Reviews – Page 12 – Author Carlo Carrasco

Carlo Carrasco’s Movie Review: Sound of Freedom (2023)

September 27, 2023September 25, 2023carlocarrasco

Disclaimer: This is my original work with details sourced from watching the movie and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back, readers and movie enthusiasts! Chances are you must have heard about the controversy and debates over Sound of Freedom, a movie about the child trafficking which was made years ago but only got released this year after overcoming many hurdles. The film starring Jim Caviezel as real-life hero Tim Ballard and directed by Alejandro Monteverde, was released at a time when wokeness in Hollywood got so feverish a lot of movies were no longer interesting for me.

In case you missed the news, the low budget Sound of Freedom performed beyond expectations in the American box office and has since been making waves gradually in cinemas around the world. The film opened officially here in the Philippines on September 20 and I finally saw it in the local theater.

With regards to the controversy about Sound of Freedom, I urge you to reject the Leftists’ constant ranting against it and make the effort to see it yourselves. If you take into account the conceptualization of the movie, it is almost a decade old now and efforts to write the script happened years before QAnon even started (for context, watch Midnight’s Edge video by clicking here). Blatant accusations of QAnon conspiracy theory against this film are simply false and officially denied by Tim Ballard. Communist-filled Hollywood (Commiewood) and the woke mob are simply lying to stop people from seeing the movie.

With those details laid down, here is my review of Sound of Freedom.

Early story

The story begins in Honduras when a pretty lady visits the home of a father who has one young daughter and one young son, and convinces him to have them audition into modeling. The audition happened in a different location (filled with the man’s two kids and many others) and as the father was not allowed to be present, he was asked to return in the evening. By the time he returned, the place was empty and the children were kidnapped. They secretly shipped to another country.

In America, Tim Ballard and his time successfully apprehended a man for possessing and distributing child pornography. Tim’s teammate points out to him that although they have arrested many child predators, they could not even save a single child from exploitation and abuse…

Quality

I will start first by saying that this movie was not made to entertain viewers but to emphasize the real-life problems of child trafficking, kidnapping, the abuse of minors, sex trafficking and why slavery today still has many millions of victims (including minors).

This movie closely examines the struggles that come with fighting the syndicates (that kidnapped children and sell them) and the customers (who paid to illegally acquire children for their wicked desires) as told through the eyes of Tim Ballard (Jim Caviezel) who is clearly feeling the heavy stress of his US Homeland Security job (which takes a lot of strength, sacrifice and sheer will to do). Ballard himself has many kids with his faithful and supportive wife (Mira Sorvino) and therefore he can easily relate with the parents whose children got kidnapped and sold in other countries.

Caviezel is mostly subtle with expressing Ballard’s emotions as well as his verbal expressions with the other people he interacted with. This is not to say that Caviezel’s act is wooden, rather he is straightforward with portraying a man who feels disturbed by the collective stress of his duty (but still far away from the breaking low-point). Even though he is getting worn down, Ballard’s sheer determination to save a specific kidnapped-and-abused daughter for a Honduras-based father is nicely captured by Caviezel.

The efforts of fighting the criminals who pounced on children involves a lot of hurdles to overcome. I’m not just talking about Homeland Security agents taking down people in America who engaged in child pornography but also going after the very criminals overseas who kidnapped children, shipped them from one nation to another and sell them as “models” to pedophiles. As such, Ballard’s efforts involves spending time overseas (away from his family), making local connections and secretly working his way into different locations where the risks of getting killed are high.

Again, this tale is not about entertaining viewers as it works on emphasizing to them how extremely difficult it is to bring down the criminals in real-life. The good news is that this film is nicely directed by Monteverde whose cinematic style is simplistic and yet engaging to watch. There is a clear subtle approach on showing what little violence the film has. As for scenes of child abuse, there is nothing graphic to see (left ambiguous) nor was there anything intense about them. While I am certain that some parts of the story involved liberties in order to establish a functional cinematic narrative, this movie strives hard with realism while also avoiding becoming preachy with its message (expressed in subtle fashion) about human trafficking, child slavery and the business involving pedophiles and kidnappers.

Conclusion

Sound of Freedom was clearly made to inform the world that children are still being kidnapped, used for illegal transactions, transported around the world and sold to the predators. This real-world problem continues to happen somewhere every single day and there are simply not enough law enforcers who could fight the criminals and rescue the kidnapped minors. Nor do the law enforcers have the resources to stage major rescue operations while facing off with armed criminals and their bodyguards.

While it is told through Tim Ballard, this movie is not about him and his profession. It is about the extreme difficulties that law enforcers – both domestic and overseas – have to go through to save the very young victims. The story was told with consistent realism and subtlety which make it very believable to watch. Jim Caviezel is indeed a solid performer and his portrayal of Tim Ballard will easily remind you that true heroes are the ones who bravely face tremendous odds to achieve their goals (for good) while still maintaining their sanity no matter how hopeless the situations appeared.

Sound of Freedom is a cinematic call to action to make others aware about the ongoing menaces of sex trafficking, kidnapping, abuse of minors and the cartels (demonic people) that profited from their evil trade. Like Steven Spielberg’s Schindler’s List, this film was made for reflective viewing and not for amusement. Indeed, God’s children are not for sale and this is the truth that the bashers of this movie do not want you to realize. There is also the biblical truth to the popular quote from the film. Read the holy scripture below…

Behold what manner of love the Father has bestowed on us, that we should be called children of God! Therefore the world does not know us, because it did not know Him. Beloved, now we are children of God; and it has not yet been revealed what we shall be, but we know that when He is revealed, we shall be like Him, for we shall see Him as He is. And everyone who has this hope in Him purifies himself, just as He is pure.

Whoever commits sin also commits lawlessness, and sin is lawlessness. And you know that He was manifested to take away our sins, and in Him there is no sin. Whoever abides in Him does not sin. Whoever sins has neither seen Him nor known Him.

Little children, let no one deceive you. He who practices righteousness is righteous, just as He is righteous. He who sins is of the devil, for the devil has sinned from the beginning. For this purpose the Son of God was manifested, that He might destroy the works of the devil. Whoever has been born of God does not sin, for His seed remains in him; and he cannot sin, because he has been born of God.

In this the children of God and the children of the devil are manifest: Whoever does not practice righteousness is not of God, nor is he who does not love his brother.

1 John 3:1-10 (NKJV)

To put things politically, you must be wondering why the Satanic Left – Democrats, Communists, socialists, Marxists, liberals, the SJWs and the woke extremists – keep on bashing and hating Sound of Freedom. Here is why…because the Leftists are themselves pro-crime (example: “Defund the police.”) and they have made efforts to weaken law enforcement which emboldened the criminals such as robbers, murderers, kidnappers, smugglers, rapists, terrorists, molesters, illegal immigrants and, of course, the pedophiles. The Leftists are clearly wicked and they are lots of them present not only in government but also in showbiz, the mainstream media and other sectors of societies. The Leftists care less about the children and nuclear family, and this is why they want more drag queens and homosexuals to go after the children without law enforcers blocking them. The Leftists are okay with children getting kidnapped, abused and raped. In short, those in the Left are okay with being evil and doing what Satan wants.

*I saw Sound of Freedom at the local cinema.*

The Leftists are very afraid of Sound of Freedom and remember that it is the one notable movie that almost never got released. That being said, you must watch the movie whenever you have chance to do so.

Overall, Sound of Freedom (2023) is recommended!

+++++

Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco

A Look Back at Star Trek: Generations comic book adaptation (1994)

September 21, 2023September 21, 2023carlocarrasco

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1994 to explore the official comic book adaptation of the movie Star Trek: Generations.

Star Trek: Generations was a cinematic production that symbolically served as the passing-of-the-torch from the original Star Trek crew (led by Captain Kirk) to the Star Trek: The Next Generation crew (led by Captain Picard). The most highlighted feature of the movie was the crossover between Kirk and Picard followed by working together to stop the villain. It was a crossover that fans wanted for some time prior to the film’s release.

In my experience, Star Trek: Generations was a disappointing movie as there were lots of flaws here and there. Most notably, the Kirk-Picard crossover (with William Shatner and Patrick Stewart in their most iconic roles) was nothing special as its payoff to all the build-up that preceded it was so small.

Unsurprisingly, there was comic book adaptation of Star Trek: Generations that appeared in the local comic book stores which I intentionally avoided reading back in 1994 as I anticipated the movie. Recently, I finally got to read it.

With those details laid down, here is a look back at the Star Trek: Generations comic book adaptation, published in 1994 by DC Comics with a story written by Michael Jan Friedman and drawn by Gordon Purcell based on the cinematic story by Rick Berman, Ronald D. Moore and Brannon Braga.

Early story

The story begins with a retired James T. Kirk landing from his orbital skydiving activity in the presence of his long-time crew members and friends Pavel Chekov and Montgomery “Scotty” Scott. In response to Chekov’s reminder that they are to attend the launch ceremony of the USS Enterprise B (NCC-1701-B), Kirk as he is enjoying retirement and prefers to do other things like tri-elliptical jumping. Kirk also states that he swore he would never set foot on a starship again.

The next day, Kirk, Scotty and Chekov attend the ceremony at the Enterprise B greeted by journalists. Captain John Harriman personally tells Kirk that he read about his missions when he was in grade school.

Not so long after the Enterprise B launched into space, a distress call was received from a transport ship helplessly caught in some kind of energy distortion (with one other ship near it)…

Quality

*The crossover encounter between Star Trek’s two most iconic captains – Kirk and Picard.*

As an adaptation, this comic book is surprisingly faithful to the source material for the most part. While this adaptation does not contain 100% of all the details and scenes of the movie and there were some scenes that were shortened for brevity but it certainly has quite a lot of content for readers to absorb. In fact, it will take two full readings to truly grasp the story, get to know the characters and understand the sci-fi details that Michael Jan Friedman brought from the movie script into literary format.

Like the movie, this adaptation tackles the themes of destiny, time and loss which were emphasized through Picard and Soran. While Picard would not dare to make alterations to cope with the deaths of two relatives he loved, Soran (who previously lost family members in a tragedy and temporarily made it to the a very desired realm) willingly makes tremendous acts to fulfill his goal even it means costing tremendous death and destruction along the way.

*Worf, Riker, Troi and Data on the bridge of the Enterprise during their encounter with the Klingons’ Bird of Prey.*

When it comes to storytelling, this one is more about the Star Trek: The Next Generation crew facing a crisis. The scenes of Kirk and his original crew members served as a glorified prologue designed to give moviegoers (as opposed to readers) one final act of heroism by the iconic captain. Kirk doing the heroic stuff early in the story was pretty much a tribute to his past while conveniently serving as a subtle build-up for the Picard-Soran conflict and the Nexus (Star Trek’s distorted version of Heaven) leaving not much left for the Kirk-Picard crossover.

Anyone who loves Star Trek: TNG will be delighted to see their favorite characters like Picard, Data, Riker, Deanna Troi, Dr. Beverly Crusher, Geordi La Forge and Worf here as they each had good chunks of the spotlight. If you saw the movie before reading this comic book adaptation, you will be able to spot the notable lines of dialogue they said on the big screen. As details from the movie had to be compressed for this adaptation, those who got turned off by the excessive screen comedy by Brent Spiner as Data (note: this reflects the emotion chip activated in the character) will be delighted to see the funny acts were heavily toned down in favor of maintaining the narrative.

More on the quality, this adaptation also exposes many of the weakness and flaws of the movie itself. I am talking about the film’s lack of consistency when it comes to emphasizing the most important concepts of the story. Throughout the story, Kirk’s early heroic act had no real impact when the narrative focused on Star Trek: TNG nor was it a solid build-up for the crossover with Picard. The script emphasized the Nexus quite a lot but in different points as the narrative switched between focusing on Picard and Soran. That being said, the way the story was told made it easy to forget about Kirk and Picard coming together. Like in the movie, the Kirk-Picard crossover failed here too.

While the movie is indeed a very flawed source for this comic book, the adaptation spared readers from the monotony of the many pointless moments and sequences that moviegoers went through. This is understandable because brevity was needed to capture the cinematic story into literary format with the limited number of pages allocated.

If there is anything consistently good here, it is the art of Gordon Purcell who proved to be capable of capturing enough of the actors’ likenesses to make the characters recognizable. To be clear, the replication of the actors’ unique looks happened from time to time only.

*Purcell did a great job making Scotty (close-up at right) look so much like actor James Doohan.*

You will see certain parts of the comic book showing Captain James T. Kirk looking like William Shatner and Captain Picard looking like Patrick Stewart. There were certain pages in which Soran had Malcolm McDowell’s face, Scotty looked so much like James Doohan and more. Ironically, Purcell fell short of capturing likenesses of Marina Sirtis as Troi and Gates McFadden as Dr. Crusher.

Apart from drawing the characters, Purcell nicely visualized the look of the film and his own take of the memorable saucer crash of the TNG crew’s Enterprise had a of power and impact worth seeing. Lastly, he the artist did a good job drawing the starships.

At the very end of this adaptation were a few pages that emphasized the challenges of adapting the movie into literary format which was worth reading.

Conclusion

*The scene of Picard revealing to Deanna Troi the deaths of his two relatives (obviously without Patrick Stewart’s emotional moment).*

The Star Trek: Generations (1994) comic book adaptation is clearly flawed like the movie it was based on. Many of the movie’s weaknesses (including the ever disappointing Kirk-Picard crossover) made it in this comic book but the ironic thing is that the story in literary format flowed with a better pace and Gordon Purcell’s art was really attractive to look at. In fact, I can clearly say that Star Trek: Generations works better as a comic book than as a film.

Overall, the Star Trek: Generations (1994) comic book adaptation is satisfactory.

+++++

A Look Back at Spider-Man 2099 #43 (1996)

September 11, 2023September 17, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1996 and explore a part of the Marvel 2099 comics universe through a tale of the Spider-Man 2099 monthly series.

In my previous retro review, Miguel O’Hara learns how challenging it could be for him to direct the path of Alchemax which is symbolize with himself being surrounded by the managers. He recently stopped his father Tyler Stone from taking control of his office. As his office needs a secretary, someone very exceptional came in.

With those details laid down, here is a look back at Spider-Man 2099 #43, published in 1996 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman and Ron Lim.

Early story

The story begins when one of the undersea bases of Alchemax explodes to the surface in heavily damaged form. Something terrible happened to it deep below and there is only one man (wearing a protective suit) still living floating on the sea. Just as he notices sharks coming his way, Spider-Man comes down to save him with the use of one of Alchemax’s floating vehicles. As Spider-Man pulls the helpless man up with his web, one of the sharks leaped high at them. The web breaks and both the man and Spidey fall into the sea.

Meanwhile at Alchemax, Gabriel O’Hara confronts his mother Conchata who very recently started working as the office secretary of Miguel. Gabriel asks how could she be working for Miguel as part of Alchemax which is the very corporation she hated. The mother answered back stating that she resolved her accumulated anger related to Miguel and has realized that he needs her…

Quality

*The rise of the mutate rebel Roman and Miguel O’Hara’s corporate interactions dramatized efficiently in this single page.*

Moving further away from what was dramatized in issues #40 and #41, Peter David crafted this tale focusing on a new threat that endangers not only Spider-Man but the people and their local society as a whole. To put things in perspective, it is recommend you revisit issue #8 and focus on Alchemax’s aquatic division called Atlantis which had been working on a major reclamation project under the sea with the objective of becoming a tourist attraction in the years to come. Right there, Tyler Stone mentioned Miguel’s involvement with the project which includes bio-engineered workers.

The key elements of Atlantis mentioned in issue #8 literally resurfaced in this comic book and Peter David heavily emphasized the related details and integrated it all in the plot which essentially justified the existence of the new opposition led by Roman who is the charismatic leader of the mutates (genetically designed sentient beings) who had long been working hard and long outside of the undersea bases which had humans living comfortably inside. Roman here is not related in any way to Marvel’s aquatic hero Namor the Sub-Mariner but he is an imitation of him (note: his name is Namor in reverse).

The conflict of Atlantis revives the business-laborers conflict but was twisted to show the conflict between humans and mutates, as well as Atlantis being symbolized as a physical project of Alchemax to exploit the aquatic life and resources deep under the sea. The build-up of the human-mutates conflict in this particular comic book is surprisingly beefy and was efficiently done.

As for Spider-Man himself, you will get to see him more involved with Alchemax just as he successfully keeps his civilian identity secret. Along the way, you will see more of Miguel O’Hara doing more corporate work and negotiations. As expected, his drive to lead Alchemax with his own perception of being compassionate encounters hurdles from the established order – both within and outside his company. His mother was portrayed to be more sympathetic than before and she shows lots of signs of having mellowed. The development on Miguel and Conchata here were deep and they made a lot of sense with the plot itself.

Conclusion

*The futuristic Spidey interacts with a huge shark!*

Spider-Man 2099 #43 (1996) is another tale that has aged well as its foundations and elements proved to be very solid until now. With regards to the big event that took place near the end of this comic book, it seems that Peter David took inspiration from what was portrayed in Fantastic Four #4 (1962) as well as from Namor the Sub-Mariner himself. I really enjoyed how this story became a huge pay-off to the minor build-up in issue #8.

Overall, Spider-Man 2099 #43 (1996) is highly recommended!

+++++

A Look Back at Punisher 2099 #3 (1993)

September 6, 2023September 3, 2023carlocarrasco

In my previous retro review, the futuristic Punisher moved on from the deaths of his family members. Influenced strongly by the writings of the late Punisher Frank Castle, Jake Gallows begins operating as a vigilante even though he still has a full-time career as a law enforcer with Private Eye. Not only that, he gets opportunities to face off once again with Kron Stone (Venom 2099 himself) who is responsible for the deaths of Jake’s family.

With those details laid down, here is a look back at Punisher 2099 #3, published in 1993 by Marvel Comics with a story written by Pat Mills and Tony Skinner, and drawn by Tom Morgan.

Early story

The story begins on one snowy night within the city. A lady who has grown very addicted with Total Reality makes a deal with a sinister merchant and makes her escape out of reality and into a living digital realm without caring about the consequences she will physically experience.

A black ambulance arrives and out comes the Punisher who hits the merchant hard enough with his weapon for a quick knockout. He then takes off the lady’s optical device (note: this should remind you somewhat of Microsoft’s HoloLens in terms of physical similarities) which brings her back to reality. Gallows knows fully well that Total Reality can actually kill users who do not practice any restraint, and he then crushes the lady’s device. Instead of thanking the Punisher, she expresses her frustration and anger to him before leaving.

Afterwards, Gallows brings the merchant into the black ambulance and puts him on stretcher. There are sharp devices nearby that can kill the merchant if he makes any attempt to escape…

Quality

*Among his colleagues at work, Jake Gallows simply acts as he himself is the Punisher captured on video (but his face has been protected digitally).*

While the first two issues of this monthly formed the origin and establishment of Punisher 2099, this comic book shows him doing vigilante work and acting as judge, jury and executioner all together. Going back to issue #1, the creative team made it clear that in 2099, justice can be bought and punishment for criminals is much softer compared to how it was in the 20^th century. This alone serves as a powerful motivation for Jake Gallows to bring back old-fashioned, harsh punishment for criminals even if it means he has to do it by himself outside of the law. This is the core concept of this comic book and along the way, there is this build-up of the villain Fearmaster and his henchman Multi-Fractor.

More on the story, the creative team took their time to develop Jakes Gallows and emphasize how his mind functions each time he works secretly as a vigilante (who cannot be identified visually) and privately as a Private Eye cop (the organization’s psychologist noticed something about him). More on his secret as the Punisher, it turns out Gallows was able to establish a secret prison complex, equipment for crime-fighting and even a deadly chair underground.

As he continues to be obsessed with fighting criminals with the harsh ways of the past, the futuristic Punisher symbolically becomes a questionable protagonist. On face value, he seems to be good by simply opposing crime and yet he seems to be evil as he commits acts outside of 2099’s laws.

Conclusion

*Clearly acting out of the law, the Punisher of the future imprisons criminals and acts as judge, jury and executioner without hesitation. This also shows his dark side.*

With its simply concept, Punisher 2099 #3 (1993) succeeds in defining the futuristic Punisher’s motives, intentions and execution. Compared to Frank Castle Punisher, Jake Gallows lives in a society which has laws that are so weak to push back against crime, justice becomes hollow and even laughable. That being said, this comic book is very socially relevant (note: Leftists in America weakened laws which benefited criminals, supported illegal immigrants at the expense of citizens, and have varied movements of arrogant protesters and activists who intimidated people and caused serious damage around the country) and what has been happening in America under the influence of the Democrats makes the dark future of 2099 looking like it could happen. At the same time, the Punisher in this story incidentally became somewhat unlikable as his crime-fighting obsession is gradually turning him into becoming as bad as the bad guys. This is a lively reminder that even in a society that is plagued with crime and weak justice, vigilantism is still a big no-no and it is also very destructive. To be a vigilante means becoming wicked.

Overall, Punisher 2099 #3 (1993) is satisfactory.

+++++

A Look Back at Spider-Man 2099 #42 (1996)

September 5, 2023September 2, 2023carlocarrasco

In my previous retro review, the futuristic webslinger encountered a group of dangerous people who are convinced that he betrayed them by becoming a corporate tool (note: the result of Goblin 2099 poisoning people’s minds). Not only that, the still-recovering Tyler Stone came back at Alchemax, saw his captured son Kron (Venom 2099 himself) and cold heartedly ordered his execution.

With those details laid down, here is a look back at Spider-Man 2099 #42, published in 1996 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman.

Early story

The story begins with Miguel O’Hara now wielding tremendous corporate power at Alchemax where he is surrounded by managers. Some time had passed since he prevented Tyler Stone from returning to power and he made it known to him that he is aware that they are biologically father-and-son. Miguel then played “duck, duck, goose” on the managers while he stood up on his desk. He made clear to them that he is aware of their so-called game of “who can jerk the new boost and get the most for himself?”

Miguel then tells them that he will review their requests and address their concerns in his own time and his own way. They get dismissed by him. Miguel then meets someone who just arrived for the post of office secretary.

Meanwhile in the downtown section of New York, Raff and Kasey watch a union group composed of construction guys, watchdogs, sewer workers and truckers marching down the street and making noise. As Kasey wonders where the group was heading, she notices a man named Boru whom she previously heard was dead…

Quality

*Spider-Man 2099 faces a tough opponent.*

Storywise, this tale by Peter David moved away from the themes of issues #40 and #41 by focusing more on Miguel’s newest rise in Alchemax’s corporate hierarchy and how this adds more tension to his already troubled living as a secret superhero, an executive and as a person. By this stage, he knows Tyler Stone is his true father and the man known as Venom 2099 is his half-brother and relationships within his family are far from being normal or ideal. Still on the corporate aspect, a very notable person gets to work as Miguel’s new secretary which I won’t spoil here because I can say that the build-up and pay-off are well worth reading. The new secretary also added to the further development of specific characters and what was dramatized here will compel you to revisit earlier issues of the Spider-Man 2099 series. As always, Peter David’s writing is rich here.

Outside of Alchemax, the group led by Boru (who is symbolically a leader of hardened and desperate labor union members) emerges as an intimidating force of opposition for Miguel, the corporation he leads and even in his Spider-Man identity. Boru himself is quite a strong opponent for Spidey and the way their battle ended is something can intrigue readers or even frustrate die-hard fans of the protagonist. These conflicts, combined with Miguel’s struggle with all the tension hitting him from all angles, made this tale very intriguing and compelling to read.

Conclusion

*While walking through the city, Miguel O’Hara spots members of Fantastic Four 2099 in conflict with Stark-Fujikawa.*

Spider-Man 2099 #42 (1996) may not look like the expected continuation of what was built up in the previous two issues but its standalone story combined with strong twists, in-depth character development and sheer intrigue in key points of the story made this a must-read. I can also say that I am motivated to find out what happens next, especially given how this particular tale ended.

Overall, Spider-Man 2099 #42 (1996) is highly recommended!

+++++

A Look Back at Spider-Man 2099 #41 (1996)

August 31, 2023August 28, 2023carlocarrasco

In my previous retro review, the futuristic webslinger encountered Goblin 2099 (note: the futuristic take on Green Goblin) who proved to be very dangerous not with weapons nor physical attacks but with influence members of the local society to rebel against him believing that he is a corporate asset. How much influence Goblin had on the people at the expense of Spider-Man is just waiting to be discovered.

With those details laid down, here is a look back at Spider-Man 2099 #41, published in 1996 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman

Early story

The story begins with Miguel O’Hara visiting a ruined place with armed personnel escorting him. It turns out the site was the White House and Doom 2099 has already fallen as President of the United States. Miguel seeks closure as he spends time at the ruins and eventually finds the name plate from the office of Tyler Stone (Miguel’s biological father).

Meanwhile at Alchemax, corporate personnel got surprised to see Tyler Stone return confined to a hovechair due to his fragile and weakened state. This turned out to be his first time to be at work since he got shot.

Inside the laboratory, Tyler sees his deranged son Kron (Venom 2099) contained behind solid glass like a mere scientific specimen for study. After learning key details about the symbiote and how it affected his son, Tyler gives the order to have Kron executed…

Quality

*Even though Goblin 2099 was not present, this scene shows how much the said villain poisoned the minds of people to harm Spider-Man.*

Let me start with the writing by Peter David. It is clear to me that David confidently wrote this story to maintain the flow of intrigue, emphasize how local society’s changing, how the external events affect others and, most notably, managing to push Spider-Man 2099 to the edge complete with a brewing conflict with the very powerful Tyler Stone.

At this stage of the monthly series of the 1990s, Miguel O’Hara’s rise within the corporate structure of Alchemax got emphasized again and Peter David inserted growing tensions for the protagonist effectively blurring the boundary that separates personal life from the corporate career. That being said, the futuristic Spider-Man in his civilian identity literally entered a gray area which will compel readers to speculate if he was still in control of matters or if he was slowly becoming evil as he gains power (this makes him comparable with the tycoon Tyler).

Still on the character development aspect of this comic book, Miguel here still showed his fragile side as the death of Dana left him with a lot of pain deep inside (which was dramatically emphasized by Andrew Wildman through his art in one very particular page). This furthers adds to questions about the sanity and mental stability of the protagonist who already wields so much power as Spider-Man and as an Alchemax executive.

Speaking of Alchemax, Tyler Stone here appeared more sinister than before and being unable to stand did not hinder him at all. His cold-hearted move to have his own biological son Kron (the futuristic Venom and the same guy responsible for the deaths of Punisher 2099’s family) executed clearly shows not only his sadistic nature but also the fact that he is living with pure worldly beliefs. His believes are so worldly, he does not really care about his own offspring. Ironically, this suggests that Tyler could be as twisted and evil as his murderous son Kron. Lastly, the connections between the late Dana and Tyler and Miguel is indeed morally disturbing.

While the cover art showed Goblin 2099, the new antagonist is nowhere to be found in this comic book. However in a very symbolic fashion, Goblin’s influence remained lively through a number of people who condemned Spider-Man 2099 so much, they went as far as actually hurting an idolater of the webslinger. This part of the story is a strong reminder that idolatry is unholy and foolish, that religion is corrupted and will never lead believers to salvation, and that socialism attacking capitalism remained a social disease in the far future.

Conclusion

*Tyler Stone and his son Kron (Venom 2099) are both very evil. They have different ways of being evil.*

Spider-Man 2099 #41 (1996) is indeed a great comic book to read from start to finish. Not only will you get to see the futuristic Spidey struggle with the tension both personally and professionally, you will see the big impact of Dana’s death on him too. The portrayal of negative changes in the local society (at least the society Spider-Man is part of) is pretty dramatic and what Peter David imagined about Marvel 2099 still remains socially relevant to this day. Lastly, this comic book ended very powerfully and was enough to convince me to see what happens next.

Overall, Spider-Man 2099 #41 (1996) is highly recommended!

+++++

A Look Back at Uncanny X-Men #131 (1980)

August 29, 2023August 26, 2023carlocarrasco

Welcome back superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today we go back to the year 1980 to take a close look at one of the many tales of the Marvel Comics shared universe told through the monthly series of Uncanny X-Men.

In my previous review, Dazzler was formally introduced as the X-Men encountered her. Along the way, the other newbie Kitty Pryde (Shadowcat) got involved with X-Men members Storm, Wolverine and Colossus and danger got to them. Brewing within the background were plot elements regarding the Hellfire Club and the Dark Phoenix.

With those details laid down, here is a look back at Uncanny X-Men #131 published in 1980 by Marvel Comics with a story written by Chris Claremont and drawn by John Byrne.

Early story

The story begins on the streets of Chicago as the 13-year-old Kitty Pryde desperately runs away from a car that has been chasing her. Just as she trips, the Jean Grey (in her form as the Phoenix) suddenly appears right in front of the car (driven by two armed personnel of the Hellfire Club) and uses her immense power to stop and damage it. This spared Kitty Pryde’s life and made her more confused. Nightcrawler suddenly appears in front of Kitty, grabs her and leap off to a higher place to be safe.

Cyclops and Dazzler arrive to see Phoenix still observing the damaged car and the two Hellfire Club personnel knocked out cold. As Dazzler is amazed by what Phoenix did, Cyclops tells Jean that his instructions were to stop the car but not turning it into scrap. Jean responds by stating that he did not feel Kitty’s stark terror nor did he sense the thoughts of the men who were in the car.

After being called from above by Nightcrawler, Cyclops, Phoenix and Dazzler make their way up to the top of the building. Nightcrawler reveals that Kitty broke away from him and dove right through the roof…

Quality

*Kitty Pryde took the risk to help the X-Men free Wolverine.*

Upon close inspection, this is a richly layered tale that nicely paid off some of the build-up in the previous issue while consistently building up the plot elements for the events to follow (the eventual Hellfire Club encounter and the Dark Phoenix Saga). In this issue, you will get to see the X-Men in action with Dazzler (who just joined in to help them without fully committing to joining their team) on a series of events that involve encountering Miranda Frost and finding their captured teammates.

As this was written by Chris Claremont, you will see a lot of character development (aided a lot with the use of thought balloons) and key observations emphasized (clever exposition of details) as the plot moved forward. This tale has the classic elements of good-versus-evil backed with action and some twists that will definitely keep readers entertained. It is through the dramatization and observations of the characters that made the narrative deep and by the end of it, you will most likely get to know the characters a lot more.

Apart from witnessing Dazzler’s first unofficial mission (note: misadventure) with the X-Men, you will see Kitty Pryde shine as the fragile yet capable teenager do something heroic which symbolically justified her entry into the X-Men. This story also touches on the theme of immense power which was dramatized nicely through Jean Grey and Cyclops. Cyclops here was written to be very concerned about Jean Grey having god-like powers as the Phoenix which he sees as too risky and he hopes that she will maintain self-control. Even Storm expressed the same concern about the Phoenix. All of these dramatics combined with the superhero spectacle and steady way of presenting exposition were nicely pulled off by the Claremont-Byrne team.

Finally, I want to say that Emma Frost was portrayed as a ruthless, cold-hearted and elitist super villain who happens to be one of the central figures of the Hellfire Club (which itself was being built up by Claremont-Byrne as a dangerous force of opposition for the X-Men to face). Emma Frost is not just another evil figure…she is a telepath capable of overwhelming others and she has a very high ambition of accumulating power socially, economically and politically. Clearly she was created to be a recurring evil figure within Marvel’s shared comic book universe.

Conclusion

*A scene showing a few X-Men members with Dazzler and Kitty Pryde as the clear newcomers.*

Even if you see Uncanny X-Men #131 (1980) as simply a build-up tale for the inevitable Dark Phoenix Saga, it is clear that the comic book still stands out on its own as it strongly paid-off what was built up in the previous issue and the high quality on storytelling was successfully maintained. This is an entertaining read and, quite notably, it develops specific characters in very believable ways. So much so, you will get to know the characters better by the time you reach the end. As for the fans of Dazzler, there are things to enjoy in this X-Men tale and it definitely is a must-read before reading Dazzler #1 (1981).

Overall, Uncanny X-Men #131 (1980) is highly recommended!

+++++

A Look Back at Spider-Man 2099 #34 (1995)

August 18, 2023January 30, 2025carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1995 and explore a part of the Marvel 2099 comics universe through a tale of the Spider-Man 2099 franchise.

In my previous retro review, Spider-Man worked together with Strange 2099 on an abrupt mission dealing with a grave digger who is obsessed with his long dead sibling just as the undead in Mexico start walking again.

With those details laid down, here is a look back at Spider-Man 2099 #34, published in 1995 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman.

Early story

The story begins with Miguel O’Hara and Xina returning from Mexico speeding on a lonely road by car. O’Hara suddenly got scanned from a distance. Just as Xina shares to Miguel her newest observations and opinion about Spider-Man, the man suddenly got snatched from the car by uniformed authorities riding a floating vehicle. Miguel tells his abductors to let him go and one of them replies stating that he is being taken to the White House at the request of his Alchemax superior Tyler Stone.

Meanwhile inside an apartment located near the White House in Washington, DC, Dana converses with Tyler Stone by holographic call complaining that without him, the city is getting lonely for her. As soon as her communication ends, someone knocks her out cold…

Quality

For the newcomers reading this, this page shows the first time ever that Doom 2099 sees Miguel O’Hara in person (Spider-Man 2099 without the mask and costume). Spidey and Doom encountered each other previously in The Fall of the Hammer storyline.

I will start what is very obvious about this comic book…its story is totally intriguing as it reflects a very dramatic turn of events within the 2099 realm at the time of publication. I’m talking about the rise of Doom 2099 as the new President of the United States and this comic book dramatizes in detail how the new leader impacts Miguel O’Hara’s career which adds tension to his already hectic 2^nd life as the webslinger. This is all about the storyline of One Nation Under Doom and for context, you must read Doom 2099 #26 to #30.

As I just mentioned, life for Miguel became more complicated as he has to deal with the federal government under the control Doom who himself is connected with the powerful tycoon Tyler Stone (Miguel’s own boss at Alchemax). For the newcomers reading this, this is not the first time Doom and Spider-Man of 2099 encountered each other as they were together in the Fall of the Hammer storyline (read my past reviews by clicking here, here, here, here and here).

In relation to the dramatic turn of events that changed the direction of the 2099 comics franchise, I can confirm that the writing by Peter David in this comic book is indeed very strong and highly engaging to follow. You will not see a good-versus-evil superhero tale here but the impact of Doom as US President on Spider-Man and local society. Along the way, this tale has a theme about gaining absolute power, how it affects the one who gains it and how the more powerful person affects many others. You will see the mentioned theme reflected on Spider-Man who himself already has super powers and even a following of idolaters.

Compared to the previous two issues, the dialogue by Peter David here is very rich and I also enjoyed the way how he presented the exposition of details to help Spider-Man 2099 readers understand how Doom’s rise as US President impacts the titular hero and many others. Speaking of Doom, I enjoyed the way how David portrayed him here.

Conclusion

*Gabriel O’Hara, Kasey and the Spider-Man 2099 idolaters doing the old fashioned way of protesting against US President Doom.*

Spider-Man 2099 #34 (1995) is indeed a great comic book and one of the best tales of the original Spider-Man 2099 monthly series. As Doom’s takeover of the US Presidency really changed the direction of the entire 2099 franchise of comics in the 1990s, it was inevitable that the repercussions would be reflected in a Spider-Man 2099 tale. The result here is a fascinating tale of the futuristic webslinger that does not even have the usual good-versus-evil conflict. What you will see here is how the stakes got raised for Miguel O’Hara not only as a superhero but also as a civilian who has a strong record within Alchemax. Not only that, this is the tale that took place just before the very memorable first encounters between Spider-Man and Venom 2099 (click here, here, here and here).

Overall, Spider-Man 2099 #34 (1995) is highly recommended!

+++++

A Look Back at Superman #83 (1993)

August 17, 2023August 14, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1993 to take a close look at one of the many tales published through the Superman monthly series.

For the newcomers reading this, DC Comics published the Funeral for a Friend storyline set after Superman’s death (Superman #75). Funeral for a Friend explored the impact Superman’s death had on local society, the civil and political stakeholders, as well as DC’s many superheroes who were connected with the icon (read my retro reviews here, here, here and here). Of course, DC brought the Man of Steel back to life which led to the Reign of the Supermen storyline. This obviously meant concluding the Funeral for a Friend storyline.

With those details laid down, here is a look back at Superman #83, published in 1993 by DC Comics with a story written and drawn by Dan Jurgens with ink work by Joe Rubinstein. This is the epilogue of Funeral for a Friend.

Early story

The story begins with Superman meeting an arriving Batman (note: Azrael playing the role as Bruce Wayne had been paralyzed by Bane) in the presence of Commissioner Gordon in Gotham City. He tells Batman that it was time for them to go to a certain ceremony which catches Azrael knowing nothing about it all forcing him to just play along. Batman resorts to making an excuse and turns Superman down, even though he learns that the entire Justice League will be involved to take care of the Engine City problem. Not wanting to spark Superman’s suspicion, Batman leaves Superman and Gordon behind. Superman then flies away.

Meanwhile, Lex Luthor, Supergirl and personnel fly towards Engine City. Luthor is obsessed with accumulating Kyptonite at the site…

Quality

*Superman, Wonder Woman, Green Lantern and the Flash with Lex Luthor and Supergirl (in the background).*

As the conclusion of the Funeral for a Friend storyline, this is a mixed bag of creative concepts. It has scenes that developed established supporting characters such as Lois Lane, Jimmy Olsen, Cat Grant and Superman’s parents Jonathan and Martha Kent. The main story of this comic book has a lot more to do with the Justice League than Superman himself as a result of a huge crisis in which an actual coastal city could collapse, fall into the sea and potentially poison the aquatic life.

That’s not to say that Superman does not have sufficient presence in this comic book. In fact, the Man of Steel has scenes that highlight his humanity, his leadership role among the Justice League and how he is still adjusting to life after getting killed by Doomsday. What Superman fans won’t find here is superhero action versus an enemy.

Still on the Superman relevance of this comic book, Lex Luthor’s obsession with accumulating as much Kryptonite as he could reflects his diabolic nature as well as his cunning moves with distorting people’s perception. Even though he does not commit any acts of violence, Luthor’s manipulative tactics even in the presence of many superheroes showed that he simply won’t stop at anything to get what he wants and what benefits him.

Speaking of more characters, Green Lantern (Hal Jordan) here got a good piece of the spotlight as he emphasized why Engine City should fall into the Pacific Ocean which he relates to the destruction of Coast City. Through his dialogue, you can feel his bitterness and the impact that the Coast City tragedy had on his worldview. You will also see Aquaman, Wonder Woman, Guy Gardner and others participate in the talks.

Conclusion

*Pay close attention to the details, Superman fans.*

Superman #83 (1993) is a nicely crafted story that happens to be more about the Justice League dealing with a big problem with Superman present. As the epilogue to the Funeral for a Friend storyline, this comic book tied up certain loose ends but ultimately focused more on building up details and tension for future events. As this story took place a short time after Superman physically returned from the dead, readers will see a still-adjusting Man of Steel here and this clearly shows that the funeral is indeed over.

Overall, Superman #83 (1993) is recommended.

+++++

A Look Back at Spider-Man 2099 #33 (1995)

August 15, 2023January 30, 2025carlocarrasco

In my previous retro review, Miguel O’Hara arrives in Mexico with Xina and they shared a room together. It turns out his brother Gabriel was also there even occupying the next room. Elsewhere, a lady practicing sorcery (Strange 2099) is told that Spider-Man will be her ally and they will work together to fulfill a mission. Elsewhere, a grave digger performs rituals over the skeletal remains of his beloved sister. Issue #32 had a dark and totally different tone as the sci-fi element of the monthly series got pushed aside.

With those details laid down, here is a look back at Spider-Man 2099 #33, published in 1995 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman.

Early story

The story begins when Spider-Man 2099 and his new ally Strange 2099 crash into a room on a mission they must complete. They see the grave digger clinging to a magical item that he believes should resurrect his dead sister.

In an attempt to find a solution, Strange touches the item and suddenly becomes a hideous looking monster.

Meanwhile, the streets of Mexico City suddenly gets filled with several undead people walking. On the street, Xina (walking with Kasey and Gabriel) begins to worry about Miiguel. Soon enough, some of the undead move towards them…

Quality

As this story is the continuation to the events of issue #32, this one keeps on building up on sorcery and evil forms of the supernatural as the key elements of the narrative as well as the setting. That being said, the usual science fiction element remains completely absent and this opened the opportunity for the creative team to show Spider-Man in action within a supernatural atmosphere complete with the unfortunate event of a demonic possession.

Spider-Man’s team-up with Strange (obviously the futuristic take of Dr. Strange) inevitably led to a conflict with evil and the ironic thing is that the grave digger himself is not even the villain but someone obsessed with bringing his sister back to life by means of resorting to magic and tapping the demonic force he could not even see. The Spidey-Strange team-up clearly dominated the narrative but I should say that the sorceress is not too interesting as a character and she barely has any chemistry with the futuristic web-slinger. It seems to me that Strange 2099 was created to emphasize racial diversity and rabid feminism than to really add any depth to the 2099 universe and its lineup of supporting characters.

As for the concept of the undead walking along many people who happen to be commemorating the day of the dead on the city streets, it really heightened the horror and supernatural aspects of the story while escalating the sense of danger.

Conclusion

*Spidey, Strange 2099 and the grave digger.*

In line with the concept of the previous issue, Spider-Man 2099 #33 (1995) is a supernatural tale of Spider-Man on a misadventure teamed up with a futuristic take on Dr. Strange. Its pay-off to the build-up in issue #32 was barely felt and I could not help but feel the presentation was rushed. Strange 2099 was simply not interesting and the grave digger’s personal pursuit over his dead sister did not have much of an impact. That being said, the concept of this 2-part story felt more like a diversion than a meaningful story. If there is anything worth focusing on in this comic book, it is Spidey himself struggling in the very nation where he previously got his costume.

Overall, Spider-Man 2099 #33 (1995) is satisfactory.

+++++

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