TALES FROM THE DARK SIDE: While Dark Forces, Darksabers, the Dark Side, and Dark Jedi abound, Dark Horse Comics proves that some things dark are GOOD for the New Republic

Peet Janes
Editor, Dark Horse Comics

     "Editorial Monkey-Boy" is how Peet Janes describes his first position at Oregon-based Dark Horse Comics. However, with the burgeoning comic book industry reaching out and expanding like never before in 1993, Janes used his editorial skills (and his prehensile tail) to rapidly climb the mountain of success to become a full-fledged editor on some of Dark Horse's most viable properties. One of those properties just happened to be set in certain science-fiction fantasy universe inhabited by Jedi Knights, sinister bounty hunters, comical droids, rogue smugglers, dashing pilots, and an evil empire.

     Janes edited several Star Wars and related titles, including Droids, Tales from the Mos Eisley Cantina, and together with Ryder Windham, the much-talked about Shadows of the Empire limited series. With the departure of Windham from Dark Horse earlier this year, Janes took over the editorial reigns of what he likes to call "the working class of the Star Wars universe," namely the popular adventures of cult hero Wedge Antilles and his Rogue Squadron. Janes gives us some insight into what it takes to create a Rogue Squadron adventure, as well as a glimpse into the future at some exciting upcoming projects from Dark Horse Comics.

PEET JANES, THE STAR WARS FAN

     "The first night Star Wars came out," Janes relates, "nobody had heard anything about it. My mother and her friends went downtown to see it, and they were so flipped out that they came back up to the house and dragged us kids back to see the later show. A week later, there were lines around the block, and I spent most of my summer-lawnmowing money on matinees. I don't know how many times I've seen the films, and this is only complicated further now that I have the letterbox editions and hit different parts of them each week for reference. I still love them dearly, and it is obvious that the films had a major impact on my life. As an 11-year old, I was determined that someday, I'd work for George Lucas. Here I am! Hmm, what should be my next goal? "

ES: Can you pick a favorite moment from the Star Wars movies?

PJ: I have many favorite moments from the films, but oddly enough, it's the moments that were not captured on film, the things George Lucas decided to leave to our imaginations, that really excite me. That, in my opinion, is why the trilogy resonates the way it does. Imagine, if you will, the moment where Darth Vader discovers that the hotshot pilot who blew up the Death Star was his son! That is an epic moment, and it's hidden somewhere between SW and TESB. But if you really want to hold me to it, I'm a sucker for the space scenes. Not to diss any of the actors, but seeing the Millennium Falcon pull that tremendous dive in TESB and cause those star destroyers to almost collide is way too cool!"

X-Wing Rogue Squadron: The Rebel Opposition
(issues 1 - 4)

PEET JANES, THE STAR WARS PROFESSIONAL

ES: It can't be easy balancing the difference between being a Star Wars fan and a Star Wars professional. On the professional side, an editor of such a beloved property as Star Wars and "Rogue Squadron" must face quite a few challenges.

PJ: As with any venerable property, SW has its share of finicky fans. I can say that I have always been a great fan of SW, but some feel my fandom (and correspondingly in some people's eyes, my knowledge) of the SW universe is incomplete, tunnel-visioned, or downright flawed. Trying to please most readers is actually one of the bigger challenges, but one made worthwhile every time a reader tells me that they felt like they were watching another film. I always try to communicate the degree of reverence that is needed when working on this material. The Lucasfilm SW license is perhaps one of the most recognizable in the world, and every creative person involved in producing new material has to be careful. However, more often than not, the creators that work on SW are enthusiastic before they're even out the gate.

ES: We always hear about the dreaded "continuity editors" at Lucasfilm.What has your relationship with them been like?

PJ: The buildup of their reputation has served them well. Lots of folks have heard about them, and to a certain extent, it's true. But that makes creators and editors a lot more careful about what they submit. Sure, the occasional page gets sent back needing significant corrections, and such things can go so far as to jeopardize a comic's publishing schedule. But the fact that they care is central. If they were simply taking a check and letting licensees do whatever they wanted, who knows what the state of the SW universe might be in? It certainly wouldn't be the relatively well-ordered space we all work in today.I've been working on licensed titles during my entire tenure at DH. Comparatively speaking, Lucasfilm's continuity editors are more strict than some, but they are also not meddlers, like others. They trust us in most cases to do what we do best: make great comics.

ES: Do they send you a detailed packet explaining what they don't want to see in the books, or is it a back and forth communication process?

PJ: Some story ideas come from Lucasfilm (and even George Lucas), like Shadows of the Empire. Most, however, are generated either by DH, or by established comics creators at the invitation of DH. For example, Mike Richardson, publisher and owner of DH, is writing Crimson Empire from an idea he has had percolating since DH took on the SW license. John Wagner and Cam Kennedy, the co-creators of Judge Dredd, did such great stuff for the British comics mag 2000 A.D. that we invited them to take a crack at Boba Fett. Once a project is going, it's subject to all the same continuity and restrictions. The project then goes through approval at the scripting, pencilling, and inking stages (and sometimes other stages as well).

ES: Have you ever felt very strongly about something Lucasfilm wouldn't let the creative team explore in the comics?

PJ: Sure. There are always different interpretations of events, up to and including events that are up on the screen in the films. I can't really call attention to some of the rejected proposals that have come along. There are many obvious avenues that cannot yet be explored due to the upcoming prequels, but often, there are details from the current continuity that are also left in the shadows. We know, however, that if LFL decides to disapprove something, they've got a pretty good reason for it, so we don't really push it. This also means that we are not necessarily "wed" to a project until it's approved. Yes, I've been disappointed before, but there's usually too much other stuff going on to worry about it.

X-Wing Rogue Squadron: The Phantom Affair
(issues # 5 - 8)

ROGUE SQUADRON: THE COMIC

ES: Let's talk about the actual "Rogue Squadron" comic. What has it been like working with the current "Rogue" comic creators; John Nadeau, Jordi Ensign, Mike Stackpole, and Jan Strnad?

PJ: I am extremely proud of Battleground: Tatooine, because it was the first story arc that I had the chance to develop from the ground up. I had seen John Nadeau's work on Aliens: Colonial Marines. That title also featured a large cast and lots of technical stuff. Jordi Ensign had previously inked SW material. Since they had operated as a team before, and they were both SW fans (a prerequisite to working on any comics series is being a fan beforehand), I brought them aboard. [Ed. Note: Both John Nadeau and Jordi Ensign voice their views on Rogue Squadron elsewhere in this issue!]

Jan Strnad's comics from ten years before (Dalgoda, published by Epic) were in part responsible for me getting back into comics as an adult. Jan had previously written a sharp and hilarious Droids story arc for me. Jan is the ultimate comics professional; his scripts are so clean that I sometimes have nothing to do on them.

And Mike Stackpole? In general, his commitment to doing the SW universe right is commendable. I've had the opportunity to work with several novelists during my brief tenure at DH, and without question, Mike is the top of the heap. He has a sincere interest in seeing his ideas manifested in comics form, and a willingness to support and advise that goes beyond the call of duty. Go buy his books! [Ed. note: for more on Mike Stackpole, see his interview elsewhere in this issue!]

ES: What can you tell me about the latest "Rogue Squadron" storyline: The Warrior Princess?

PJ: Mike Stackpole wanted to do a story that would reflect on events from human history at the same time that it reflected the basic SW story. Warrior Princess recalls the brutal massacre of the Romanov family in Imperial Russia, but it also recalls another warrior princess with whom we are all familiar: Leia. It expands the SW universe by showing that the Alliance has some of the same problems dealing with sovereign nations that the Empire had: You arrive on a planet hoping to extend the hand of alliance and support, only to find that you're not sure which government you should greet. Warrior Princess also offers some important cast changes, as well as the introduction of characters who will cause significant troubles for the Rogues in stories to come.

ES: Will the RS series retain it's current numbering process with revolving creative teams for different story arcs, or will the current team remain on the book with an ongoing numbering?

PJ: As much as I would prefer to change the numbering system to ongoing, it's out of my hands, although impassioned pleas from readers directly to publisher Mike Richardson or VP of Marketing Lou Bank might help! We're working on a number of upcoming story arcs that may vary from the four-issue formula. Sometimes a couple more issues, or a couple less, are needed for specific stories. In order to accommodate the large number of creators who have their own visions for Rogue Squadron, we will continue to have revolving creative teams. This also allows creators who have been blitzing away on SW for months to get a break from burnout, which happens more often than you think. It's also worth noting, though, that I am a significant user of the "It ain't broke? Don't fix it" rule. If someone shines on the material (and John, Jordi, and Jan seem to) then I'd be a fool not to utilize their skills again

NEW STAR WARS COMING FROM DARK HORSE

ES: With the upcoming release of the Special Editions and, of course, the prequels, what can we look for from Dark Horse in the way of comic books?

PJ: SW film adaptations: a new adaptation of A New Hope featuring pencils by Eduardo Barreto (Aliens/Predator: Deadliest of the Species) and inks by Al Williamson (too many cool projects to mention) [Ed. Note: Star Wars fans will remember Williamson from his great work on Archie Goodwin's TESB and ROTJ adaptations from Marvel Comics, as well as his work on Goodwin's daily Star Wars newspaper strip, recently collected and published by Dark Horse as Classic Star Wars.]

PJ: All of the above are possible, and even probable. I don't want to spoil anything. To a certain degree, readers can already extrapolate some information (our comics series, at least through issue 32, occurs before the events of Mike Stackpole's X-Wing novels.) After that? Hmmmm . . .

Despite the hard work that goes into making an issue of a Star Wars comic, it seems obvious that Star Wars fan Peet Janes will be out there with the rest of us, enjoying every issue that hits the stands!

(Jeff Carter just loves interviewing professionals, and would no doubt love to reply to any Email sent to him at 104110.3656@compuserve.com)