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, Tomb Raider fans and comic book collectors! Today we go back to year 2000 to revisit the 2nd issue of the Tomb Raider comic book series which was published through Image Comics.
In my previous retro review, the creative team smoothly and firmly established the iconic Lara Croft as an experienced treasure hunter and explorer who also knows how to negotiate with clients when it comes to high-risk tasks. In short, her debut in comics turned out very inspired by the video games and that made the Tomb Raider herself a fitting protagonist in the realm of comic books.
With those details laid down, here is a look back at Tomb Raider #2, published in 2000 by Image Comics (production work by Top Cow) with a story written by Dan Jurgens and drawn by Andy Park.
The cover.
Early story
The story begins with Lara Croft in trouble deep underwater as her oxygen line had been cut off while her yacht got badly damaged by a time bomb placed on it by unidentified operators. The wounded Lara is approached by two scuba divers responsible for the attack. As they search her for valuable items, Lara fights back against them strategically. After the two got attacked by the sharks separately, she avoids the sharks near her only to witness her yacht sink from above and on to the surface below.
Lara then begins to worry about her butler Compton…
Quality
The interactions between Lara Croft and Compton remind me a lot about Bruce Wayne (Batman) and Alfred working together.
This tale shows Lara aided by Compton (who turned out to be more than just dedicated butler) on a search not only for artifacts but also for answers and people. This is the result of the disruption caused by a gang led by Chase Carver as Lara conducted the dangerous underwater search in relation to her agreement with a dangerous client. If there is any symbolism here, it would be the unfortunate events confirming that the so-called industry on the search for artifacts is truly dangerous not only because of difficult locations to visit but also because there are powerful stakeholders who resort to violence to get ahead of other searchers. In short, the very rich Lara is destined to encounter danger as she personally engages in the searching.
Using flashbacks, Dan Jurgens inserted scenes showing readers what Lara was like when she was a young girl, who her parents are, and how involved Compton became as the family’s defender and butler. As a result, Compton here ended up looking and acting very much like Batman’s Alfred Pennyworth (butler and operator). This is not exactly problematic as having Compton allows the creators to have Lara someone to talk with and place her trust on. That being said, I can say that Lara-Compton is pretty much like Batman-Alfred.
More on the story, there is a focus on the violent competition within the world of the search for artifacts. The attack by Carver’s gang drastically altered the direction of Lara’s search which leads her and Compton to Nepal.
When it comes to spectacle, I noticed that the Jurgens-Park duo ramped up the action a lot and the violence was intensified making this tale look like an R-rated action movie. This opened a lot of opportunities for Park to draw more dynamic action shots complete with explosions. In my view, the ramped-up spectacle did not overwhelm the narrative and turned out a very generous pay-off to the build-up.
Conclusion
There is plenty of action to enjoy in this comic book.
Tomb Raider #1 (2000) is a fun read that moved the story forward while saving enough space for character exposition (the flashbacks) and spectacle. As Lara’s search for answers goes on, the suspense got built-up nicely and there were details that caught my curiosity. As of now, I am looking forward to finding out more and what would happen next.
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 arts and culture enthusiasts, and comic book collectors! Today we go back to the mid-1990s to explore a part of Defiant Comics through the Charlemagne series.
For the newcomers reading this, Defiant Comics was a comic book publisher founded by former Marvel Comics and Valiant editor-in-chief Jim Shooter. Defiant was established as a result of Shooter’s departure from Valiant and there were even some creators from the previous company who joined him as staffers in the new company. Defiant’s initial titles were Warriors of Plasm, The Good Guys and Dark Dominion. Charlemagne was part of the second wave of titles launched.
With those details laid down, here is a look back at Charlemagne #1, published in 1994 by Defiant Comics with a story plotted by Jim Shooter, Philip Nutman, Adam Pollina, Deborah Purcell and D.G. Chester, written by Chester and drawn by Pollina.
The cover.
Early story
The story begins in 1973 in the state of Kentucky. 12-year-old boy Charles has been feeling uneasy since it was reported that his older brother Pete serving in Vietnam has been missing-in-action. The father tries to comfort Charles who responds by asking him if he read Pete’s letters. By reading the letters, Charles paid attention to the details that described Vietnam and he even felt like was he was there. The young boy feels like he could find his missing brother.
A short time later as he and his father play baseball pitching outside, an important telephone call was received by the mother. It was Major Forney from the Pentagon searching for the father to give him updates about his missing son in Vietnam. It turns out the reports from Hanoi did not list Pete among the prisoners held there and chances on finding him are very slim. The father refused to accept his son’s status.
After hearing his father’s phone talk with the major, Charles refuses to believe his brother’s dead and immediately goes up to his room and starts preparing for a daring, solo travel to Vietnam…
Quality
Incredibly, Charles travels from America to the Philippines by air, then to Vietnam by ship. How he got past security is beyond me.
If there is anything that would best describe the story of this comic book, it is a pretty enduring tale that moved with a slow-to-medium pace. That’s not to say it is not worth following. In fact, the narrative the writers came up with is quite gripping and as it flows on, you will really get to know the protagonist Charles and witness how his personality develops as he pushes through with his very daring pursuit of his missing brother in the middle of Vietnam.
Indeed, there is a superhero element in this story and the way it was emphasized by the creative team is actually unusual and experimental. The most defining element of Charles’ character is his uncompromising determination to find his older brother no matter what the odds. Without spoiling the plot, I can say that the superhero elements of Charles develop late in the story and the way they were presented is truly intriguing.
Of course, there are some questionable things about the story. Charles’ solo journey (note: he ran away from his parents at home leaving a letter) from America going into Vietnam as a young boy undetected is already unbelievable. His unrelenting search in Vietnam that lasted not days but actually a few years is even more unbelievable. These raises questions as to how much money did the young boy have to support himself with, and where did he stay to rest during the few years he spent in the Southeast Asian nation ravaged by war. If anything, this tale comes with a strong element of fantasy made to look like it happened during the Vietnam War.
Apart from Charles, there are a few supporting characters who happen to be interesting to focus on. Through the one Vietnamese support character – the doctor – you will get to see certain aspects of local society as well as the American and Communist Vietnam sides.
Conclusion
Charles experiences a taste of luxury in Vietnam.
Charlemagne #1 (1994) is ultimately an engaging and pretty intriguing read. This comic book’s superhero elements and spectacle are pretty light but the build-up of Charles (and his development into Charlemagne) is quite powerful to read. This tale turns out to be an origin story of Charlemagne and you will realize that when you read it from start to finish. Considering how this comic book turned out, I’m convinced to find out more in the next issue.
Disclaimer: This is my original work with details sourced from playing the video game 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 retro gaming fans, collectors and readers!
Today, we will go back to the early 1980s to examine one particular video game I played many times on the Atari 2600 and it has a science fiction concept inspired by a certain dream that the late game designer Alan McNeil had.
With those details laid down, here is a look back at Berzerk, developed and published by Atari, Inc. on the Atari 2600 in 1982.
Cover of the Atari 2600 game package.
Game concept
Based on the official description of the game, players play a lone, armed human character who is a prisoner on an alien planet that is made up of mazes that have electrified walls. Several armed robots are actively hunting the human has no choice but shoot them and somehow surpass them to survive. There is, however, a more powerful villain called Evil Otto lurking nearby…
Gameplay and quality
When firing so close to a robot, be aware that it will fire at you without hesitation. To avoid getting hit, be aware of your character’s position, distance and the ability to move.
As typical with console games during the early 1980s, Berzerk’s design is pretty simple. Using the Atari 2600 joystick (which has only one button), you have to move your character around while avoiding touching the robots and electrified walls, and find your way out going to the next level. When it comes to in-game action, using the joystick, you are also able to shoot laser blasts in different directions (including diagonal).
From time to time, the level of challenge and gameplay intensity rises whenever the robots stand or move randomly on certain spots of the floor and when the random locations of the walls make it challenging to move around. In situations like these, I was compelled make quick decisions on when to move, which robots to shoot, and analyze if it is safe to move to another spot without getting electrified by a wall.
Adding further to the challenge is the sudden entrance of Evil Otto (who appears in the game as a digital smiley face) who is indestructible and passes through walls (note: this happens as long as you did not adjust the console to make the game easier). Once Evil Otto comes in (after you spent a certain amount of time in the level), I had to move my character out of the level even if there were still some robots remaining and shooting at me. Evil Otto even destroys robots that got on its way which symbolically shows how powerful he is.
In a situation like this, you will have to think fast on when to move, when to fire and how much distance do you need to be safe. That being said, you must also avoid touching the walls which are all electrified.
As mentioned earlier, there is an option available on the Atari 2600 version of the game that makes encounters with Evil Otto a bit easier. This allows players to blast Evil Otto to remove him for a temporary period of time and he comes back afterwards. In my experience with this game, I preferred the more challenging settings as the gameplay was already engaging with it. I should also state that while there are many robots walking around and ready to blast you, their intelligence is pretty low as you will see a few of them walk straight to the wall and get destroyed. There were also times when a robot simply walks straight into a fellow robot which destroys them both. Also there were times when a robot’s laser blast destroys another robot that got in the way. That being said, the option for easier gameplay on the Atari 2600 was unnecessary for me.
While the game design is simple, there is a ton of depth in terms of new levels you will find yourself in after exiting the previous level. Avoiding robots and Evil Otto to get out might look like the only goal for playing but in reality there is incentive to shoot as many robots as you can as scoring highly will reward you an additional life for ever number of points earned. There is no story ending at all as the game will go on and on for as long as you keep enjoying playing.
In relation to the gameplay, there is no music at all and that creates an immersion with emphasis on the excellent sound effects the game has. The sounds of the laser blast, the explosion of the robot, and the electrifying of your human character’s body still sound great and they have a strong futuristic, sci-fi touch.
Conclusion
The digital smiley face here is Evil Otto. Don’t let the smile fool you because it will go after you to destroy you, and not even the walls nor the robots can block its way.
Berzerk (1982) on Atari 2600 is still a fun game to play after all these decades. Its design is simple and yet there is depth within the gameplay. There is no story to complete but the game will keep on going as long as you enjoy blasting robots for more points to gain additional lives as rewards which should motivate you to keep on playing. Considering how simple the game’s design has always been, the sound effects really made playing it an immersive experience. This game is truly a classic that has to be played if you have the means to do so.
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 arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the mid-1990s to explore the adaptation of the start of the second season of the X-Men animated series in the form of the X-Men Adventures comic book series.
Before getting to the retro comic book review, I want to address the recent controversy and criticism of the new animated series X-Men ’97, a continuation of the popular 1990s series that turned out to be woke by featuring the so-called non-binary presentation of people. In my view, this is not surprising given the fact that the very woke Disney company has owned Marvel Entertainment for many years now and its wokeness has infected the animated X-Men franchise along with the most recent movies and shows of the Marvel Cinematic Universe (MCU). Wokeness and Leftist beliefs continue to ruin entertainment and established properties as we know it. It’s the culture of Communist-filled Hollywood (Commiewood).
So how do you reject X-Men wokeness apart from avoiding X-Men ’97? You simply go back to the X-Men animated series of the 1990s as well as the comic books that adapted the stories.
With those details laid down, here is a look back at X-Men Adventures Season II #1, published in 1994 by Marvel Comics with a story written by Ralph Macchio and drawn by Andrew Wildman.
The cover.
Early story
The story begins with the cosmic being the Watcher carefully examining the flow of events on Earth and what has changed for the X-Men since then. Robert Kelly, who previously had an anti-mutant agenda when he was a U.S. Senator, has since been elected as the President of the United States and openly pushes for a policy of conciliation with mutants. His action sparks social unrest.
Meanwhile inside a small church far away from the nation’s capital, the wedding of Jean Grey and Scott Summers pushes through with several members of the X-Men in attendance. Very notable was the absence of Wolverine who turned out to be inside the Danger Room (deep within Charles Xavier’s estate) fighting a giant-sized version of Cyclops…
Quality
The X-Men are troubled by the anti-mutant wave happening in public.
As the opening issue of the second volume of the X-Men Adventures comic book series, this comic book carefully sets up the tone and the plot of a series of future challenges for the X-Men which is clearly reflected on the front cover with Mister Sinister displayed prominently. The story mainly highlights X-Men’s new struggle with the wave of anti-mutant rage in the public while dealing with the absence of their leader Cyclops (on honeymoon with his new wife Jean) while leaving space for potential sub-plots such as the attraction between Jean and Wolverine, the moves of the anti-mutant radicals and, most notable of all, the secretive return of Morph (thought to have died in issue #2 of the first season).
As expected, build-up is the main approach taken by the creators on telling the story and there were some bouts of superhero spectacle (action) that spiced up the reading experience for me. Considering what has been happening in different parts of the world in recent years, the sub-plot of the rabid anti-mutant activists using tactics to destroy the X-Men’s credibility with violence and misinformation magnified through the news networks is very socially relevant.
What the rabid anti-mutant people committed in this comic book reminds me of the October 7, 2023 attacks on Israel organized by the Palestinian terrorist group Hamas in which violence, destruction and selective images of terror spread through news networks and social media were done. Similarities aside, the wave of evil is clear here and the intent of the anti-mutant believers and Palestinian terrorists obviously expresses intentions of genocide against another particular group of people.
When it comes to weaknesses of this comic book, I cannot help but find Andrew Wildman’s art looking very rushed. There is a lack of precision and detail of his art here when compared directly to his works in the first volume of X-Men Adventures.
Conclusion
The anti-mutant radicals in this comic book have a lot in common with Palestinian terrorists, the pro-Palestine activists, the Black Lives Matter activists and other members of woke mobs. Violence, arrogance, rage and misinformation are their values.
X-Men Adventures Season II #1 (1994) incidentally works well as an adaptation of the animated series, as a standalone comic book as well as being a socially relevant tale in today’s age of social media. While the concept of evil remains in X-Men lore, what was told here shows different layers of it. The X-Men themselves also looked fragile and the return of Morph is a key part of the story clearly designed with future events in mind. Finally, this comic book is a lively reminder of the era when X-Men stories were made for the fans, not the woke mob.
Overall, X-Men Adventures Season II #1 (1994) is recommended.
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 early 1990s and look at the official comic book adaptation of the 1992 superhero movie Batman Returns.
Way back in 1992, I managed to watch Batman Returns in a movie theater here in the Philippines. It was entertaining but I noticed it had an even darker tone, more violence (although the quality of physical action went down) and was more adulterated compared, at least, with its 1989 predecessor. What really stood out for me in the Tim Burton-directed movie were the great performances of Danny DeVito as the Penguin and Michelle Pfeiffer as Catwoman.
Even though I was already visiting comic book stores back then, I was not even aware that an official comic book adaptation of the movie was released by DC Comics. It was only recently I finally got to read a copy.
With those details laid down, here is a look back at Batman Returns: The Official Comic Book Adaptation of the Warner Bros. Motion Pictured published in 1992 by DC Comics with the adapted story written by Dennis O’Neil and drawn by Steve Erwin.
The cover.
Early story
The story begins decades into the past in Gotham City. A wealthy couple (Cobblepot family) decide to reject and abandon their infant son (Oswald/Penguin) as he was born with freakish features. They placed their son into a metal container (which itself is contained in a large makeshift basket) and dropped it on a local waterway that leads deep into the city’s sewers. At the end of the journey, large penguins find the container.
Decades later in Gotham City, tycoon Max Schreck talks to the mayor about his planned power plant project that needs permits and tax incentives from the local government to be realized. The mayor is doubtful about the project as he believes that the city has more than enough energy sources to sustain growth into the next century. Schreck insists that the local government’s analysts don’t realize the big picture about energy and economic growth. Then Chip Schreck (Max’s only heir) arrives with Selina Kyle (Catwoman) carrying coffee near him.
Minutes later, Max, Chip and the mayor arrive at Gotham Plaza for the local Christmas tree lighting. Even though he forgot to bring his speech, Max Schreck delivers remarks pretending to be caring and charitable to others. As his speech ends, two over-sized objects looking like giant gift boxes arrived nearby giving the mayor the false impression that those are clever gimmicks by Schreck.
As soon as Schreck says that those objects were not his, the oversized gift box opens violently as thugs wearing circus costumes and masks suddenly come out causing violence and hysteria to the unprepared people.
The local police activate the Bat Signal to call Batman for his assistance. Nearby, the Penguin sees it and says, “Ooh, Batman. I’m trembling…”
Quality
Moments from Batman’s first fight with Catwoman.
To get straight to the point regarding the narrative, this comic book adaptation does have the same basic plot and concept of the movie but with noticeable differences (whether technical or creative) that happened here and there. For the most part, Dennis O’Neil captured the concept of the movie but with less of the flavor of Tim Burton’s creative touches (which should not be surprising).
Having seen the movie, it is clear that the comic book creators reduced the dialogue and took shortcuts on adapting scenes from the film not just for the sake of brevity but to ensure they could fill the limited amount of pages to work with. That being said, I can say that the reduced dialogue from the first conversation between Penguin and Max Schreck severely weakened the impact when compared to what was executed in the film. Speaking of dialogue, the comic creators had to down key words (think of it as creative censorship) to avoid offending readers.
This is a unique, alternate portrayal at the aftermath of Selina Kyle’s fall from the high window. When compared to the movie itself, this adaptation emphasizes how far the Schrecks would go to avoid being held accountable for crimes committed.
This particular scene did not appear in the movie at all. Perhaps it was based on an older version of the film script.
When it comes to scenes between the film and this comic book adaptation, I can say that the date between Bruce Wayne and Selina Kyle inside Wayne Manor does not appear in literary form at all. Ironically, there is one scene that appeared in this adaptation (the Penguin plotting chaos in Gotham while Catwoman mentions “An orgy of sex and violence,”) that never made the final cut in the movie itself. With regards to the aftermath of Max Schreck’s violent push of Selina Kyle through the high window, this adaptation showed Max’s son Chip present (implying he witnessed his father’s act just steps away) and he goes along with his father to ensure that none of them would be held accountable for Kyle’s fall (caused by “stress” and being “depressed”).
With the way the narrative was completed, this adaptation works well but much less of the theatrical touches of Tim Burton and without the power of the respective performances of Danny DeVito, Michelle Pfeiffer and Christopher Walken (Max Schreck). Ironically, I can easily imagine Bruce Wayne/Batman sounding like Michael Keaton through dialogue.
While artist Steve Erwin did not come close to capturing the likenesses of Christopher Walken as Max Schreck, and Michael Keaton as Bruce Wayne, his take on Selina Kyle is better as she somewhat resembles Michelle Pfeiffer.
With regards to the visuals by Steve Erwin, he does a good job drawing the locations and help establish geography (albeit in limited scopes) for readers to grasp. In fact, there were drawings in which Erwin literally copied location spots, objects and even camera angles from the film which suggests he had confidential access to the footage. When it comes to visualizing action, Erwin’s approach is pretty simplistic and limited. There simply was no dynamism with the action which theoretically means he had no artistic freedom (sticking closely to script while working within the limits of images per page) or he simply had no intention to make the action look spectacular.
With regards to violence connected with the action, the comic creators had to resort to creative censorship apparently to make this adaptation more acceptable with younger readers. The fall of Selina Kyle from the high window had severely reduced intensity in comic form and the horrific moments of her being surrounded by cats in the film were completely gone. Oh yes, Batman’s use of the Batarang against multiple thugs on the street was executed with a simplistic and not-so-violent (read: little impact) manner by Erwin.
Consider this as a late-20th century portrayal of diversity and inclusion in America. By today’s standards, there are hordes of SJWs (social justice warriors), woke nuts, socialists, Communists, Marxists, and liberals who believe in diversity (racism in reverse) and inclusion (exclusion actually) so much, they intend to destroy families starting with the children.
When it comes to drawing the major characters, Erwin really falls short here. His Bruce Wayne never came close to resembling Michael Keaton and the same can be said about Max Schreck (does not look much like Walken) and the Penguin (does not resemble Danny DeVito at all and with reduced facial details, he looks nowhere as scary as the cinematic villain). Ironically, Erwin’s take on Selina Kyle comes a bit close to looking like Michelle Pfeiffer. Erwin does, however, did a good job drawing Batman and Catwoman in their fully costumed, masked appearances.
Conclusion
Very clearly, Steve Erwin had access to footage of the movie when making this adaptation.
Considering its flaws and compromises, Batman Returns: The Official Comic Adaptation of the Warner Bros. Motion Picture (1992) still works as an entertaining read and I myself have seen the movie many times. It captures the plot and several shots of the 1992 movie, but it certainly lacks Burton’s theatrical flavor and the powerful performances of DeVito and Pfeiffer. To its credit, this adaptation has several visual and literary differences compared with the movie which adds to its entertainment value. If you really want the full impact, full fun factor and artistry of Batman Returns at all, watching the movie itself is the best way. That being said, consider this adaptation as a cheaper accessible counterpart.
Overall, Batman Returns: The Official Comic Adaptation of the Warner Bros. Motion Picture (1992) is satisfactory.
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 early 1990s and explore a part of the Marvel Comics shared universe through a tale of the Spider-Man monthly series.
In my previous retro review, Todd McFarlane told a tale of the iconic web-slinger with intense build-up leading to another rematch with his old nemesis the Lizard (Dr. Connors). While the writing was pretty weak, McFarlane still managed to tell a tale with a strong element of horror and supernatural stuff. McFarlane’s approach with visual violence and graphic stuff was clearly adulterated. What was presented daringly tested the limits allowed under the Comics Code Authority (CCA).
With those details laid down, here is a look back at Spider-Man #2, published in 1990 by Marvel Comics with a story written and drawn by Todd McFarlane. This is also the 2nd chapter of the Torment storyline.
The cover.
Early story
The story begins in New York City where two men got suddenly murdered by the Lizard in an alley during the night. The next morning Peter Parker reads the newspaper (showing the photograph and the news story of the Lizard’s murder of the two men) while having a breakfast moment with his wife Mary Jane. As soon as his wife mentions the word “monster”, Peter takes a 2nd look at the newspaper’s photograph and finally notices the bloody writing “CNNR” on the alley wall which makes him realize that the Lizard is back again.
Feeling very troubled, Peter leaves Mary Jane quietly and dresses up as Spider-Man to go out once again.
Elsewhere in the city, a sorceress uses her evil method of crafting a potion which creates an unrelenting sound of disturbance which Spider-Man hears. As the sound goes on, his focus and Spider Sense get overwhelmed…
Quality
A quick look at the origin of the Lizard by McFarlane.
While the writing by McFarlane remains weak, he still succeeded in making this story a marginal improvement over the previous issue in terms of moving the plot forward, paying off a good chunk of the build-up in issue #1, and establishing his own visual corner (inspired by horror and adulterated stuff) within the Spider-Man franchise of comics of the time.
The biggest feature here is the physical conflict between Spider-Man and the Lizard. As expected, McFarlane drew the big fight with a lot of intense action, powerful violence (note: it was clear the editorial team recommended moves to tone down the graphic violence), suspense and a good amount of horror. Not only does the big fight move the story forward, it allowed McFarlane to dramatize Spider-Man as a vulnerable hero who not only has to cope with the disturbance from the sorceress far away, but also deal with the poison he got from the Lizard. That being said, Spidey also struggles with his sanity and the new fact that the Lizard has turned into a murder machine which disturbs him a lot as he personally knew Dr. Connors.
Considering what happened here and in the previous issue, there is still a greater force of evil that awaits Spider-Man and the Lizard happens to be an ultra-violent tool.
Conclusion
Many times Spider-Man finds himself in a disadvantage while fighting the Lizard.
Being the 2nd chapter of the Torment storyline, Spider-Man #2 (1990) is a slight improvement over the previous issue in terms of moving the story forward, spectacle and dramatization. While the big fight between Spider-Man and the murderous Lizard is clearly the big feature of the story, McFarlane does a good job portraying Spider-Man as vulnerable and on the edge towards defeat. McFarlane’s writing here is still weak but the other positive elements achieved outweighed the weakness.
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, 1980s culture enthusiasts and comic book collectors! Today we go back to the mid-1980s to explore a part of the DC Comics shared universe through a tale of the iconic Superman.
Previously, I reviewed the first issue of The Man of Steel mini-series written and drawn by John Byrne. Using a unique structure for storytelling, Byrne gradually told how the post-Crisis version of Superman came to be while also retaining specific classic elements that made DC’s icon inspirational. That very comic book had its influences on other portrayals of Superman beyond comic books such as he Lois & Clark: The New Adventures of Superman TV series and even the very divisive Man of Steel movie.
With those details laid down, here is a look back at The Man of Steel #2, published in 1986 by DC Comics with a story written and illustrated by John Byrne.
The cover.
Early story
The story begins in the middle of Metropolis when the newly established hero Superman (now in full costume) flies just above the busy road which distracted Daily Planet editor-in-chief Perry White (who was having a coffee break with reported Lois Lane inside a coffee shop). Remembering how the space plane and its crew got saved by Superman (Clark Kent in civilian clothes) sometime prior, White tells Lane (who first encountered Superman immediately after the space plane was saved) to go after him to get the hot scoop.
While Lane crosses the road, a limousine’s opens with the driver telling her that Mister L (Lex Luthor the tycoon) wants to her. Lane declines and proceeds with her chase for Superman…
Quality
An act of help by Superman for someone who was in trouble.
This story is set during the early days of Superman as the new, randomly appearing hero of Metropolis whose impact on local society is just growing stronger. At the same time, this shows Clark Kent being a very new resident of the city still looking for a job. This is inspired work by Byrne on building up the Man of Steel for what was back then the modern age.
That being said, the most intriguing fact here is that this Superman story has Lois Lane as the actual protagonist. While Lane’s literary presence here is slightly stronger than DC’s icon, this tale is clearly all about her unrelenting approach with newspaper journalism, her use of the Daily Planet’s valuable connections and resources, and how much risk she would take to get the facts, the statements and other details all for the sake of getting the hot story. This is Byrne’s modernization of Lois Lane highlighting the concept that Clark Kent will have serious competition with her within the Daily Planet.
That being said, there is no romance between Clark and Lois here. This is after all their 2nd encounter (the saving of the space plane in issue #1 was shown in flashback with Lois Lane already present) and Byrne took a careful approach on establishing the first lengthy encounter and interactions between the two. Their encounter here is really engaging.
More on Superman himself, the writer kept the pace of developing him flow smoothly and steadily. You will see how Superman keeps himself in control whenever he talks with normal people or when he encounters criminals who cause danger on others. While he has a priority to help others in need using his powers, he does not neglect his actual identity (and personal life) as Clark Kent and this includes moderating or limiting the use of his special abilities as he levels himself with the rest of the civilian population.
Conclusion
Lois Lane portrayed as the unrelenting and very determined newspaper reporter. Even though Superman always flew away, she just won’t give up.
The Man of Steel #2 (1986) is clearly a very solid follow-up to issue #1. The continued development of Superman remains solid and the dramatization of Lois Lane as the strongly determined newspaper journalist is compelling to see. With regards to the build-up of the post-Crisis DC Comics shared universe, this particular Superman tale is one of essential parts of it.
Overall, The Man of Steel #2 (1986) is highly recommended!
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 mid-1990s to explore a part of the Ultraverse through a tale of Mantra, the male eternal warrior Lukasz who died during battle then returned in the body of a woman named Eden.
It has been a few years since the last time I reviewed a Mantra comic book. For the newcomers reading this, the Ultraverse was a franchise of superhero comic books launched by Malibu Comics in 1993 which produced a lot of fun, intriguing and memorable tales made by a variety of really talented creators. Mantra was one of the pioneering characters of the Ultraverse and the related comic book series lasted more than twenty issues. Along the way, a standalone story of Mantra was published in the form of a 2-part mini-series.
With those details laid down, here is a look back at Mantra: Spear of Destiny #1 published in 1995 by Malibu Comics with a story written by Mike W. Barr and drawn by Paul Abrams.
The cover.
Early story
The story begins when Mantra arrives at a museum to start her attempt (in her civilian identity as Eden Blake) to obtain the Spear of Destiny. While wearing a revealing outfit to distract the men, Mantra gets close to the highly prized spear to observe it and see how the security personnel guard it.
At a different spot within the museum, Mantra decides to start obtaining the spear in magical outfit and with a mask. As Mantra arrives at the room where the Spear of Destiny, already there are monsters overwhelming the men guarding the Spear of Destiny…
Quality
Eden Blake/Mantra reporting to work at Aladdin.
Having read most of the stories of the Mantra comic book series, I can say that Mike W. Barr came up with a fresh concept that emphasizes the quest to gain possession of a highly valuable item while also creating a new approach on presenting Mantra…by engaging in espionage (spying and infiltration).
As I am already used to seeing the eternal warrior Lukasz/Mantra using magic in many struggles or missions, the concept of having the protagonist getting disguised and becoming an impostor on a spy mission is a very inspired move by the writer. The preparations taken by Mantra to becoming a certain blonde woman for the mission were nicely structured and detailed enough to make the transformation. As if that was not enough, a certain piece of technology was implemented which made using magic a huge risk for the eternal warrior. That being said, the story smoothly transitioned from magic-filled fantasy into a convincing spy thriller
Along the way, this comic book also emphasizes the darkness of the secret society Aladdin which Mantra (as Eden Blake) works for. Aladdin’s operations were dramatized several times in other Ultraverse comic books but this one has a more explicit portrayal of them.
Conclusion
Mantra got hold of the Spear of Destiny but for how long?
Mantra: Spear of Destiny #1 (1995) is really entertaining and compelling to read. This is easily one of the more creative and more unique tales of the Ultraverse character ever told and I can say that I am eager to find out what would happen next. This is also the one tale in which Mantra became a spy and gets into a dangerous mission in which the use of magic is too risky. The writing by Mike W. Barr is really strong with this one.
Overall, Mantra: Spear of Destiny #1 (1995) is recommended.
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 early 1990s and explore a part of the Valiant Comics shared universe through a tale of the Turok: Dinosaur Hunter series.
Previously, Turok went on exploring Colombia after leaving the village of his romantic interest Serita. The village was decimated by the intelligent dinosaurs (also referred to as bionisaurs) that served Mon-ark, a fierce enemy of Turok’s. Eventually Turok got involved with the Colombian drug lord Comacho who has gang of armed men and lots of resources. Ever the dedicated hunter, Turok makes a deal with the drug lord to pursue dinosaurs.
With those details laid down, here is a look back at Turok: Dinosaur Hunter #3, published in 1993 by Valiant Comics with a story written by David Michelinie and drawn by Bernard Chang.
The cover.
Early story
The story begins in Colombia in 1987. Turok tries to sell the severed head of a bionisaur to a local buyer (collector of hunt-related trophies) who offers him only three hundred Pesos.
After concluding a disappointing deal, Turok leaves the local joint only to encounter a lady driving a jeep…the scientist Maria Cortez. She tells him that the drug lord Comacho is planning a raid against the dinosaurs very soon and the gang wants Turok to come along. Cortez, who is obsessed with researching dinosaurs, tells him her single condition that one dinosaur should be spared for scientific study. After some thinking, Turok agrees to join…
Quality
The evil of Mon-ark emphasized.
Starting first with the plot, I can say that David Michelinie’s script is well-written and never lost focus on the inevitable encounter between Turok and his vicious dinosaur rival Mon-Ark. Right from the start, it is clear that the stakes have been raised higher which is the result of Turok’s successful killing of Mon-ark’s mate. Like in the previous issue, Mon-ark here was portrayed again to be very evil and even abusive to his fellow dinosaurs.
The raid mentioned early in the story is easily the action-packed highlight and it has some notable forms of symbolism. For one thing, the raid was organized by Comacho not because of concern towards Mon-ark nor Turok, but because he wants to stop the disruptions on his illegal drug business caused by the dinosaurs. Cortez meanwhile sees the dinosaurs as animals meant to be studied for the sake of science. And then there is a certain photographer who wants to record everything visually no matter what happens. I can say the raid scenes are entertaining to follow.
As this comic book was not drawn by Bart Sears, I can say that the visual quality and style went way down. I’m not saying that Bernard Chang is a terrible artist at all. It’s just that Chang’s art style does not live up to the gritty, exquisite and intense visuals of the first two issues which clearly defined how Turok stories should look. Along the way, there are several instances wherein Chang’s art style made some characters and facial expressions look somewhat cartoony. The dinosaurs themselves also looked cartoony at times and the heavy loss of visual details on them is very clear.
Conclusion
The armed raid against the dinosaurs with Turok as a willing participant looking like Rambo.
Similar to its predecessor, Turok: Dinosaur Hunter #3 (1993) has enough stuff worth following to be entertained even though the visual quality went down several notches. For one thing, the promised battle between Turok and Mon-ark happened and the way it was written was strong on its own. At the same time, the Indian hunter of dinosaurs got more involved Comacho’s gang which raises questions about his ability to differentiate right from wrong, and good from evil. At this stage of the series, Turok’s direction remains clouded.
Overall, Turok: Dinosaur Hunter #3 (1993) is recommended.
Disclaimer: This is my original work with details sourced from watching the film 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, movie buffs, science fiction fans and geeks! When it comes to making remakes or reimagined versions of established movies from previous decades, the 1980s was indeed a special time to watch them. In 1986, The Fly (directed by David Cronenberg) was released and it made a tremendous impact on moviegoers in ways that the original 1958 movie did not.
Remember when The Blob was first released in 1958? That classic film (read my retro review by clicking here) went on to have a forgettable sequel released in the 1970s but got remade big time with a new version in 1988 simply titled The Blob.
The story begins in the town of Arborville where many locals attend an exciting football game. High school player Paul (Donovan Leitch, Jr.) asks cheerleader Meg (Shawnee Smith) to a date. Elsewhere, the troubled guy Briann Flagg (Kevin Dillon) fails with his attempted stunt as a result of his flawed motorcycle which was witnessed by an elderly vagabond. Flagg goes back to town and encounters the local sheriff (Jeffrey DeMunn) who warns him about trouble.
That evening at the outskirts of town, a meteorite crashes within the forest which the elderly vagabond pursues. With strong curiosity in his mind, the old man uses a stick on a sizable body of slime mold substance (the blob itself) that came out of the crashed meteor. Suddenly, the substance moves and sticks to the elderly vagabond’s hand causing him great pain.
A short time later in the forest, Brian Flagg got surprised by the sudden appearance of the vagabond who desperately tries cutting off his own hand. The blob, which Brian saw for the first time ever, attaches itself even more on the old man causing him to run away until he gets hit by a car (with Meg and Paul inside)…
Quality
The blob in this movie looks more menacing as it has a tumor look and the special effect work remains excellent to look at. You should also see the blob move and what it sounds like.
This late-1980s remake of The Blob is not only more engaging and more entertaining than its 1958 predecessor…it is easily on of the best sci-fi horror movies of the 1980s thanks to a very talented creative team led by Chuck Russell.
To begin with, Russell and Darabont (this is the same great director behind The Shawshank Redemption), crafted a very solid screenplay that used key story elements from the 1958 classic while successfully updating everything else with 1980s America (or Ronald Reagan’s America) in mind. For this version, the three leading teenagers played by Shawnee Smith, Kevin Dillon and Donovan Leitch, Jr. were relatable and clearly worth following.
(From left to right) Shawnee Smith, Kevin Dillon and Candy Clark in an early encounter with the blob.
While the 1958 movie emphasized American teenagers being disadvantaged as local adults don’t take them seriously (even though the youth knew the problem and intend to solve it), this remake moved away from the generational gap as it strongly focused more on the crisis of a fast-growing blob that simply won’t stop killing people and destroying things. In other words, this is a crisis-focused monster story that is more violent, more horrific, more action-packed and more graphic than its predecessor.
I should also state that Russell and his team established a solid structure for storytelling and the narrative flowed on a medium-to-fast pace. As this movie has more spectacle in terms of action, monster moments and the like, the creative team carefully balanced the fun stuff with the dramatic and exposition scenes smoothly.
If you see people wearing protective suits arriving in your community and implementing a lockdown, you know a crisis is in effect.
The cast here is solid! Shawnee Smith’s Meg is the sweet, young good-natured high school girl who is willing to not only survive but also take part in solving the crisis situation not for herself but for her family and the entire Arborville community. Meg has some common elements with that of the character Sarah Connor from The Terminator and Terminator 2: Judgment Day. I also love the fact that there is NO WOKENESS and NO RABID FEMINIST VALUES in Meg. Kevin Dillon’s Brian – the troubled youth – is clearly the 2nd lead and he does a good job dramatizing how his character changes from a guy of uncertainty into an actual doer whose efforts proved to be valuable. There definitely is a non-romantic chemistry between Meg and Brian as the crisis situation really brought out solid transformations from them respectively.
The supporting cast is really good too. Candy Clark’s Fran is the relatable community diner owner/manager who contributed nicely to the plot as well as the early showdown of the blob. Jeffrey DeMunn’s sheriff is the local law enforcer who has to deal with the local situations while tackling the challenges of his leadership post. Paul McCrane here plays a local cop who is tough but not necessarily abusive, and this is the same guy who played a very vicious bad guy in 1987’s RoboCop! Joe Seneca is the government scientist who has charisma and deception carefully blended together which added to the plot. You will even see Erika Eleniak in a very small and yet notable appearance that happens to involve the blob. This film has a really interesting cast and I encourage you to research the names mentioned here.
This remake is loaded with action scenes, stunts and incredible visual effects!
On the technical side of things, I really like the cinematography done by Mark Irwin as the visuals captured looked really detailed and clear even during the dark or night-time scenes. The music by Michael Hoenig was pretty good too and his tunes ranged nicely from creepy to sentimental and energetic which reflected the scenes. As for the design of the blob, Lyle Conway deserves the credit for making it very monstrous. As for the physical environment of the movie, the state of Louisiana turned out to be a great location and the real-life Louisiana town Abbeville added strongly to the small town concept of the story.
As mentioned earlier, this version has a lot more spectacle to enjoy. For one thing, there is a good amount of hard action, gunfire and stunts which really added to the excitement (on top of the suspense and horror scenes already implemented). Rest assured, you will not get bored at all when watching this.
Shawnee Smith is the protagonist in this movie and her performance is very memorable.
The highlight of the spectacle is the very blob itself which looks so much like a tumor (instead of the jello form in the 1958 version) and the credit goes to the visual effects, sound effects and the animation team behind it all. Compared to its counterpart in the 1958 film, the blob here is very monstrous and horrifying to watch and the way it got animated is excellent. Apart from being unrelenting, this blob is deadlier and even intelligent. Not only does the blob devour the living which adds to its tremendous growth of size and mass, it also has the ability to extend tentacles which added more to the danger. Thanks to the sound effects, the blob is believably animalistic.
Through the blob’s on-screen presence, you can see the hard work implemented by the special effects crew when showing the monster entirely move and devour people, when showing its flexibility on adjusting its size (or its parts) when entering new places through tight spots, and most notably, how the blob alters the flesh of the victims it touches which resulted in very horrifying visuals. The special effects team really excelled with the use of practical effects (read: no computer-generated images) on presenting the titular monster. This is indeed a special effects extravaganza that a lot of people are missing out on.
Conclusion
The Blob (1988) looks and sounds better than ever in 4K Blu-ray format. I highly recommend this version as it is so much better than streaming.
There is no doubt in my mind that The Blob (1988) is a great sci-fi horror film that has a more menacing monster complete with sufficient action, great visual effects and a pretty solid cast! This is indeed a great example of a how a remake of an established film from the past should be done and this also includes raising the stakes within the story, modernizing past cinematic elements and ensuring high entertainment value. What director Russell, his team and the cast collectively achieved is indeed a creative success and this is the kind of film that Commie-filled Hollywood (Commiewood) today does not want to make.
As a companion piece to The Blob (1958), this remake has the good stuff that people who love horror, science fiction, action and monsters will enjoy.
Of all the many movies I have seen, The Blob (1988) stands out as one of the best remakes ever made as well as one of the best mixed-genre movies of its decade as well as of all time. That being said, today is a great time to watch this movie with better-than-ever visuals and sounds through its 4K Blu-ray release (pictured above) which is now available (you can order it online now). There is also a lot of features and extra stuff with the 4K Blu-ray. Make no mistake, The Blob (1988) is great to watch and its replay value is pretty high.
Author Carlo Carrasco 