The High Republic: Tears of the Nameless Review

he High Republic’s third phase carries a heavy burden. With multiple years of storytelling already under its belt, the initiative has built up a relatively strong barrier to entry, and there is a delicate balance to be found when it comes to writing a new story that acknowledges the stakes that the characters have experienced thus far yet also allows those readers who have fallen behind to catch up organically.

Throughout Phase 3, various novels have attempted this feat with varying degrees of success, but none of them have succeeded in such a brilliant way as George Mann’s Tears of the Nameless.

Tears of the Nameless incorporates Mann’s stunning character work with the unrivaled intensity of the Phase 3 storyline to create one of the best books the initiative has produced in years.

Tears of the Nameless is a story about discovery. Following the events of Temptation of the Force, this book assigns its characters the task of figuring out the machinations behind the two largest threats facing the galaxy: the mysterious Blight spreading across various planets and the horrifying Nameless who continue to ravage the Jedi Order under the control of the Nihil.

At the center of this task lies Reath Silas, a name familiar to any High Republic reader as Reath has been a prominent feature of the initiative since his introduction in Claudia Gray’s Into the Dark. Reath’s passion for science has put him directly in the path of discovering the link between the two forces, and along the way he enlists the help of potential allies like Padawan Amadeo Azzazzo, fallen Jeid Azlin Rell, and even the whispers of ancient myths and fables (a trademark of George Mann’s storytelling).

This singular mission branches off into multiple streams as the book goes on, and other familiar faces enter the arena such as the crew of the Vessel as well as some original characters who more than hold their own weight. Mann organically allows the mystery to unfold before our very eyes, and by the time the book reaches its thrilling conclusion, the endgame of the entire High Republic is clearer than ever.

In the hands of a lesser writer, a story whose purpose is to set up an epic finale could feel devoid of its own stakes or meaning. Occasionally, penultimate chapters can focus too much on the setup of the conclusion without taking the time to create a narrative of their own, but fortunately, George Mann is not a lesser writer.

Much like Breaking Bad’s penultimate episode “Ozymandias”, Tears of the Nameless takes its role as the finale of Wave 2 as an opportunity to tell an explosive story that will begin the final wave of High Republic books with unrivaled momentum. The missions within Nameless are exciting in their own right, the character development is heartbreaking and invigorating no matter what comes next, and although the book ends with the definitive knowledge that there is more to come, there is simultaneously the definitive knowledge that you have just experienced a phenomenal, self-contained Star Wars story.

As is the case with most entries in The High Republic, the heart and soul of Tears of the Nameless lies within its characters. The previously mentioned Reath Silas has received his fair share of fantastic stories over the years, but Tears of the Nameless provides him with the best showcase he’s ever had. He is confident, he is emotionally complex, and he has clearly evolved into a Jedi Knight every one of his masters would be enormously proud of.

And speaking of those masters, another standout star of the book is Cohmac Vitus, who makes his return to the Order (at least physically) after his stunning departure in Daniel José Older’s Midnight Horizon. Throughout the book, Cohmac continues his journey of self discovery while simultaneously reckoning with his abandonment of his Padawan. There are a number of brutally honest conversations between the two, and Mann infuses them both with an astounding sense of vulnerability. 

It is within these conversations that Mann’s role as a writer and as a father combine beautifully. Despite the acknowledged divide between real life and fiction for all creators, the empathy with which Mann treats Cohmac’s desire to take care of himself while also facing his role as mentor hits the mark in a way that is undoubtedly reminiscent of real life struggles.

Beyond these two main heroes, however, lies a crew of truly fantastic characters whose roles vary greatly when it comes to page count but remain rather consistent when it comes to importance. Amadeo Azzazzo may be a relatively new name to many High Republic readers, but many will be hard pressed not to list him as a new favorite after the incredible way he conducts himself within Nameless. Although his Padawan-esque naivete arises from time to time, there are few Jedi we’ve seen thus far with Amadeo’s fervent desire to help and continuously learn everything he can without a semblance of ego.

Nameless must also be applauded for its role in the continued push for LGBTQ+ representation that is such a key part of The High Republic. Mann’s inclusion of an openly transgender character alongside a clear, beautiful conversation that wholeheartedly embraces their identity is another fantastic step in normalizing the inclusion of everyone in a galaxy far, far away.

In a multiyear initiative that has been defined by its wonderfully complex characters, Tears of the Nameless manages to elevate some fan favorites higher than ever before, and that is a testament to both the power of The High Republic as a whole and to George Mann’s immense talent as a writer.

George Mann is no stranger to praise for his Star Wars work. Ever since his debut in this universe with the unexpected hit Myths & Fables, he has been lauded for his crafting of plots, his dedication to his characters, and his penchant for weaving in nods to folklore whenever he can. He also holds the mantle as the only High Republic author to write an adult novel, a young adult novel, a middle grade novel, an audio drama, and a comic within the initiative.

And this may be the best thing he’s ever written.

While the plotting and characters are impressive beyond the shadow of a doubt, Mann’s skillset in Tears of the Nameless is perhaps best seen through his pacing. Despite the fact that the book clocks in at 500 pages on the dot, there is never a moment where it demands to be set aside. Mann achieves this by expertly balancing scenes ripe with roaring action with intimate moments where the aforementioned self discovery and exploration has room to breathe. The result is a wave that takes the reader along the narrative journey in an incredibly efficient and enjoyable way.

Mann’s achievement with Tears of the Nameless is made only more impressive by a rather unlikely source at the end of the novel: the acknowledgements. While this space is generally used to thank the wealth of folks that go into making a novel like publishers, editors, family, and friends, Mann takes these pages to share with readers that this book was written during a rather serious health scare. And although he does eventually thank his professional and personal partners, he also goes into great detail about how the evolution of the story and characters helped his own internal journey as he faced his own internal trials.

And although a personal crisis is no guarantee of a great final product, the fact that Mann was able to compose what is currently his crowning jewel in his increasingly vast library of Star Wars work while undergoing such inner turmoil is a further testament to his talent and professionalism.

There are many ways to extol the virtues of Tears of the Nameless by praising the arc of the story, the actions of the characters, or the crisp nature of the dialogue.

You can also just say that it’s an absolute blast to read.

On occasion, some young adult Star Wars novels can suffer from pacing issues that cause certain moments to sag or lose momentum - particularly in scenes that are devoid of traditional action set pieces. Because while the entertainment value of a Star Wars book is easily grasped within the confines of a starship battle or a lightsaber duel, it is much harder to harness that sense of excitement and intrigue when the lasers stop flying.

This is not a problem that George Mann has.

While his skill with dialogue and intimate moments has already been mentioned, his sense of providing entertainment for the reader is also found in the rampant accessibility of Nameless. As with any High Republic entry, the book is filled with cameos and references to previous media and storylines, and while this should not be anyone’s first High Republic book, Mann masterfully places plenty of context clues to ensure that nothing about the Blight, the Nameless, or the galactic conflict at large will be more confusing than it is exhilarating.

And above all else, Mann is able to capture the excitement of the audience by expanding the lore of the High Republic in ways that have tangible consequences despite the fact that additional entries are guaranteed. Previously, we highlighted the importance of penultimate stories, and it is this factor that allows Nameless to avoid a trap that has become apparent in some other material within the initiative. Even though this book is by definition a sequel and a prequel, there are still moments involving the Nameless and the Blight that are important to the larger story, and they feel important in the moment of their revelation.

Even though this may seem like an obvious detail, it is hard to undervalue how entertaining it is to know that the story you’re reading actually matters. And it matters a lot.