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, comic book collectors and fans of the Ultraverse. We revisit the Ultraverse once again to follow the continuing stories of The Strangers. Last time around, the team found itself struggling with adjusting to life without Atom Bob. For Lady Killer, the loss is very painful not only for her leadership of the team but also on her heart as she had a relationship with him.
What will happen next? How will the team move forward without Atom Bob? We can all find out in this look back at The Strangers #20, published in 1995 by Malibu Comics with a story written by Steve Englehart and drawn by Sam Payne.
The cover.
Early story
The story begins inside the home of a mother and her son enjoying indoor basketball. Their happiness got disrupted when a large, muscular man with blonde hair crashes through their door. With him is another man named M.C. who tells the lady that he and his companion want to “borrow” her son. As the mother resisted, the slimmer man knocks her out while Beater (the large guy) grabs her son.
Elsewhere, The Strangers react to the official trading card featuring Candy/Electrocute. Leon/Zip-Zap is familiar with the value of trading cards and he shows them his card of a basketball player called Missile Monroe from his days as a rookie.
As he is eager to have the trading card signed by the basketball player, Zip-Zap heads on to the city. On his way, he notices people gathered outside Holt’s Gym which he heard is the place where Missile Monroe works out at. He then uses his super speed to go past a few more people, climb up the wall, step on the ledge and look through the window. Zip-Zap sees the basketball player shooting indoors in the presence of a friend.
Sensing opportunity, Zip-Zap decides to sneak in and make his grand entrance to meet Monroe..
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Zip-Zap slams!
I can start by saying that this comic book’s story is much less of The Strangers and more about their youngest and fastest member Zip-Zap. Rather than presenting a story about Zip-Zap going back to his old neighborhood, the story is about him meeting someone very important while taking advantage of his own celebrity status as a member of The Strangers (now known by the public) to get to him.
Other his personal obsession with a sports celebrity, this comic book also explores Zip-Zap’s determination to do something heroic without the presence of his teammates. As he is still a teenager, this part of the story alone is intriguing.
Also intriguing is the introduction of two new villains in this series, MC and Beater. How they became powerful and what their connection with Missile Monroe is something you readers should discover. I personally enjoyed what was revealed.
Other than heroic happenings, the story here explores the consequences that come with big money and lucrative deals. There is also the theme about social elevation with regards to the progress a person can make coming from the local communities to the big league. Also the events in this comic book will remind readers to respect the boundaries between them and the celebrities or important people they encounter in person.
Conclusion
Zip-Zap meets Missile Monroe and friend.
Even though it had much less of the team itself, The Strangers #20 (1995) is a worthy and fun read. The story about Zip-Zap going solo temporarily for his pursuit was nicely crafted and the new characters introduced had personalities that were interesting, most notably with Missile Monroe. Apart from characterization, there is sufficient superhero spectacle to enjoy as well. Going back to Zip-Zap, anyone who loves the character will be pleased with the spotlight on him. I should also state that this story shows additional depth to Zip-Zap’s character.
If you are seriously planning to buy an existing hard copy of The Strangers #20 (1995), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the comic book costs $14.
Overall, The Strangers #20 (1995) is recommended.
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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
Recently the City Government of Las Piñas headed by Mayor Imelda “Mel” Aguilar and Vice Mayor April Aguilar-Nerry and in cooperation with the Department of Health (DOH) conducted a simulation or dry run of their vaccination program for COVID-19 at the vaccination site located at Las Piñas Elementary School Central, P. Diego Cera, Barangay Elias Aldana.
Present during the simulation were DOH Assistant Regional Director Ma. Paz Corrales and physicians of the City Health Office Dr. Ferdinand Eusebio, Dr. Julie Gonzales and Dr. Ellaine Gumpal.
Las Piñas City Mayor Imelda Aguilar (front row, middle), Vice Mayor April Aguilar-Nery (front row, left) and other officials at the vaccination site on February 8, 2021. (source – Las Piñas City Facebook page)
The simulation is part of the City Government’s preparation and cooperation with the government’s mass vaccination program for the expected arrival of vaccines in the country this February.
During the simulation, the City Government and the CHO prepared an orderly, comprehensive and concrete vaccination plan to ensure the safety of vaccinators and prevent the possible spread of diseases in the city.
The Mayor and Vice Mayor observe during the simulation. (source – Las Piñas City Facebook page)
In ensuring order, a screening site has been set up in each barangay to initially list the potential recipients of the vaccine. There are five registration sites in District 1 and District 2 for validation and profiling of the initial list. Based on the final masterlist, QR codes will be issued to those who qualified. Each of the 20 barangays has one vaccination site where Las Piñas City residents will be vaccinated at. This past January, the City Government conducted a community level census for the COVID-19 vaccine.
The order of each area (waiting area, registration area, counseling area, medical screening, vaccination area, encoding area and post vaccination and monitoring area) will be followed at a designated vaccination site with the rules and procedures that must be followed by the locals for their safety before and after they are vaccinated.
Already personnel of City Hall underwent simulations of vaccinations in the area to demonstrate the Local Government’s preparation in tandem with the local Health Office.
When it comes to cold storage for vaccines, a storage facility has been prepared and there are ten additional freezers set for standby to temporarily store vaccines to keep them safe for the program.
The City Government aims to vaccinate three thousand residents per day. Previously, the City Government allocated P200 million for the purchase of additional COVID-19 vaccines. About 500,000 doses of COVID-19 vaccines were secured after Mayor Aguilar signed the tripartite contract with British drug maker AstraZeneca in collaboration with the government.
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The above information was provided by the Las Piñas City Government for the purpose of public information and transparency. Some parts were edited for this website.
For more South Metro Manila community news and developments, come back here soon. Also say NO to fake news, NO to irresponsible journalism, NO to misinformation, NO to plagiarists, NO to reckless publishers and NO to sinister propaganda when it comes to news and developments. For South Metro Manila community developments, member engagements, commerce and other relevant updates, join the growing South Metro Manila Facebook group at https://www.facebook.com/groups/342183059992673
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.
Back in the early 1990s, I was fortunate enough to buy and read The Incredible Hulk: Future Imperfect issues #1 and #2. While each book was pretty expensive, it was all worth it because its literary and artistic content were great to read thanks to the very dynamic creative duo of Peter David and artist George Perez.
To see Future Imperfect’s story by David illustrated greatly by Perez was a magnificent read from start to finish. In 2014, Peter David confirmed that George Perez was his “single favorite artistic collaborator” and when asked as to which artists have come closest to matching the visuals he imagined while writing a comic book script, the author mentioned Perez as one of three artists to do so.
The David-Perez duo’s work together in the 1990s did not necessarily end with Future Imperfect. In fact, they took the challenge of doing an all original, adulterated, non-superhero project published through Epic Comics (Marvel Comics’ imprint that published creator-owned projects not connected with Marvel’s superhero universe) in the form of a 4-issue mini-series titled Sachs & Violens (the title itself is a play on the words “sex and violence”). Back in the 1990s, I completely missed out on that mini-series. It was only recently I finally got to start reading it.
With those details laid down, here is a look back at Sachs & Violens #1, published by Epic Comics in 1993 with a story written by Peter David and drawn by George Perez.
The cover.
Early story
The story begins in the bedroom deep within the city of New York. A pretty lady arrives, takes off her undergarment and high heels and approaches a smoking man on the bed. As they start making love with each other, a shadowy figure with a bladed weapon approaches them slowly. As the lady notices something going on, a powerful strike happens spreading blood around.
Suddenly, someone yells “Cut!” The lights got turned on and it turns out what happened was a night-time photographic session in which the director expresses his disappointment over what happened.
Elsewhere, life in the city goes on during the night. The traffic is frustrating some people. Prostitutes on the sidewalk are doing what they can to attract potential customers. Night clubc and sex shows are rampant. Among the many people walking is a pretty lady named Juanita Jean (nicknamed J.J.) who attracts the attention of a man armed with a gun. In response to his move on her, J.J. fights back by hitting his right wrist, kicking him on the groin and his chin, and knocking him out. Afterwards, she arrives at a photo studio apologizing to the photographer (Violens) for her lateness.
After some talking, J.J. proceeds to change into very erotic attire and posed sexy in front of the camera…
Quality
J.J. Sachs at the police station.
I can start by saying that this comic book is one of the most unusual works I have ever read from either Peter David or George Perez, and it’s more than just its non-superhero concept and presentation.
Starting with the visuals, this is one of the more unique works of George Perez and it surely is a fresh change after seeing so many of his superhero-related comic book works (especially the post-Crisis Wonder Woman). The usual elements of Perez’s art are here: pages with multiple panels, high detail maintained throughout even in images full of people and location stuff, beautiful looking women and the like. As this is an adulterated comic book, the level of visual eroticism got ramped up high although there were clear signs of restraint.
With regards to the quality of the writing, this is a very adulterated tale about murder and a series of unfortunate events that disturb the public and, incidentally, motivate J.J. Sachs (a softcore porn model) and Ernie Violens (a former Vietnam War veteran working presently as a photographer) to take action. The pacing of the story is decent with lots of build-up dominating the comic book. The dialogue is witty and the main characters really have their own unique patterns of verbal expression. While the script has passionate work written all over, it is not exactly an entertaining read for me. In fact, I find the tale rather sadistic and not even its elements of intrigue and twists could engage me. This is definitely not the comic book you want to read for fun.
Conclusion
Sachs’ introduction.
Even though it has great visuals and a script written passionately (note: Peter David even wrote his opinion about sex and violence in the comic book), I am actually turned off by Sachs & Violens #1 (1993). Other than being made with adults in mind, its really a story of murder that sets off events sparking the protagonists to do something rebellious in nature. While there is indeed an antagonist, the distinction between good and evil remains unconvincing in the story. I can say that die hard fans of Peter David and George Perez will find this comic book more appealing, and there is a good chance that readers seeking material with sex and violence will enjoy it. I personally did not enjoy this one.
If you are seriously planning to buy an existing hard copy of Sachs & Violens #1 (1993), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $18 while the near-mint copies of the limited edition, the platinum edition and the signed platinum edition cost $105, $70 and $140 respectively.
Overall, Sachs & Violens #1 (1993) is not recommended.
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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
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.
There is no doubt that Japan’s fictional monster Godzilla (originally called as Gojira) made tremendous impact not only with the Japanese but also with other entertainment lovers around the world. Way back in 1954, the monster was portrayed as a destructive, walking symbol of nuclear weapons in the movie Gojira directed by the late Ishirô Honda.
Before the 2019 movie was released, Toho in Japan released Shin Godzilla (alternate titles: Shin Gojora and Godzilla: Resurgence) which was the result of the 2014 movie’s success as well as the fact that there were no restrictions in the contract with Legendary Pictures for the Japanese studio to make their own domestic versions.
Due to its lack very limited presence in cinemas here in the Philippines in 2016, I was unable to watch it on the big screen. Fortunately, it was released locally on original DVD some time after and I got to watch it in the comfort of home.
With those details laid down, here is a look back at Shin Godzilla co-directed by Hideaki Anno and Shinji Higuchi (both best known for Neon Genesis Evangelion).
This is classic Godzilla.
Early story
The story begins at Tokyo Bay where the coast guard personnel found an abandoned yacht and searched inside. Suddenly a huge cloud of steam erupted from the ocean followed by blood-like water flooding the Tokyo Bay Aqua-Line. The tragedies compelled local authorities to take action starting with a committee meeting.
As emergency personnel save the victims in the damaged Tokyo Bay Aqua-Line, the tragedies reach the office of the Prime Minister who engages with many other government officials in an official meeting. They try to figure out what caused the incidents and, as such, theories and efforts to explain what happened were spoken until Deputy Chief Cabinet Secretary Rando Yaguchi (Hiroki Hasegawa) theorized that a living creature caused it (because he saw a viral video) which only resulted disbelief and dismissal.
Suddenly a massive tail rises from the ocean which got captured in video and photographs by the news media which confirms Yaguchi’s hunch. As the Prime Minister and the team of officials spend more time discussing and searching for real experts (because the three scientists they just met did not produce any breakthroughs), a huge creature makes its way into one of Tokyo’s districts through a waterway causing massive damage and displacing many people as well as all boats that got in its way.
In a press conference, the Prime Minister gave his assurance to the public that they need not worry about the creature coming to shore. Just after giving his assurance speech, an assistant approaches the Prime Minister with really bad news that the creature has been crawling inland and causing even more damage…
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Japan’s iconic monster is not only terrifying here but also very deadly.
When it comes to presentation in comparison to all other Godzilla movies released, Shin Godzilla is very unique as it strongly brings to the viewers a very in-depth examination of the bureaucracy of the Japanese government complete with the many laws, requirements, rules and other elements of governance that made it so hard for the local authorities to respond to Godzilla’s invasion of the metropolis. There are key details that were raised such as the constitutionality of using local military force against the monster (which is not a foreign invader), which department should be in-charge of research about the same monster, etc.
Along the way, there is an overload of information – in terms of text, images and dialogue – that makes viewing quite a challenge. This makes watching Shin Godzilla a learning experience that viewers who are interested in governance and science will likely enjoy although it will alienate other moviegoers, especially those who only want to watch the spectacle of massive on-screen destruction that giant monster movies are known for. Going through all the exposition and explanations, and understanding most of it, however, will make the viewing experience worth it as these countless details do make sense in relation to Godzilla’s destructive impact on the people.
And then there is the huge cast of characters that needs to be followed. This is another big challenge for viewers because if one misses out on the key purpose a character has, then following the government’s efforts on dealing with Godzilla will make less sense. Not only will you have to follow the characters’ names, you will also have to remember their respective work titles. Apart from the government officials, there is also the huge batch of nerds and varied experts gathered by the government to do intense research. Again, those people need to be followed and remembered so you can understand what they do and how they contribute to their government’s efforts. When it comes to performances, they are collectively dramatic and you will be convinced of the pressure, the danger and uncertainty they face with Godzilla threatening Tokyo.
Better get used to seeing so many characters throughout the movie.
Hiroki Hasegawa as Rando Yaguchi.
As for the main spectacle of the movie, Godzilla, I can say that the monster here is very terrifying to watch. This is not your typical Godzilla as the Anno-Higuchi directorial duo really went all out with their creativity to remake Japan’s iconic monster into something new and deadly while still linking him creatively to the legacy of the classic Godzilla. There is even an element of evolution in this version of Godzilla and to see the Japanese military fire their expensive weapons at him really made a lot of spectacle to enjoy. I should also state that several scenes of disaster caused by the monster in this film were inspired by the tragedies of the Tōhoku earthquake and tsunami, and the Fukushima Daiichi nuclear disaster of 2011. Lastly, Godzilla here is really a super villain that is not only gigantic but also is made to be highly believable that it can destroy the nation, kill innocent civilians, demoralize the authorities and even bring Japan’s entire economy way down (note: one of the government officials explained the economic consequence of failing to defeat the monster).
When it comes to visual effects, this one is the best-looking Godzilla made by the Japanese yet! While the traditional approach of having an actor wear a rubber suit has been disregarded in favor of using modern, digital means (with motion capture), what the production team did here is very impressive as they focused strongly on having computer-generated graphics that are photo-realistic. While it is true that there were some moments of fake-looking CGI, the heavy photo-realism on the graphics of Godzilla (combined with strategic camera angles that really captured the scope and size of the monster) easily outweighed the weak spots. The lighting effects used for the laser blasts were very impressive, even competitive with what Hollywood has been doing. As for the scenes of destruction, a mix of CGI and practical effects (specifically miniatures) was used. In fact, certain scenes showing Godzilla interacting with the environment was done with pushing a prop through miniatures which resulted a high level of detail with organic and solid stuff.
The spectacle would not have been that effective, however, without the solid musical work done by Shiro Sagisu. Not only did the music add a lot to the intense sequences of Godzilla, it also brought out the sense of dread and horror out of the monster especially in the night-time scene when he was towering over a large section of Tokyo that lost power. Sagisu was also involved in Neon Genesis Evangelion.
Conclusion
The emphasis on photo-realism on the computer-generated effects is something special.
I can say it out loud that Shin Godzilla (2016) is truly a spectacle to watch complete with tons of heavy drama, tons of information and the widest cast of characters to date. It is a new version of the Japanese icon that really impresses and when it comes to movie intelligence, it easily outshines many other Godzilla flicks. While it has a lot of spectacle to keep moviegoers entertained, its heaviness with the information and large cast of characters could turn off viewers who are not used to thinking and paying attention to lots of details while watching a giant monster movie. Personally, I welcomed the information overload and made efforts on paying close attention to the details and the characters. It really takes patience and focus to truly make the most out of the story and the overall presentation.
Ultimately, I enjoyed this movie for what it is and what its message was about with regards as to how governments should respond to immense disasters, what is Japan’s place in the world of the 21st century and, most notably, what Godzilla means to Japan and the international community. This is a very solid modernization of Godzilla and the Anno-Higuchi deserve admiration.
If you are seriously planning to buy an existing hard copy of Shin Godzilla (2016), visit Amazon for the Blu-ray disc release and see if it has the right price and special features to satisfy you.
Overall, Shin Godzilla (2016) is recommended!
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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
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, comic book collectors and Wonder Woman fans! Last time around, the Challenge of the Gods storyline concluded and it really had a lot of twists and profound surprises that really shook the foundation of the post-Crisis Wonder Woman monthly series that was spearheaded by George Perez and Len Win. The Challenge of the Gods started strongly in issue #10 and as each issue was released, the narrative got more intriguing and ultimately served its purpose on defining Wonder Woman as the ever-willing and pure Queen of Superheroes. Along the way, there was significant development of Queen Hippolyte who has been struggling between ruling her fellow Amazons and being a mother to Diana/Wonder Woman.
As the Challenge of the Gods was full of elements of fantasy and Greek mythology, it can be quite challenging for any comic book creator to start the next chapter of the Wonder Woman monthly series’ narrative without reusing the mentioned elements.
In the case of the next Wonder Woman comic book for review here, I can say that the creators literally brought Wonder Woman into the realm of realism and intrigue. With those details laid down, here is a look back at Wonder Woman #15, published by DC Comics in 1988 with a story written by George Perez and Len Wein. Perez illustrated the comic book.
The cover.
Early story
The story begins with Wonder Woman having a very vivid dream about a certain great hero. After waking up from it, she feels that trying to keep up with all the events of the world must be taking its toll on her. She expressed that she is ill-prepared to deal with new sensations.
“In this world, man and woman long for these feelings. They cherish them. I’ve read how they have even died for them,” Diana said. “And that truly frightens me.”
While Diana is staying at the Kapatelis residence, it turns out Julia (mother of Vanessa) is overseas. She wishes that Julia is with her to discuss what she has been feeling.
Meanwhile at the Ogawa headquarters in Boston, an armed man is using one of the company’s computers to acquire classified information about a subject referred to as Valerie Beaudry. A security guard arrives and decides to investigate as he realizes that his fellow guard was missing (knocked unconscious already). The infiltrator makes short work of him and leaves the building with the acquired information…
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Wonder Woman appears at a major public event.
I can start with the sudden change of tone for the storytelling. Gone are the fantasy and mythology elements of the Challenges of the Gods storyline and fully implemented in this comic book are the elements of intrigue, suspense, assassination and even sci-fi. The story itself is more grounded with reality as far as the post-Crisis DC Comics universe goes and because it is well written, the sudden change of tone and style never felt jarring to me.
While the 9th issue of this monthly series introduced a modern Cheetah, this comic book introduced the modern Silver Swan in the form of Valerie Beaudry (who appears on the cover). The good news here is that the creators took their time in gradually building-up details about Valerie and how she became Silver Swan. By the time Silver Swan appears in the presence of Wonder Woman, her personal details and traits have been developed in a satisfying way. Unlike Wonder Woman #9, Silver Swan’s appearance in this comic book stretches on into the next issue.
Along the way, more new characters were introduced and the most notable ones are connected with Valerie Beaudry. Maxine Sterenbuch, who eerily resembles Wonder Woman’s teenage pal Vanessa but in adult form, has a close connection with Valerie over a period of many years. There was also Henry Cobb Armbruster, a tycoon who wield tremendous power and has been hiring assassins to do his bidding.
Going back to Wonder Woman herself, this issue explores more of her struggle with not only learning more about man’s world and its many divisions, but also the feelings she starts having as she connects more with other people – most notably with one of DC’s biggest icons. To have Julie Kapatelis absent left the creators room to have Diana not only bond more with daughter Vanessa but also strive more on analyzing what she learns in man’s world. The scene in which Wonder Woman notices a huge printed image of her is a vivid reminder about how negative and foolish idolatry is on people.
Conclusion
Intriguing action scene.
Even though it has no fantasy and mythology elements, Wonder Woman #15 (1988) is still a great comic book to read and it succeeds in progressing Diana’s discovery and learning of man’s world. Its introduction of the post-Crisis Silver Swan is memorable and her build-up (specifically her background story) is pretty engaging.
If you are seriously planning to buy an existing hard copy of Wonder Woman #15 (1988), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $35 while the near-mint copy of the newsstand edition costs $70.
Overall, Wonder Woman #15 (1988) is highly recommended!
+++++
Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
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, comic book collectors and fans of Marvel. Today we revisit the original 2099 universe that Marvel Comics launched in the 1990s. We go back to the said universe through the eyes of Ravage 2099, the original 2099 character co-created by the late Stan Lee and artist Paul Ryan.
Before proceeding with my next retro comic book review of Ravage 2099, I want to stress that there was a time when the late Steve Ditko nearly launched Ravage 2099 with Stan Lee. For the newcomers reading this, Steve Ditko and Stan Lee are recognized for co-creating the iconic Spider-Man and to even imagine the two creators almost getting involved with the 2099 universe’s original hero is intriguing.
Marvel tried to get Ditko to work with Lee on Ravage 2099 early on. Then Marvel Comic editor-in-chief Tom DeFalco revealed that, on behalf of Lee, he called Steve Ditko who eventually attended a meeting which reunited them. After having a terrific discussion with Lee, Ditko cordially turned down the project. DeFalco stated that Ditko just did not agree with some of the philosophical underpinnings.
“Steve walked away, and I could tell he was really thrilled to have seen Stan,” DeFalco added.
With that short history over, here is a look back at Ravage 2099 #8, published in 1993 by Marvel Comics plotted by Stan Lee, scripted by Pat Mills and Tony Skinner and drawn by Gran Miehm. This was Stan Lee’s final work of writing a Marvel 2099 story.
The cover.
Early story
The story begins with a weakened Ravage, Tiana and Dack already in trouble as a Public Eye battle copter approaches them. The three just escaped from an underwater city using an old vehicle from the Fantastic Four. While Tiana expressed that there is no way they could outfight or outfly Public Eye, Dack reminds her that Ravage is their only hope and because of him, they got away from the aquatic beings and survived.
Dack then send their vehicle (which instantly blew ballast and raised a canopy) under water to escape from Public Eye. The effort was futile as the battle copter captures their vehicle and pulls it out of the water using a magnetic beam.
Knowing this development, Anderthorp Henton makes a confidential holo-call with Dethstryk and tells him that Ravage is in his possession. Henton also states that he intends to kill Ravage. Dethstryk demands Henton to deliver Ravage to him, insisting that it should be he who should kill him.
While captured in transit, Ravage struggles to write his instruction to his companions to take his gloves off…
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Henton and his team with Ravage and his companions captured.
Finally, after going through the first seven issues that resulted unsatisfying plots, recycling of character elements and forcibly stretching the narrative, this particular issue has a story that combines doubtful heroism with a believable objective. Of course, it should be noted that Stan Lee provided the plot while leaving the scripting and pacing to two other writers who eventually took over the writing duties of Ravage 2099.
There were some improvements to the quality of the dialogue and narration (by Ravage). This comic book’s story was paced decently and there was not a single moment of stretching the narrative unrealistically. By this stage of the series, Ravage’s status as a heroic figure improved once again as he was given a purpose to fulfill. While we have seen him help Tiana or Dack escape from the bad guys, this story has him being more strategic and more determined to really solve a mystery while overcoming opposition.
Henton in this story, fortunately, is not a repeat of his cruel, cold-hearted self from the previous issues. This story reveals his link with Dethstryk and new insight as to who or what really controls Alchemax and its top officials. As such, there were some unexpected elements that transpired in the story.
Visually, Gran Miehm provided decent art and for the most part, Ravage and the other characters remained recognizable although I notice Dack looking more like a young adult than the teenager he really is.
Conclusion
Dack makes a move to help them get away.
Ravage 2099 #8 (1993) was Stan Lee’s last work with this particular series of the 2099 universe and thanks to the new writers who took scripting duties, this one has a satisfying story, higher quality dialogue and a more focused narrative. In retrospect, it was already too little and too late to salvage the Ravage 2099 series due to the inconsistent and overall weak storytelling that dominated the first seven issues.
If you are seriously planning to buy an existing hard copy of Ravage 2099 #8 (1993), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $14 while the near-mint copy of the newsstand edition costs $42.
Overall, Ravage 2099 #8 (1993) is satisfactory.
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Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
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, comic book collectors and fans of the Ultraverse! In this retro comic book review, we will revisit The Strangers in one of their later stories published in 1995. In issue #18, things got more complex as The Strangers not only had a genuine opposition to deal with but also another group of individuals with varied powers. For this new review, the story took place even way after issue #18 as there was a 100-page finale that took place in Night Man Annual #1 and The Strangers Annual #1.
To find out what happened next to the superhero team and its members, here is a look back at The Strangers #19, published in 1995 by Malibu Comics with a story written by Steve Englehart and drawn by Steve Ellis.
The cover.
Early story
The story begins in a private place where members of The Strangers each take time of silence across the floors. Noticeably absent was Atom Bob. Lady Killer recalls Atom Bob as her lover, their team’s brightest star and, unfortunately, a betrayer towards them all. She remembers several moments from recent times such as realizing Atom Bob’s desire to do something heroic, realizing that power to equal another one’s power is the better power, and the time he asked her to marry him. Deeply hurt by the betrayal, Lady Killer cries.
For his part, Grenade is feeling the anguish over the betrayal given the fact that they have been really close friends since childhood. When Grenade had trouble entering college, Atom Bob encouraged him to join him in enrolling at art school. The betrayal was so painful, he releases his anger using a bit of his power. A teammate appears behind him to try to talk sense to him…
Quality
A very touching scene between Yrial and Zip-Zap.
Firstly, I should say that the writing done by Steve Englehart here is very rich with a strong emphasis on dramatizing the Strangers deeply. The dialogue written for each character reflects not only their emotions but also what is living within their respective hearts and what is in their minds. The character development is also rich and I love the way Englehart further developed the sister-brother-like bond between Yrial and Zip-Zap. As for Lady Killer, her pain will most likely resonate with readers who experienced betrayal and the loss of a loved one.
Secondly, the betrayal by Atom Bob really shows its emotional impact on the team. This one is not only a heavy burden on the characters but also a wave of shock via reading which long-time Strangers fans (who dedicatedly followed Atom Bob’s thoughts and exploits) can strongly relate with. Atom Bob’s overall value as a Strangers member is easily reevaluated in this comic book and his personal connections with Grenade, Yrial, Spectral, Zip-Zap, Electrocute and, most notably, Lady Killer are strongly emphasized. This should compel readers to revisit the early issues of The Strangers.
Of course, I should state that this comic book is not a pure emotion ride. There are still some scenes of action and spectacle that still make sense with the narrative. A certain character from The Strangers #4 makes a return here and another intriguing character appears here. They are both worth discovering.
The art done by Steve Ellis is very good, and his style is eerily very similar to that of Rick Hoberg. There were several images that reminded me of Hoberg’s take on each character.
Conclusion
Lady Killer painfully remembering what happened.
There is no doubt about it. The Strangers #19 (1995) is another very good Ultraverse comic book to read and collect! Not only does it succeed in serving as the aftermath to the stories in in Night Man Annual #1 and The Strangers Annual #1, it also fulfilled its purpose in raising the stakes for the Strangers who are struggling with the pain and shock of Atom Bob’s betrayal. If you love character development, you will love this one.
If you are seriously planning to buy an existing hard copy of The Strangers #19 (1995), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the comic book costs $11.
Overall, The Strangers #19 (1995) is highly recommended!
+++++
Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
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, comic book collectors, sci-fi enthusiasts and fellow geeks! You must have heard by now that pop culture icons Godzilla and King Kong will clash together on the big screen in Godzilla vs. Kong (2021). Check out the official trailer below.
Take note that this is NOT the first time the two giant monsters encountered each other on the big screen. In fact, there was a Japanese-produced movie that featured the two released in 1963 and it involved Ishirô Honda who himself directed the 1954 original Godzilla movie. As the decades passed by, Godzilla movies were viewed by lots of people around the world and by the time efforts were taken to realize a Hollywood-produced film showcasing Japan’s icon, its place in global pop culture was already sealed.
And here is the thing that should interest you all – before the 1998 Hollywood Godzilla film (directed by Roland Emmerich) was even released, Dark Horse Comics published a series of Godzilla comic books. Of course, this was not the first time Godzilla made its presence felt in illustrated literature but the mid-1990s series was an effort to modernize Japan’s icon with readers (and comic collectors) of the time.
With those details laid down, here is a look back at Godzilla #1, published by Dark Horse Comics in 1995 with a story written by Kevin Maguire and drawn by Brandon McKinney.
The cover.
Early story
The story begins with a network television talk show focused on Godzilla and the possibility of it attacking North America. On the air, TV show host Kate Koshiro talks with research team G-Force member Take’ who states that Godzilla has been injected with poison and swam to the bottom of the ocean. Even so, they never found a corpse.
As the show goes on, it is revealed by Take’ that his team uses low-frequency signals which they hope will attract Godzilla and even pacify it. Take’ eventually begins to get nervous as Kate Koshiro presses him for details. Behind the scenes, personnel of G-Force watch the show on their giant monitor.
The G-Force personnel turn their attention away from the TV show as they have been alerted to the sudden emergence of Godzilla, 77 miles northwest of Vancouver…
Quality
The destructive power of Godzilla!
If you are looking for a good, original story of Godzilla to read, this comic book has it! To start with, it has a nice world concept of its own surrounding the monster. G-Force serves as the primary organization the world goes to not only for protection from Godzilla’s attacks but also extensive research-and-development (R&D) that can make breakthroughs the world can benefit from, and intelligence that the respective defense forces of nations can use.
The characters are an interesting mix with elements from G-Force and the American armed services doing most of the interaction, talking and exposition. The closest thing this comic book has to a human protagonist is Take’ who turned out to be more capable than being a researcher of G-Force.
As for Godzilla, there is nothing new with the monster’s portrayal even though it is confirmed to be sick with poison. Wherever Godzilla goes, a lot of destruction happens making it look like the antagonist to the reader. In other words, a typical Godzilla portrayal. Fortunately, the comic book creators succeeded in maintaining the giant’s presence strongly even though the narrative was primarily focused on the human characters.
Conclusion
Nothing like carrying the tremendous pressure that comes with the unexpected emergence of a gigantic monster.
Godzilla #1 (1995) is surprisingly entertaining to read. When I first read this comic book, I had modest expectations and just let myself discover what it has to offer. The good news here is that the comic creators crafted a story that is interesting and fun enough to read. Apart from focusing on Godzilla, the G-Force organization has an interesting cast of characters.
If you are seriously planning to buy an existing hard copy of Godzilla #1 (1995), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the comic book costs $70.
Overall, Godzilla #1 (1995) is recommended.
+++++
Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
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.
Like any geek, I still love watching Terminator 2: Judgment Day, specifically its extended version which was James Cameron’s true vision. I’m not exactly a fan of Arnold Schwarzenegger, but I really love his work in T2 as well as in Total Recall. When it comes to James Cameron’s works, I personally prefer T2 over Avatar, Titanic and True Lies.
As for the Terminator franchise itself, it spawned cinematic sequels that only turned up as disappointments. Terminator 2 was indeed the high point of the film franchise and everything really went downhill afterwards. I should state that Terminator: Dark Fate should be avoided as it is not worth your time and money.
Recently, I searched for some comic books that served as sequels to Terminator 2 and I found one from the mid-1990s and it is a direct follow-up! We can find out more in this look back at Terminator 2: Cybernetic Dawn #1, published in 1995 by Malibu Comics with a story written by Dan Abnett and Rod Whigham.
The cover.
Early story
The story begins immediately after the end of Terminator 2 with the injured Sarah Connor (with a very exhausted John Connor sleeping) still managing to drive the car in the middle of the night. As she drives, Sarah recalled that she never asked for the responsibility of preserving mankind as it was forced on her way back in 1984. She also recalled the time in Tech Noir when the Terminator almost killed her as she got saved by Kyle Reese.
By morning, Sarah and John reached the desert and returned to the lonely home of her old ally Enrique. Suddenly a man with a shotgun comes out and aims his weapon directly at Sarah. Carrying a gun, John comes out to help his mother…
Quality
John and Sarah Connor.
Let me start with the story and make clear to you readers that this comic book easily defies the conclusion that was set in the movie Terminator 2. If you have seen the film, you should be aware that the way it was concluded made sure there is no more future war and no more Terminators. Like the 2003 movie Terminator 3: Rise of the Machines, this comic book just kept on pushing the concept that Judgement Day and the war with the machines are still inevitable and that Terminators from the future would only continue to arrive to hunt and kill John. As such, the hard struggle for Sarah and her son continues.
That being said, this comic book really pushed hard with its sequel approach. Remember what happened in the steel mill in Terminator 2? Several personnel investigated the facility and one particular detective arrived searching for Sarah Connor who has been labeled as an escapee from the state hospital. Inside the steel mill is the severed left arm of the Terminator (which got stuck to crushing mechanical wheels as seen in the 1991 movie) which is the storytelling key the comic book creators used to justify this sequel.
To the comic creators’ credit, they did their research about T2 and even made references to other characters of that movie. As a result, this comic book appears loaded with fan service.
Even though it has many references and connections to the 1991 movie, this comic book also has some completely new stuff to expand on T2’s concept. The destruction of Cyberdyne’s facility in the movie resulted an emergency meeting of a corporation’s board of directors (and a certain senator) which creatively sets up further conflicts as well as struggles for Sarah and her son.
In terms of writing, this comic book’s story is cohesive enough. As for the art, the quality is fine and most notably, the illustrator managed to somewhat capture the likeness of Linda Hamilton on Sarah Connor.
Conclusion
The severed Terminator arm as the single factor that justified this sequel somewhat.
I can say that Terminator 2: Cybernetic Dawn #1 (1995) is a surprisingly satisfying read mainly due to its writing and artistic quality. While its push to justify a sequel barely succeeds, there is more good stuff than negative ones overall. As far as making sequels to Terminator 2 is concerned, this one is somewhat more believable than the 2003 movie.
If you are seriously planning to buy an existing hard copy of Terminator 2: Cybernetic Dawn #1 (1995), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the comic book costs $19.
Overall, Terminator 2: Cybernetic Dawn #1 (1995) is satisfactory.
+++++
Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
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, comic book collectors and fans of the Ultraverse! In this return to the Ultraverse, we will examine another mid-1990s issue of Prime who became a resident of the City of New York as a result of Kevin Green and his mother relocating there.
Last time around, a huge monster (clearly inspired by Godzilla) arrived in New York and Kevin had no choice but to change into Prime to save people. While his heroic act saved lives and spared the city from further damage, Prime still was not spared from the growing speculation that he molested children in California (which by today’s standards is a ravaged state as a result of unrestrained influence of the Left as well as economic complications).
So what will happen next to Kevin/Prime the more time he spends in New York? We can find out more in this look back at Prime #18, published in 1994 by Malibu Comics with a story written by Len Strazewski and Gerard Jones, and drawn by Kirk Jarvinen and Keith Conroy.
The cover.
Early story
The story begins with Prime (standing behind a podium with a crowd in front of him) and the people getting surprised when Turbo Charge (note: his debut in issue #17 was overshadowed by the events of that comic book) suddenly arrived on stage holding civilian clothes and declaring he is Prime’s new partner.
Turbo Charge whispers to Prime that he arrived to help him by pretending that the clothes are his (note: the clothes actually belong to Kevin). He then speaks out to the audience stating distorted details. Just as members of the news media start asking Turbo Charge questions, Prime grabs him and flies away to leave the crowd behind.
As they got far enough, Prime tells the Turbo Charge he has no intention to accept him as a partner…
Quality
Prime’s private life as Kevin remains hard as ever.
As mentioned already, Turbo Charge’s debut in issue #17 was overshadowed by what happened in that comic book. That being said, the story here made up for it not only by investing more pages to emphasize Turbo Charge but also dramatize his personality which was done in a pretty satisfying fashion. Like Prime, Turbo Charge’s life has gotten complicated as a result of his ability of super speed and his personal desire to do good even though he is a teenager with so much to learn.
What I find delightfully surprising in this comic book is the presence of Manhattan Project, a powerful character whose dedication to protect New York’s people from ultras (which he wants to neutralize) leads him to a big fight with Prime which alone has to be seen. It is quite enjoyable.
As for Prime himself, there is a good amount of pages dedicated to his alter ego as Kevin still struggling to adjust to life in New York. It should be noted that key elements from issue #17’s story impacted her perception of Prime (a secret Kevin still keeps successfully). The characterization here for the protagonist is really good.
Conclusion
The fight between Prime and Manhattan Project is a must-see.
Prime #18 (1994) is a really good read. It has a fine balance of storytelling, characterization and spectacle from start to finish. I should also state that the New York setting is looking good as far as telling Prime’s story goes.
If you are seriously planning to buy an existing hard copy of Prime #18 (1994), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of this comic book costs $10.
Prime #18 (1994) is recommended.
+++++
Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com
Author Carlo Carrasco 