The Dark Times of the mid to late ’80s had passed and as we entered the 1990s brighter times lay ahead for Star Wars fans — but at the turn of the decade, that was yet to become evident to the wider Star Wars public. While rumors continued to float around about the prequel trilogy there was little movement from Lucasfilm on the Star Wars front. Indeded, Lucasfilm had recently completed their Indiana Jones trilogy and were in a busy period, releasing Willow, Howard the Duck, and Tucker: The Man and His Dream. ILM had worked on a number of special effects smashes in the late ’80s including Star Trek IV, Ghostbusters 2, The Witches of Eastwick, and Back to the Future II and III, and LucasArts was fast building a solid reputation in the computer gaming industry via such smashes as Labyrinth, Maniac Mansion, and Secret of Monkey Island. It would appear that Lucasfilm had outgrown its reliance on the galaxy far, far away and developed an identity free of Jedi, Wookiees, and Wampas.
However, in the late ’80s artist Cam Kennedy and writer Tom Veitch pitched an idea to Lucasfilm, who in turn was offered it to Marvel Comics, the longtime publishers of Star Wars comics who had let the license lapse in 1987. Marvel turned it down, despite going so far as to releasing a print ad for the series and the project – Dark Empire – found its way into the hands of Milwaukee comics publishers Dark Horse, a relatively new face on the comics scene who had proven to be adept at handling movie licenses. The title would go on to be a smash hit for Dark Horse, coming out in late 1991 after another dipping of the toes into the Star Wars pool proved to be equally as successful.