Gene Luen Yang’s “Boxers,” the first volume of his “Boxers & Saints,” tells the story of Little Bao from Shan-tung at the end of the 19th century and beginning of the 20th. He sees missionaries from Europe disrespect his people’s ways, destroying their local god and encouraging them to adopt Christianity with the threat of violence. Having grown up on operas about his people’s history and legends, Bao loved his culture and viewed the local god as a familiar, comforting presence. Feeling adrift and lost following floods, Bao learns kung-fu from a traveling merchant and channels his energy to help others. He begins to lead a movement across the country against Europeans and missionaries, initially sparing local Chinese that had converted to the new religion. With time, Bao and his followers become more fanatical and kill even those who follow the missionaries’ teachings, eventually burning down Hanlin Academy library in order to clear a path to the foreigners’ compound. Yang uses magical realism to show how the Boxer Rebellion was a clash between belief systems and how easily a movement can become subject to its most extreme members. He similarly demonstrates the plurality of Chinese culture at the time through the Kansu Braves, a Chinese Muslim group that was loyal to the Qing. “Boxers” is a great introduction to the topic for newcomers and Yang includes a guide to further reading in the back.

David Stabler’s “What Is the Story of Captain Picard?” explores the fictional biography of the captain of the U.S.S. Enterprise NCC-1701-D as well as the making of “Star Trek: The Next Generation” and its place in the “Star Trek” franchise, past and future. Stabler notes how Gene Roddenberry and the “TNG” writers chose Picard’s name in honor of brothers Jean Felix and Auguste Piccard, Swiss chemists and balloonists, while basing Picard’s personality on C.S. Forester’s Horatio Hornblower. He explores the development of the other main characters on “TNG,” notable adversaries, and some of Picard’s greatest adventures. Pointing the way forward, Stabler discusses the character’s legacy and how it influenced spin-off series “Star Trek: Picard” in 2020, the second season of which was in production at the time Stabler wrote. He concludes, “Today, it is impossible to imagine ‘Star Trek’ without Picard” (p. 106). This book will appeal to young Trekkers looking for a convenient reference work as they learn more about “Star Trek” or to parents who want to introduce their children to the franchise. It also nicely compliments the non-fiction biographies in this series and would go well alongside books on science and aviation pioneers like “Who Were the Tuskegee Airmen?”, “Who Was Neil Armstrong?”, “Who Was Jacques Cousteau?”, “Who Were The Wright Brothers?”, and “Who Was Galileo?” or titles focused on entertainers like “Who Was Chuck Jones?”, “Who Was Lucille Ball?”, “Who Is Stan Lee?”, and “Who Is George Lucas?”. Another book in the “What Is the Story” series focuses on Captain Kirk.

Erik Larson’s “The Demon of Unrest: A Saga of Hubris, Heartbreak, and Heroism at the Dawn of the Civil War” chronicles the last months of the Buchanan Administration and the growing threat of Civil War as South Carolina seceded from the Union and demanded the forfeiture of Fort Sumter. Despite all the bluster of various Southern officials, Larson argues that every contemporary knew slavery to be the true cause of the posturing and eventual conflict. He writes, “…For all the South’s efforts to blame the crisis on Northern tyranny in imposing tariffs, collecting revenue, and ordaining ‘internal improvements,’ the crux of the crisis was in fact slavery. This was obvious to all at the time, if not to members of a certain school of twentieth-century historiography who sought to cast the conflict in the bloodless terms of states’ rights” (p. 274). Further, other contemporaries similarly understood that any mention of other causes was merely a disguise for slavery’s place in the body politic as “a cancer whose inner damage was masked by the victim’s outward appearance of health” (p. 345). Larson employs his research background to dramatize historical events, alternating between different principals in the federal government as well as the southern states and even diarists and newspaper writers. Many soldiers left records behind so that Larson can share their insights and actions as well as those of the political leaders. He uses honor culture as his insight into the Southern mindset, with his work demonstrating the influence of Gerald Linderman’s “Embattled Courage: The Experience of Combat in the American Civil War” or Bertram Wyatt-Brown’s earlier text, “Southern Honor: Ethics and Behavior in the Old South.” The code duello further punctuates each section, helping to frame the conflict as a duel of sorts. Despite this framing device, Larson reminds readers that the conflict held deeper meaning as to the nation’s character. As an example, Abner Doubleday, part of the United States defense at Sumter, viewed the battle over the fort as a fight “for the survival of the United States. ‘The only alternative was to submit to a powerful oligarchy who were determined to make freedom forever subordinate to slavery’” (p. 429). Larson concludes, “Here lay the greatest of ironies: In thirty-four hours of some of the fiercest bombardment the world had ever seen, no one was killed or even seriously injured, yet this bloodless attack would trigger a war that killed more Americans than any other conflict in the country’s history” (p. 463). Amid our currently rising political tensions, Larson’s work finds an readership yearning to understand how a civil war begins. Readers should be wary of mapping sectional boundaries onto current events, but may look to Doubleday’s comments to draw comparisons to the class-based masculine posturing that inspires much of contemporary political furores.

In “Docile: Memoirs of a Not-So-Perfect Asian Girl,” Hyeseung Song describes her life immigrating to Texas from Korea as a young child, growing up in poverty even while her family expects her to succeed. Her family struggles early on due to her father’s various failed business ideas and they only gain some security when her mother gets a job. The financial insecurity combined with her parents’ vastly different personalities leads to domestic violence, further adding to Hyeseung’s sense of uncertainty. Over time, she begins to make friends and find success at school, but her parents’ strict expectations leave her feeling adrift in her own home. She writes, “You learned love was entirely conditional, and you could vanish – even to your own mother – at any moment” (p. 72). Even getting into Princeton and succeeding at her classes isn’t enough to allay her feelings of displacement. Hyeseung writes, “Pinning everything on the nail of achievement had meant that failure was death and life was small. Ultimately, I had suffered anyway and my belief in this ontological structure had faltered” (p. 125). In her philosophy studies, Hyeseung found a way to describe what had been bothering her. She writes, “Descartes had devoted his life to locating contradictions and striking those that turned out to be false, in order to see if science were possible. But I wanted to know if I in any consistent way were possible. The solution up until then had been to amass achievement visible in both cultures, pursue a workable synthesis of beliefs, and shift my behavior depending on the local culture, while trying not to disappear through it all” (p. 165). Describing her mounting mental health struggles and how she perceived them during her combined law degree and philosophy PhD studies, Hyeseung writes, “My self-worth was tied to Work, as if Work were a star. Work and Worth were bound together and if one fell, then the other did, too” (p. 202). She links this to the added stress of her immigrant background and feelings of dual identities between her American and Korean cultural heritages, but this sense of self-worth will resonate with nearly anyone who has pursued graduate studies, particularly if their family treated their success or failure at these studies as reflective of the family’s worth. Hyeseung concludes, “In my life, I had tried to be a great daughter, a great student, a great wife, an American, a Korean, even a great artist – and through these pursuits, I had always chased an ought, forgetting to revel in what I actually already was” (p. 288). Song’s book will resonate with anyone who has felt torn between identities or struggled with their mental health. In particular, those with extensive experience in academia cannot help but find themselves in her words. Her honest narrative is a moving read for anyone who finds themselves feeling lost without the words to articulate the feeling.

Mark Waid’s “Star Wars: Princess Leia” collects issues #1-5 of the titular series written by Waid, illustrated by Terry Dodson, inked by Rachel Dodson, colored by Jordie Bellaire, lettered by Joe Caramagna, and with cover art by the Dodsons. The story begins mere minutes after the end of “A New Hope,” with Princess Leia finding herself seeking a purpose in the wake of Alderaan’s destruction. She recruits fellow Alderaanian pilot Evaan Verlaine for her personal mission as the last surviving member of the Alderaanian Royal Family to seek out and rescue any surviving Alderaanians before the Empire can eliminate them in retaliation for the Death Star’s destruction. Leia’s travels first take her to Naboo, offering a chance for her to encounter a Force-vision of her mother, the late Queen Amidala. Similarly, Artoo-deetoo has a homecoming, though without the fanfare. From there, they travel to Sullust, where Leia finds a group of particularly paranoid Alderaanians. She wins their loyalty, but needs their skills to find a spy in her midst. Evaan also helps introduce Nien Nunb to Princess Leia. Once Leia learns the identity of the spy, she demonstrates her willingness to risk her own life to preserve every remaining Alderaanian life. Meanwhile, her emissary to a different Alderaanian enclave encounters difficulty due to the fact that the Alderaanians have married and had children with the local population. Some want to accept anyone with Alderaanian heritage in order to keep any trace of their people alive while others reveal their racism. The story is a great Leia-centric “Star Wars” adventure, taking place shortly after the original film. The connections with Nien Nunb help connect to Cecil Castellucci and Jason Fry’s novel, “Moving Target,” while the setting neatly parallels Marvel’s relaunch of the “Star Wars” comics. Further, Leia’s brief glimpse of a Force-vision of her mother is a moving scene. Both Luke’s wardrobe as well as that of Evaan help to establish a style that appeared in Kevin Hearne’s novel, “Heir to the Jedi.” Waid is an able storyteller and uses Leia’s quest to rescue Alderaanian survivors as an introduction to explore Leia’s character. The Dodson’s art works particularly well with Waid’s writing, capturing character likenesses and imbuing scenes with a dynamism befitting “Star Wars” storytelling.

“Star Wars: Vader Down” collects the titular one-shot issue, “Star Wars” #13-14, and “Darth Vader” #13-15 written by Jason Aaron and Kieron Gillen with art by Mike Deodato and Salvador Larroca, colors by Frank Martin Jr. and Edgar Delgado, letters by Joe Caramagna and Chris Eliopoulos, and cover art by Mark Brooks. The story begins with Darth Vader in pursuit of Luke Skywalker following the destruction of the Death Star. Having learned from Doctor Aphra that Luke is on Vrogas Vas, Vader stumbles across three Rebel X-Wing squadrons at a secret refueling base with Luke among them. He destroys two squadrons only for Luke to commence a kamikaze run at Vader’s TIE Fighter, downing the Dark Lord of the Sith on the planet’s surface. While the Rebels work to take Vader down, Aphra works to ensure Vader gets Luke Skywalker as his prize in order to prove herself to Vader. Meanwhile, Han Solo seeks to save Luke while Princess Leia supports the Rebels troops in the field. All find themselves in a trap when Mon Calamari cyborg Karbin reveals himself as the architect of the conflict in a bid to usurp Vader’s place in the Empire. The story proves Darth Vader’s prowess in a way that few have, showcasing him defeating an entire Rebel base single-handedly. Meanwhile, the plot focused on Luke Skywalker helps fill in elements of his early Force instruction between “A New Hope” and “The Empire Strikes Back.” Leia continues to prove herself a leader as Han demonstrates that, for all his swagger, he remains loyal to his friends above all. Finally, Dr. Aphra steals the show as a secondary character continuing to build her own narrative. The result is a solid story within the larger narrative of the “Star Wars” comics set between Episodes IV and V. A great treat for fans.

Alyssa Wong’s “Star Wars: Doctor Aphra Omnibus, Vol. 2” collects “Doctor Aphra” (2020) #1-25 written by Wong with pencils by Marika Cresta, Ray-Anthony Height, Robert Gill, Minkya Jung, Federica Sabbatini, and Natacha Bustos; inks by Victor Olazaba; colors by Rachelle Rosenberg; letters by Joe Caramagna; and cover art by Valentina Remenar, Leinil Francis Yu, Sunny Gho, Joshua “Sway” Swaby, Sara Pichelli, Nolan Woodard, and W. Scott Forbes. The story continues the saga of the “Star Wars” galaxy’s favorite rogue archaeologist, Chelli Aphra, following the events of “The Empire Strikes Back” as the Rebel Alliance is on the run and Darth Vader holds a grudge against Aphra for the fallout from their partnership. Meanwhile, she’s put together a new team consisting of herself, Black Krrsantan, Detta Yao, Doctor Eustacia Okka, Just Lucky, and TA-418 while they try to evade Ronen Tagge, a member of the wealthy Tagge family who seeks out rare, one-of-a-kind pieces just so that he can be the last to hold them before destroying them in the ultimate display of privilege. Dealing with these artifacts eventually brings Aphra into conflict with Domina Tagge, whose family business threads a narrow path in the Empire in order to enrich itself and maintain a political status quo beneficial to their plans. Aphra’s emplyment with Tagge leads her to missions involving Crimson Dawn and malevolent Ascendant artifacts. This volume concludes with an Ascendant artifact taking possession of Aphra, leading her associates to unite in order to free her from its grip. Wong’s writing advances Dr. Aphra’s narrative while expanding the scope of the “Star Wars” galaxy to include more groups paralleling the Jedi and Sith in the ancient past. Cresta, Height, Gill, Jung, Sabbatini, and Bustos’ art all brings Wong’s story to dynamic action while Rosenberg’s colors pop. A great collection for fans of Doctor Chelli Lona Aphra, though less than half as long as the first omnibus.

Joe Sacco’s “Paying the Land” tells the story of the Dene around the Mackenzie River Valley, whose livelihoods are threatened by the oil, gas, and diamond industries in the Canadian Northwest Territories. Industrial and economic changes transform the landscape while dividing communities between traditionalists, those who embrace the new systems, and people who remain conflicted but undecided. Elements of the environmental story and its impact on the locals resemble Kate Beaton’s recent book, “Ducks,” though the indigenous perspective sets “Paying the Land” apart. Sacco interviews members of the Dene in order to bring their words to the world. In addition to the costs of resource exploitation, Sacco recounts how the residential school system represented an institutional effort to destroy First Nations cultures (pg. 121-149). Like his other graphic novel journalism projects, Sacco acknowledges the observer’s paradox and how his entry into these communities and interviews only capture his own perspective or others’ perspectives filtered through him and the limitations that process involves. He notes that his interviews are another form of extraction similar to the oil industry on Dene land (p. 107). He also acknowledges that processing First Nations’ experiences through a western medium can repeat – albeit on a smaller scale – the cultural genocide of the residential schools and their efforts to force Euro-Canadian culture upon the Dene. Despite these concerns and his somewhat disarming portrayal of himself in a self-deprecating manner reminiscent of R. Crumb or Harvey Pekar, he strives to illuminate stories that might not receive as much attention in the standard press. Sacco concludes with a look at different efforts for decolonization work that members of the Dene are undertaking. The result is the type of work that Sacco’s readers expect and that sheds light on the lingering effects of colonization.

David Bushman and Ken Deep’s edited collection “The Companions of Doctor Who” features essays exploring the importance of the Doctor’s companions throughout the sixty-plus years of “Doctor Who.” They structure the book in reverse-chronological order beginning with Donna and Wilf as they appeared in the sixtieth anniversary specials, though those episodes had not yet aired when essayists Shaun Lyon and Joseph Dougherty wrote so they mostly focus on their time with the Tenth Doctor, alluding to the Fourteenth Doctor in their conclusions. From there, Mackenzie Flohr examines Yaz and the Thirteenth Doctor; Amanda-Rae Prescott looks at Bill Potts and the Twelfth Doctor; Scott Ryan examines the role of Clara Oswald; David Bushman takes a look at Amy Pond and the Eleventh Doctor; Dr. Gina Rosich explores the complicated legacy of Martha Jones and the Tenth Doctor; Joshua Lou Friedman takes a look at Rose’s time with the Ninth and Tenth Doctors as the first companion after Doctor Who’s revival in 2005. This first half of the book covers the revived “Doctor Who” while the second half begins with Yee Jee Tso looking back on his own character, Chang Lee, in the 1996 “Doctor Who” movie. Following Tso, Joshua Lou Friedman and Sophie Aldred write about Aldred’s character Ace and her time with the Seventh Doctor; Paul J. Salamoff examines Sarah Jane Smith, who traveled with the Third and Fourth Doctors before appearing in special episodes, spin-offs, the second series of the revived “Doctor Who,” and even her own show; Charlie Ross, Lucy Chase Williams, and Amy Krell all give insiders’ insight into Ian Marter, who portrayed Harry Sullivan alongside the Fourth doctor; Edwin Thrower writes about Jo Grant, who traveled with the Third Doctor before reappearing in the “Sarah Jane Adventures” and “Tales of the TARDIS”; Ken Deep discusses Jamie McCrimmon’s time with the Second Doctor; Barnaby Edwards writes about Ian Chesterton’s travels with the First Doctor as the model for other male companions, who are often outliers when many of the most well-known companions are women; and Ken Deep closes out the book with an interview with Carole An Ford, who played Susan Foreman alongside the First Doctor. The book is a nice companion to the franchise and a good introduction for newcomers who might feel overwhelmed by the Doctor’s long history and numerous companions. Each author brings their own insights and clearly writes about their favorites, so the chapters are a joy to read. A lovely volume for Whovians to purchase for themselves or as a gift for fellow fans.

In “Challenger: A True Story of Heroism and Disaster on the Edge of Space,” Adam Higginbotham examines the history of the Space Shuttle from its initial concept and early experiments conducted by Maxime Faget and Dottie Lee through the selection of Astronaut Group 8, nicknamed “TFNG,” which included the first American woman in space with Sally Ride, the first African-American man in space with Guion Bluford, the first American woman to perform a spacewalk with Kathryn Sullivan, and the first Asian-American in space with Ellison Onizuka. After the wind-down from Apollo and the Moon, the Shuttle opened up a new way for Americans to envision space. Despite technical and historic achievements, the portrayal of the Shuttle as safe and entirely reliable by NASA, its contractors, and politicians belied the complex system at the Shuttle’s heart and how thoroughly it depended upon new technologies with little to no room for error. Higginbotham continues to demonstrate how Morton Thiokol underestimated the danger of their O-ring system at a management level while NASA’s own management sought to meet impossible launch schedules in order to appease government and private interests. Of a Morton Thiokol presentation on O-rings, Higginbotham writes, “obscured amid the blizzard of charts, data-filled binders, and Viewgraph slides, the rocket engineers failed to realize that they had reached a critical inflection point. Over the course of the years they had been developing and flying the solid rocket motors, the men at Thiokol and Marshall had slowly expanded the parameters of what they regarded as acceptable risk in the joints” (p. 206). Even when the quick-thinking of Jenny Howard saved a Shuttle launch with an abort-to-orbit, NASA did not pause to seriously examine and reconsider every part of the launch equipment (p. 239). In the end, Richard Feynman’s conclusion proved particularly prescient given the latter disaster involving the Columbia: “For a successful technology, reality must take precedence over public relations… for nature cannot be fooled” (p. 450). Higginbotham’s book is an authoritative account of the Challenger disaster for those who don’t remember it or who want a book that explains the technical information without aiming for a technical audience. Eminently readable, he manages to balance a cast of hundreds and weave their narratives together as part of an organic whole that inexorably led to disaster amid institutional failures. “Challenger” is a warning to all such institutions to carefully examine their systems and avoid allowing outside pressures from business or politics to influence their decision-making away from safety.