It’s becoming increasingly difficult to pinpoint which of the little added moments in this Rogue One comic adaptation has been the best. It’s very likely that the ultimate winner will include K-2SO. If you want a droid that can go undercover without raising any eyebrows… don’t pick Kaytu. Not unless you can resort to violence soon after. (Which can be fun in its own way…) While I’ve said it before, it’s worth noting again that the added bits are what really make this adaptation worth it. I adore every little bit we get between Jyn and Chirrut and Baze. That was one arena where the film lacked thanks to time constraints. It’s wonderful that written materials can do more with the framework the movie put into place.
On the art front, Emilio Laiso is still on the tap and he draws a particularly good Tarkin. It may not be a 100% exact likeness (what’s the fun in that when it comes to comics?) but he gets the Grand Moff’s eyes right. They’re unnerving (and not in a CGI way.) I’m still not overly fond of how pale Bodhi comes off in some of the panels though. It’ll be interesting to see how the art handles the incredible, forthcoming space battle.
There’s not much else to say about this particular issue although that shouldn’t be interpreted as a mark against the comic. Rogue One has been a lovely adaptation thus far and I don’t suspect that will change with the last issue but for that? We’ll just have to wait and see.
Rogue One #5: Writer/Jody Houser, Artist/Emilio Laiso, Colorist/Rachelle Rosenberg, Letterer/Clayton Cowles, Editor/Heather Antos, Supervising Editor/Jordan D. White.
A common criticism from those who don’t actually read young adult fiction is that the stories are too juvenile and won’t connect with an adult audience. 
Film novelizations are, in their own way, just as tricky a needle to thread as film adaptations of novels. You’re taking someone else’s words and ideas, meant for one medium, and transposing them to another, hopefully doing them justice while at the same time adjusting and adapting them to fit the new medium. At their best, film novelizations can open up the world of the movie considerably, adding more scenes and characters and background information which couldn’t possibly be crammed into a two or even three-hour movie. At their worst, they’re a limp, lifeless transposition of the screenplay, lacking any of the energy or vitality which made the film entertaining. The Vonda N. McIntyre novelizations of 
There’s no way anyone can prove that I sat on my couch, clutching my ‘This is Fine’ Dog to me as I read the last few chapters of Rogue One. That would be ridiculous if I’d done that. Absolutely… okay, fine. I did.