray Harryhausen and Charles Schneer (the SINBAD movies, JASON AND THE ARGONAUTS, CLASH OF THE TITANS) to see the ﬁlm on opening day,” recalls Greg Theakston. "Together, we watched the new face of fantasy debut." A lifelong fan of popular culture, Theakston went to work as an illustrator in the early ྂs, apprenticing with Jim Steranko. Since then, he's produced over 250 paperback and magazine illustrations and thousands of commercial storyboards.

NEW VISIONS. ANGELO TORRES. "The STAR WARS movies continue to be big favorites, to be seen over and over again in my house," says Angelo Torres. "The imaginative gadgetry still amazes me, so it was fun to be able to draw the Walker.” Torres served in Korea and upon being discharged in 1953 attended the Cartoonists and Illustrators School (SVA now). Besides comics, he's worked in advertising, magazine illustration and children's books. He's also been with MAD MAGAZINE since 1968 and is still relatively sane.

NEW VISIONS. JIM VALENTINO. "The Emperor is a truly fascinating character," observes Jim Valentino." An old-line sorcerer in high-tech surroundings. And he raises intriguing questions: is he Luke's grandfather, the ﬁrst Jedi Knight to fall from grace, like Lucifer? Maybe when George Lucas produces the next trilogy, we'll find out!" Valentino, one of lmage Comics' superstar illustrators, began work in the ﬁeld back in the late 70's. Accomplishments include NORMAL MAN for Aardvark-Zanaheim, animation work for THE REAL GHOSTBUSTERS and GUARDIANS OF THE GALAXY (1990) for Marvel. SHADOWHAWK is his recent creation for lmage.

NEW VISIONS. JOHN VAN FLEET. "The kid in me will always remember the sound of a battle taking place in the vacuum of deep space, observes John Van Fleet. Van Fleet's published works include numerous stories for HELLRAISER as well as a book entitled PRIMAL and several adaptations for THE RAY BRADBURY CHRONICLES. He recently collaborated with writer John Reiber on a six-part story called SHADOWS FALL for DC Comics’ Vertigo line. This latest effort will be released sometime in 1993.

NEW VISIONS. CHARLES VESS. "Yoda was my favorite character,” states Charles Vess. "I liked the organic touch of Yoda and the Jungle Planet in THE EMPIRE STRIKES BACK that contrasted the hard-edged technological aspect of the rest of the ﬁlm.” After working a short while in animation, Vess moved to New York City and became an oﬁicial freelance artist. Some of his early work was for HEAVY METAL and NATIONAL LAMPOON; today he actively contributes to Marvel, DC and Dark Horse Comics.

NEW VISIONS. RUSSELL WALKS. "I owe a debt to George Lucas,” admits Russell Walks. "lt was he who introduced me to the work Joseph Campbell, a teacher and philospher whose wisdom has inspired me to be true to myself and follow my dreams.” Walks lives in Montana with his wife and two children. He spends his days drawing, painting, and counting himself lucky that he actually gets paid for doing what he loves. RUSSELL'S PORTRAIT BY BRIAN ASHMORE

NEW VISIONS. AL WILLIAMSON (A). "I always liked the characters of STAR WARS,” recalls Al Williamson. "They were very real, very human. And the creatures that inhabited this universe were a helluva lot of Fun to draw.” Known for his elegant line, veteran illustrator Williamson is no stranger to George Lucas' stellar creation: he rendered both THE EMPIRE STRIKES BACK and RETURN OF THE JEDI adaptations for Marvel and spent over three years on the STAR WARS newspaper strip (recently reprinted - with new Williamson covers - for Dark Horse).

NEW VISIONS. AL WILLIAMSON (B). The relentless stormtroopers, patrol dogs for the Empire, as envisioned by Al Williamson. lt was back in 1949 that Williamson began his career with JOHN WAYNE COMICS for Toby Press - Al Capp's company. Memorable science-fiction stories for EC followed, along with Timely westerns. A longtime admirer of Alex Raymond's elegant, swashbuckling creations, Williamson rendered the FLASH GORDON newspaper strip (ཾ-’67) for King Features as well as the enduring SECRET AGENT X-9.

NEW VISIONS. THOMAS WIM. YEATES II. "The STAR WARS movie trilogy was important to me not only because it was a stunning experience," concludes Tom Yeates, but because it encouraged revolution during an otherwise repressive era. Yeates is known for drawing characters in wild, non-urban settings. He rendered short stories for SGT. ROCK, MYSTERY IN SPACE, GHOSTS and other DC series before landing his ﬁrst regular job, the revival of SWAMIP THING (1982). Since ྒ he’s contributed to SCOUT, AIRBOY, LUGER, ALIEN WORLDS, REAL WAR STORIES, BROUGHT TO LIGHT and TOPPS ZORRO VS. DRACULA.

NEW VISIONS. BRUCE ZICK. "The Cantina scene,” Bruce Zick observes, "is the threshold moment of transition into a fabulous and daring world of fantasy, imagination, and sense of wonder that has changed us forever." Zick is a man of many talents. Gourmet, sign painter, engineer and radio DJ, he's also lent his creative skills to motion pictures and TV programs. Comics work includes ARGOSY and TERMINAL POINT for Dark Horse, THOR, PIRATES OF DARKWATER and SLEEPWALKER for Marvel.

STAR WARS GALAXY CHECKLIST #71 - #140. SERIES ONE

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