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Star Wars (2013-2014) Vol. 2: From The Ruins Of Alderaan Kindle & comiXology
- LanguageEnglish
- PublisherMarvel
- Publication dateJanuary 8, 2015
- File size525141 KB
- Due to its large file size, this book may take longer to download
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Product details
- ASIN : B00PJ2CETO
- Publisher : Marvel (January 8, 2015)
- Publication date : January 8, 2015
- Language : English
- File size : 525141 KB
- Text-to-Speech : Not enabled
- Enhanced typesetting : Not Enabled
- X-Ray : Not Enabled
- Word Wise : Not Enabled
- Sticky notes : Not Enabled
- Print length : 142 pages
- Best Sellers Rank: #1,636,020 in Kindle Store (See Top 100 in Kindle Store)
- #5,904 in Science Fiction Graphic Novels (Kindle Store)
- #5,927 in Media Tie-In & Adaptation Graphic Novels
- #10,378 in Marvel Comics & Graphic Novels (Books)
- Customer Reviews:
About the author
After graduating from the prestigious Parsons School of Design, Brian Wood spent several years in video game design with Rockstar Games, most notably for the Grand Theft Auto franchise before moving full time into writing. Brian’s comic book work has been published by DC Entertainment, Marvel Comics, Image Comics, Dark Horse, Boom! Studios, and others.
His original graphic novels are some of the most influential in comics. Starting with Channel Zero, his street activist call-to-arms, Brian has unapologetically made politics and socially conscious thrillers the center of his career. His DMZ defined comics’ response to the war on terror. The Massive took on climate change and next-gen environmentalism. Briggs Land, the crime saga set on a secessionist compound, tackled the scourge of the alt right. Starve is about food sustainability and class divide.
His historical fiction has similarly blazed a singular trail. Northlanders, his Viking anthology, set a benchmark in the comics industry. Rebels, his populist American Revolution anthology, is on the curriculum of schools across the country. Sword Daughter is a pulpy Samurai/Norse mashup, and Magnus Black, the brutal fixer in Black Road, is a Jack Reacher for the dark ages.
His YA books Demo, Local, Mara, and The New York Four have made YASLA and New York Public Library best-of lists. He’s also written for some of the biggest franchises in pop culture, including Star Wars, Aliens, Terminator, RoboCop, and the X-Men.
He co-wrote the award-winning video game 1979 Revolution: Black Friday and contributed story material to Fox’s upcoming Alien shooter.
He’s written TV pilots for AMC, Team Downey and Sonar Entertainment, and WV Enterprises. His DMZ is currently in production at HBO Max with Ava DuVernay directing.
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We find Brian Wood's story lines moving forward: the Rebel Alliance still seeks a new base, Han and Chewy are off to Coruscant in search of supplies while pursued by Imperials and bounty hunters, while Mon Mothma, nominal leader of the Rebels, orchestrates some interesting moves in the area of espionage. So far, Woods has wisely refrained from over using Darth Vader and throughout this volume he remains in a semi-exile overseeing the construction of the new Deathstar at Endor--a staus that would appear to be coming to an abrupt end. None of these story arcs are resolved, so readers will need to pick up Volume 3 to see how things progress.
Along the way, our main heroes have some personal encounters. Luke has a proto-romance with a female pilot X-Wing pilot assigned to his squadron, Han flirts with the feisty, and capable, smuggler Perla (a relationship we know won't go much of anywhere, though I'm curious to see what is done with her character as the series goes on) and Leia encounters a very tangible and painful reminder of her home world of Alderaan, a thread I hope is picked up on in subsequent issues.
The artwork duties, shared in this volume by Rick Kelly and the returning Carlos D'Anda, produce some good visuals, chock full of detail. D'Anda in particular shines with some panels depicting the kinetic frenzy of a fleet engagement, or, my favorite, his image of Princess Leia aiming a blaster directly at the reader (page 85) which is cleverly carried through the action of the next two pages. Unfortunately, the greatest weakness of first volume remains--neither D'Anda nor Kelly seem to be able to draw the main characters anywhere close to how they appear in the movies.