I was sorry to hear that writer Tom Veitch had passed away on February 18th at the age of 80 from COVID-19. Tom Veitch had a career that spanned over four decades. He was a contributor to the underground comix movement of the early 1970s, as well as a novelist & a poet. Veitch was the older brother of acclaimed comic book creator Rick Veitch.
I am most familiar with the work Tom Veitch did in mainstream comic books from the late 1980s to the mid 1990s. During this time he did work published by Marvel, DC and Dark Horse.
Veitch became the writer on Animal Man from DC Comics with issue #33, cover-dated March 1991. He had the unenviable task of following after the acclaimed work of Grant Morrison and Peter Milligan on that series. Veitch’s run lasted through issue #50, August 1992.
I was in high school when Veitch was writing Animal Man and, truth be told, my tastes were, well, less than refined, so to speak. To be brutally honest, I was a Marvel Zombie, a superhero junkie. I bought several issues of Animal Man for the stunning covers by Brian Bolland. I was definitely caught off-guard by the decidedly unconventional work inside by Veitch, who for most of his run was paired up with interior artist Steve Dillon. David Klein & Mark Badger, Brett Ewins & Jim McCarthy and Steve Pugh also contributed artwork during Veitch’s year and a half run.
Looking back on those issues of Animal Man, and my reactions to them, at the time I was probably lacking in the maturity & knowledge of political & social topics such as environmentalism, animal rights and faith & spirituality, to truly appreciate the work of Veitch and his artistic collaborators. Nevertheless, I did have a certain appreciation for the stories they were telling. Veitch did a superb job of writing Animal Man / Buddy Baker’s relationship with his wife Ellen and daughter Maxine. I have no doubt that if I were to revisit those comics in the present day that I would enjoy them a great deal, as well as have a much greater appreciation for the themes & subjects which Veitch was addressing in his stories.
In 1988 Veitch and artist Cam Kennedy had collaborated on the six issue creator-owned war / fantasy series The Light and Darkness War published by the Epic imprint of Marvel Comics. As he later recounted in Back Issue #55 from TwoMorrows Publishing, Veitch subsequently sent copies of The Light and Darkness War to George Lucas with a proposal for a new Star Wars comic book series. It’s perhaps difficult to understand now, but in 1989 Star Wars was considered a moribund property, and Veitch & Kennedy were among the few people genuinely interested in taking it forward. Lucas was impressed by their work and gave them the green light.
Veitch & Kennedy initially pitched this new Star Wars project to Marvel, who had published the ongoing SW comic book from 1977 to 1986. Marvel, however, got cold feet, believing SW was no longer commercially viable. Veitch convinced Lucasfilm to speak with independent publisher Dark Horse Comics, who had recently done a successful comic book continuation of the Aliens franchise. The project was moved over to Dark Horse, and the six issue Star Wars: Dark Empire by Veitch & Kennedy, with painted covers by Dave Dorman, was published bimonthly from December 1991 to October 1992. The epic, ambitious, galaxy-spanning Dark Empire was a huge success, and Dark Horse retained the Star Wars license until 2014, when Disney bought the entire property up and returned it to Marvel.
Dark Empire was followed in 1994 by a six issue sequel, Dark Empire II, also by Veitch & Kennedy. Veitch’s storyline concluded in the two issue Empire’s End in 1995, this time with artwork by Jim Baike. I’ve always gotten the impression that Empire’s End was originally planned as another six issue miniseries and was chopped town to a third that length. Nevertheless, despite its seemingly rushed nature, it did provide a decent ending to the Dark Empire trilogy.
Veitch also wrote several Star Wars: Tales of the Jedi miniseries . Set thousands of years before the movie trilogy, Tales of the Jedi chronicled the early years of the Jedi and their battles with the ancient Sith.
Veitch is generally considered to be one of the key figures in revitalizing interest in the Star Wars franchise during the 1990s, helping to lay the groundwork for Lucas himself to eventually return to the a galaxy far, far away with the prequel trilogy and The Clone Wars animated series.
Some of the ideas & concepts in Veitch’s Star Wars stories have inspired more recent material. Most notably, it was Veitch & Kennedy who first resurrected Emperor Palpatine in a cloned body in their Dark Empire trilogy, a development that was made canonical in the 2019 movie The Rise of Skywalker. Dark Empire also saw Boba Fett return from his seeming demise in the maw of the Saarlac to become a prominent figure, again something that has been adopted by the live action SW universe in The Mandalorian and The Book of Boba Fett.
Animal Man and Star Wars were but two facets of Veitch’s rich, lengthy writing career. He was an unconventional, imaginative creator who will definitely be missed.
The Book of Boba Fett has come to its conclusion, so I’m going to take a general overview of the seven episode Star Wars series that streamed on Disney+.
As I’ve previously blogged, I’ve been a Star Wars fan since my father took me to see The Empire Strikes Back for my fourth birthday. Truthfully, I never really understood the appeal of Boba Fett, who made his debut in that movie. Yeah, he looks cool, but he doesn’t actually do much. He gives Vader some attitude, he then figures out where the Millennium Falcon is hiding and tracks it to Bespin, he takes a few shots at Luke in Cloud City, and he gets away with Han Solo frozen in carbonite. Then in Return of the Jedi he manages to hold his own against Luke Skywalker for a bit before Han accidentally knocks him into the Sarlaac. And that’s it.
If I had been born just a few years earlier I would have understood that Boba Fett had actually made his debut two years prior to The Empire Strikes Back, appearing in a lot of pre-publicity material, featuring as the antagonist in the animated segment from the Star Wars Holiday Special, and being available as a mail-order action figure. For fans who were older than me it must have felt like Boba Fett was a big deal, and I expect a lot of them built him up to be this incredible figure in their heads long before they ever saw The Empire Strikes Back.
But for myself, having only his two movie appearances to go by, I just didn’t think Boba Fett was anything special. I must have been one of the few fans who was happy when he was dropped into the Sarlac Pit. And it constantly mystified me how over the next two decades the novels and the comic books kept bringing him back, and offering him up as a hugely important, badass character, and how much other fans absolutely ate it up.
Fast forward to 2020 when Boba Fett was brought back from the dead in The Mandalorian; he shows up in the episode “The Tragedy” and single-handedly defeated a platoon of Stormtroopers, and I was thinking to myself “Well, that’s certainly cool, but he was never anywhere near as competent or dangerous as this in the movies.” It felt like director Robert Rodriguez was literally playing with his Star Wars action figures and giving us the Boba Fett that he’d always wanted to see, rather than the one who already existed.
So when it was then revealed in the mid-credits scene in The Mandalorian season two finale that Fett would be getting his own Disney + series, my immediate reaction was “Why?” Honestly, I just didn’t think the character was strong enough or interesting enough to carry his own series.
Having watched The Book of Boba Fett, I actually still sort of feel that way. I don’t think it’s accidental that Jon Favreau & Dave Filoni made the series an ensemble piece. Fett works a lot better with the characters of Fennec Shand and Din Djarin / Mando to bounce off of. Certainly it helps that Fett is played by Temura Morrison, who has an awesome voice, and who gives the character a brooding intensity while nevertheless exuding a certain type of vulnerability. Additionally Ming-Na Wen and Pedro Pascal are both very good actors who help to carry the story.
So, yeah, I do have to say that The Book of Boba Fett is nevertheless the first time I’ve ever been genuinely interested in the character. A major part of this is that the series takes Boba Fett out of the “badass bounty hunter” niche and broadens him.
After barely escaping from the Saarlac, in a scene that reminded me of Star Wars #81 from Marvel Comics, Fett is mugged by a gang of Jawas who strip him of his armor and who leave him for dead out in the brutal Tatooine desert. Fett is eventually “rescued” by a tribe of Tuskens, who make him their slave, but after he defeats a four-armed monstrosity in the desert, the Sand People recognize his strength & bravery and adopt him into their tribe.
A few thoughts on this:
Chronologically Fett is supposed to be in his early 40s at this point. Temura Morrison is 61 years old. Having Fett living out in the harsh deserts of Tatooine for half a decade is a good way to explain why the guy now looks much older than he actually is. Tatooine seems to prematurely age a lot of people. Just ask Obi Wan Kenobi, Aunt Beru and Uncle Owen.
Following on from The Mandalorian, this series does a good job at developing the Tuskens, the original inhabitants of Tatooine, beyond just brutal savages. It’s explained that in the distant past Tatooine was actually a world covered in water, and that after a catastrophic climate change the Tuskens were forced to adapt to their new, harsh environment, with many of them becoming brutal killers, but others, such as the tribe that takes in Fett, striving to maintain some semblance of honor & civilization.
We see Fett extensively training with the Tuskens, learning to fight with their weapon of choice, the gaffi stick, eventually becoming very proficient. This provides a good in-story explanation for how the guy who didn’t do much of anything in the original movie trilogy is now able to wipe the floor with a squad of Stormtroopers.
Finally, Fett’s adoption by the Tuskens explains why the character has changed so much. He hasn’t had a family since his father Jango died many years before. (I’m sure that Jango loved his son, but let’s face it, he wasn’t exactly the world’s greatest father, and he eventually got himself killed, leaving his young son to fend for himself.) Fett comes to realize just how empty, how lonely, his existence as a bounty hunter has been. And when the tribe is wiped out, it’s a huge loss for him. It explains why he wants to become “daimyo” of Mos Espa, because it’s a way, however flawed or misguided, for him to try to restore order to his life and establish a new family.
Among the allies Fett and Shand gather in these early episodes are the Mods, a gang of disaffected cyborg teenagers riding around on colorful speeders. Some viewers really didn’t like the Mods, saying they were completely out of place on Tatooine. I thought the Mods were fine, though. The way I figure it, they’re bored teenagers. They are hugely into self-expression and rebelling against the status quo. Getting cybernetic implants is one way they go about that. Having really colorful speeder bikes that totally clash with the whole “beige Tatooine” aesthetic is another way they’re looking to make their own identities.
I also liked Garsa Fwip, the Twi’lek proprietor of the Sanctuary cantina in Mos Espa. Jennifer Beals played Garsa as an intriguing, intelligent character, and costume designer Shawna Trpcic created some amazing, beautiful outfits for her. I was genuinely upset when Garsa and her cantina were blown up by the Pyke Syndicate, but I recognize that it’s important for the drama of a story like this one to occasionally kill characters you like to demonstrate just how dangerous circumstances actually are.
A side note: I felt sooooo bad for the guys who were stuck carrying the Hutt Twins around the streets of Mos Espa. They must have one of the worst jobs in the Star Wars universe!
The structure of The Book of Boba Fett is damn odd. The first four episodes alternate between Fett and Fennec Shand in the present day attempting to establish control of the deceased Jabba the Hutt’s crime empire, and flashbacks showing Fett’s time with the Tuskens and how he saved Shand’s life after her seeming death in The Mandalorian season one.
And then we get to episode five, in which Fett is completely absent from his own series. Din Djarin takes the spotlight in what feels like The Mandalorian season two and a half. Mando still has the Darksaber, but he doesn’t really know how to use it, and in a fight even ends up injuring himself with it. Which, let’s be honest, is actually a realistic thing to happen. Lightsabers are incredibly dangerous weapons, and Mando has had zero training in using one.
After fulfilling a bounty on the stunning ringed-shaped space station Glavis, Mando locates the remaining members of his sect, now down to just the Armorer and Paz Vizsla, although he’s soon on the outs when they learn he removed his helmet. With nowhere else to go, he heads off to Tatooine where Pelli Motto (the ever-irreverent Amy Sedaris) has procured him a replacement spaceship. They finish rebuilding it just in time for Fennec Shand to recruit Mando in Fett’s war against the spice-running Pyke Syndicate.
This episode features a brief flashback to the Purge that saw the Empire completely devastate Mandalore. It also helpfully clarifies something that confused a lot of people, myself included. Why couldn’t Bo-Katan just accept the Darksaber from Mando, since she’d already done so years before when Sabine Wren gave it to her in Rebels? As the Armorer explains, Sabine giving Bo-Katan the Darksaber, rather than Bo-Katan winning it in combat the way tradition demanded, led to Mandalore becoming cursed, enabling the Empire to destroy it.
Then we get to episode six, “From the Desert Comes a Stranger,” which I jokingly referred to as “Star Wars Team-Up.” Fett shows up again, but just for one scene, and the action is divided between Marshall Cobb Vanth (Timothy Olyphant) fighting the Pykes in Mos Pelgo, Mando trying to bring a chain mail shirt of beskar to Grogu, and Grogu training with Luke Skywalker (a CGI de-aged Mark Hamill).
“From the Desert Comes a Stranger” was occasionally frustrating, because as cool as it was to see Grogu again, it definitely felt like a diversion from the main plotlines, although it eventually does lead to Grogu deciding to return to his surrogate father Mando rather than train as a Jedi.
The sequel trilogy told us that Luke turned out to be a pretty crappy teacher, so I’m not too surprised to see him doing a subpar job with Grogu here. The guy who literally saved the galaxy because he refused to give up his emotional attachment to his father who everyone else said was beyond redemption and needed to be destroyed is now going “Attachments are forbidden for a Jedi.” Seriously?!?
All of that aside, it was really cool to see Luke and Ahsoka Tano (Rosario Dawson) together. I’m sure most of us have been hoping to see that meeting for a while now.
Episode six also brings Cad Bane (voiced by Corey Burton) into live action. He’s the “Stranger” who comes out of the desert to seemingly kill Cobb Vanth at the behest of the Pykes. That scene where the character was on the distant horizon slowly striding towards town, I was wondering who the heck it could be. Then as he got closer, and his silhouette with the wide-brimmed hat became clearer, I literally went “Oh shit!” The thing about Cad Bane is that not only is he incredibly dangerous, but he’s also a stone-cold killer. Whenever he shows up you know shit’s going to go down.
Bane’s definitely got a distinctive design. He was based off of Lee Van Cleef’s villain Angel Eyes from the movie The Good, The Bad and the Ugly. I was thrilled that not only did Bane look pretty much as he did in The Clone Wars and The Bad Batch, but that he also had that same creepy voice. At least one person complain that the wide-brimmed hat is too “on the nose” in signposting Bane’s inspirations. But I like the hat. It makes the character instantly recognizable. There was even one episode of The Clone Wars where he murdered someone for their hat. That shows how much he likes wide-brimmed hats… as well as how ruthless he actually is.
Anyway, that takes us to the seventh and final episode. “In the Name of Honor” is a big, loud, action-packed spectacle directed by Rodriguez that has Fett, Shand, Djarn and their small group of allies fighting a desperate battle against the overwhelming forces of the Pykes in the streets of Mos Espa.
The climax of sees Fett and Bane facing off, and it’s no accident that it comes down to these two. Bane is exactly who Fett used to be, a remorseless killer who works for the highest bidder, and indeed Bane insists that they are still the same. It’s also deliberate that Bane outdraws Fett, but in the end Fett wins by using his gaffi stick, his legacy from the Tuskens, against Bane, seemingly killing him. So, yes, in a way Bane was correct, Fett is still a killer… however he’s killing not for money, but rather to avenge his fallen family and to protect his new one.
From a critical point of view the final episode (and indeed the whole series) is a bit of a mess, but damned if it wasn’t a huge heap of fun. I mean, Boba Fett riding around on a Rancor would have absolutely blown my seven year old mind, and even at 45 years old I thought it was really cool. Yes, sometimes Star Wars successfully transcends its pulpy roots to tell deep, insightful, nuanced stories. But a lot of the time it’s just an enjoyable mash-up of space opera, Westerns, Saturday morning serials, comic books, Japanese cinema, war movies and mythology.
It occurred to me that this season is structured along the lines of a comic book crossover. The first four episodes are issues of the Boba Fett series. Episode five is a Mandalorian annual, and episode six is a Luke & Grogu special, with episode seven being the big wrap-up as all characters and plotlines converse. And, yeah, there’s even an epilogue in setting up a future storyline.
A number of Star Wars fans were very unhappy with The Book of Boba Fett, claiming that Fett was acting completely out of character. And all I can say is, what character? The guy had four lines of dialogue and about six minutes of screen time in the original trilogy. The most we ever saw of him before now was when he was a teenager in the movie Attack of the Clones and The Clone Wars animated series. There are legitimate criticisms to be made about the show, but “It isn’t being true to Boba Fett’s character” is a load of bullshit because he was practically a blank slate before he was brought back in The Mandalorian.
Some people have argued that there were plenty of novels and comic books over the past several decades featuring Boba Fett. But how much of those is still considered to be canonical? And putting aside the issue of canon, having read some of those books and comics, I never found Boba Fett the unstoppable, faceless, badass killer to be a compelling protagonist. The Book of Boba Fett actually made him into an interesting character that I actually care about.
If you actually watch the entire series, you see the picture of a middle aged man who decides to change his ways, because he looks back on his life and realizes that he’s unhappy with how it has turned out. That’s why the guy who was once warned “No disintegrations” by Darth Vader is now going out of his way to avoid killing people unless he absolutely has to, who now values family & honor far above profit.
There’s a saying on social media: No one hates Star Wars like Star Wars fans. Two different live action Star Wars television series (with more on the way) and all some people can do is complain because it isn’t exactly what they were expecting or hoping for. I swear, some people are never satisfied. Ten year old me would have killed to get all of this great Star Wars content back in the mid 1980s.
So, yeah, I enjoyed The Book of Boba Fett, and I’m looking forward to seeing what Favreau & Filoni have in store for us next.