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 wild 1990s and examine an alternate universe portrayal of one of Spider-Man’s many events told through the What If monthly series!
If you are looking for a portrayal of Spider-Man going over the edge and into the extremes emotionally, you are about to experience something in this retro review of mine. Some time ago, I reviewed a What If comic book about Spider-Man becoming a murderer which was compelling but ended on a whimper.
With those details laid down, here is a look back at What If #61 published in 1994 by Marvel Comics with a story written by Kurt Busiek and drawn by Kirk Jarvinen, Andrew Wildman, Derek Yaniger and Jim Amash.
The cover.
Early story
The story begins with Richard and Mary Parker (Peter Parker’s parents) arriving in the presence of Aunt May who happens to be visited by their son Peter (Spider-Man). Having learned something from a while back, Aunt May tells Richard and Mary that they are not genuine persons. Suddenly, Peter Parker’s spider sense intensifies and in an attempt to defuse the situation, he leads his aunt to walk out of the house with him. Richard and Mary watch them walk away.
It turns out, Richard and Mary are impostors and they have been working all the time for a secretive boss. Richard calls his employer under an emergency and reports that they have completed phase one of their assignment, that Aunt May knows the truth about them and is about to inform Spider-Man. Richard is then told that under no circumstances is the plan to be jeopardized and anyone who suspects must die. He is also told to flush Mary’s programming and reset her as she showed signs of acting odd to the situation.
A short time later, Richard and Mary – now in morphed forms with vastly different bodies and half their heads resembling their human selves – suddenly break into an apartment surprising Peter, his wife Mary Jane and Aunt May. Violent action by one of them accidentally ripped open Peter’s shirt, revealing his Spider-Man suit to Aunt May. Just as Peter’s aunt figures out the secret, he tells Mary Jane to grab her and get out.
However, the sight of the morphed Mary Parker shocked Aunt May and Mary Jane so much, they failed to move. Mary Parker then morphs her two hands into large, makeshift hammers, and swiftly killed Aunt May and Mary Jane. Peter is instantly shocked by their sudden deaths but deep inside, rage begins to burn…
Quality
Spider-Man already over the edge and reacting violently to the abusive Daily Bugle.
I can start by confirming that Kurt Busiek’s writing is very strong and his alternate take on the events of Amazing Spider-Man #388 (1994) is indeed very solidly composed. In one way, I find the emotional stakes for Spider-Man has been raised a lot higher than what was portrayed in the 400th issue of Amazing Spider-Man (the canon story). The concept of losing his beloved family members to enemies who were impostors that looked like his long lost parents is indeed disturbing as well as highly emotionally charged. In relation to this, Busiek and the illustrators brought to life a Spider-Man who really went over the edge by taking matters into his own hands as the loss of beloved ones led to the blurring of the boundary between good and evil. Even the boundary between innocence and guilt gets blurred which adds more depth to the emotions of the story. As I read the story, there were moments when I felt that Spider-Man became as bad as the evil ones even though he is clearly the victim and his family was targeted.
Apart from showing Spider-Man getting outraged and pushed to the limits, Busiek inserted elements about how people perceive incidents without knowing all the facts and how easily they get manipulated by a news outlet – the Daily Bugle where Peter Parker worked as a freelance photographer – that does not care about ethical journalism nor the pursuit of the truth. In this age of widespread fake news and liberal news media outlets in America doing propaganda for American Communists (read: Democrats, abortionists, LGBTQ, Black Lives Matter, Antifa, the terrorists, the climate change extremists and the socialist hordes), this particular aspect of the story makes this comic book strongly relevant to read today.
The story also sheds light on Spider-Man’s connections with other Marvel superheroes who happen to be in New York City. You will see Captain America and Johnny Storm express their concern about Spider-Man’s state of mind as they themselves still tried to figure out what really happened. In short, the superheroes here showed restraint even as Spider-Man goes to the extreme being a victim as well as a fugitive.
If there are any weak points in this comic book, it would be the art which has this cartoon-like aesthetic. Considering the serious subject matter, the visuals are quite contradicting as they make this look like it was made for much younger readers.
Conclusion
Spider-Man takes on the impostors who looked like his parents.
As far as storytelling and characterization goes, What If #61 (1994) succeeded a lot on portraying the iconic Spider-Man as the superhero who went over the limits of his emotions and his reasoning which is the result of the tragic deaths of two beloved family members caused by individuals who pretended to be his parents. This is a very solid story which also has a powerful ending. Where What If #72 failed, this comic book succeeded and even exceeded it with Spider-Man truly becoming unheroic. I should state that this comic book should convince readers to go to the Amazing Spider-Man series and follow the Lifetheft storyline in issues #386 to #388 (which were released months before this comic book). Kurt Busiek’s script is indeed great and it is easily the driving force of the comic book, more than enough to overcome the cartoon-like visuals.
Overall, What If #61 (1994) 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 arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1993 and explore a part of Marvel Comics’ universe through the reimagined tales emphasized in the What If monthly series.
Several years ago, I bought myself a trade paperback collection of the 1987 Spider-Man storyline Kraven’s Last Hunt written by J. M. DeMatteis and drawn by Mike Zeck. That particular storyline was very notable not just for its dark approach to storytelling and visualization, but it also explores what would happen had Spider-Man been defeated and someone very obsessed took his place and go on a rampage disguised as Spider-Man. The storyline also explored how Kraven perceived Spider-Man without ever knowing the defining traits of the man behind the mask – Peter Parker. Eventually, Marvel Comic went on to revisit Kraven’s Last Hunt and explored what would happen had Kraven actually killed Spider-Man through their What If? monthly comic book series.
With those details laid down, here is a look back at What If #17, published in 1990 by Marvel Comics with a story written and drawn by Richard Howell.
The cover.
Early story
The story begins with the Watcher revisiting key moments from the Kraven’s Last Hunt storyline. History then takes a turn towards the unexplored when Kraven, armed with a gun, shoots and kills Spider-Man. As the dead webslinger lies in a coffin, Kraven celebrates his victory with a lot of passion believing that he struck back at what he perceives to be the meaninglessness of the world. Kraven is quite mad as he equates spiders with Spider-Man as well as the decline of civilization.
After fearlessly and grotesquely eating spiders, Kraven wears a black body tight costume that looks almost the same as that of Spider-Man’s. While he is victorious, Kraven is not satisfied and he becomes obsessed by becoming Spider-Man and prove himself superior to him. He then moves into the city whose people are familiar with Spider-Man and also are unprepared with who is coming to them.
In an apartment, Spider-Man’s wife Mary Jane Parker is alone and worried. As she does not know that her beloved Peter Parker has been killed, she cannot help but agonize over the strain of his double-life as a civilian and as a superhero. Determined to find Peter, she walks out during the rainy night and is spotted by two men focused on her.
Suddenly the new Spider-Man (Kraven) appears and in an apparent effort to help Mary Jane, he grabs one of the men and brutally pushes the man’s head on to a nearby wall. As Kraven does not recognize Mary Jane, the wife realizes that the Spider-Man she just saw is definitely not her husband. This only makes her wonder again where he is and what happened to him. She then starts calling others for help…
Quality
In addition to being ruthless, Kraven disguised as Spider-Man resembles Venom.
I’ll start with the visuals. This comic book took a serious effort to come close to capturing the look and visual tone of the Kraven’s Last Hunt storyline which I enjoyed. Richard Howell visualized the characters, the situations and details properly and there was not a single moment when the visuals overwhelmed the narrative. Howell’s artistic take on the characters is simplistic but they remain recognizable which is a plus. The superhero spectacle was presented with a clear and clean approach, and there were a few key moments of action that got highlighted with some dynamism.
As for the story itself, what I found surprising and also pleasant here was the presentation of Mary Jane Parker as the main character instead of Kraven. This makes sense as Kraven himself was the major attraction of the Kraven’s Last Hunt storyline while Spider-Man was out of commission. In the context of this What If story, it only made sense to have Mary Jane as the central figure. Going back to Kraven, Howell captured the essence of the character well when compared to his version in Kraven’s Last Hunt.
In terms of plotting, telling the story through the viewpoint and actions of the superhero’s concerned wife really works well. Without spoiling the plot, you will see Mary Jane get involved with three notable superheroes – including the iconic Captain America – and even with other notable Spider-Man supporting characters such as Flash Thompson and the irresponsible print media figure J. Jonah Jameson. Interactions aside, the plot works sufficiently as a couple of series of events take place before the big confrontation with Kraven (as the new Spider-Man). By the end of it all, I can say that the story is entertaining, engaging and intriguing to read.
Conclusion
Mary Jane Parker goes out in pursuit of her husband Peter Parker/Spider-Man who happens to be dead already at this particular point of the story.
I can say that What If #17 (1990) is pretty captivating read and it is a worthy literary companion to Kraven’s Last Hunt. Of course, to really enjoy this alternative tale cleverly told by Howell, you must read Kraven’s Last Hunt first. Otherwise, you would not feel the impact of this comic book very much. I also liked how the death of Spider-Man (note: Spider-Man got killed in another What If tale that itself is worth reading) impacts Mary Jane, how it impacts the superheroes who know him, and most notably how it impacts the fragile relationship between society and superheroes. Lastly, this comic book has one of the more significant portrayals of Spider-Man’s most beloved woman. This is indeed a great story.
Overall, What If #17 (1990) 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 arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1993 and explore a part of Marvel Comics’ universe through the reimagined tales emphasized in the What If monthly series.
Back in 2021, I reviewed What If #46 (1993) which told a compelling story about division between the mutants, the clash of beliefs between Professor X and Cable, and how terrorism affects everyone. The comic book was also a mesmerizing portrayal of how the X-Men would have organized themselves without Charles Xavier, Jean Grey and Cyclops.
Considering all the chaos that happened in What If #46 (1993), the time was just right for Magneto – the X-Men’s most dangerous enemy of all time – to come in and make an impact not only on mutants but on the world.
With those details laid down, here is a look back at What If #47, published in 1993 by Marvel Comics with a story written by Kurt Busiek and drawn by Tod Smith.
The cover.
Early story
The story begins with Magneto leading a huge legion of mutants to take overwhelm the remaining resistance – including Spider-Man, the Fantastic Four, Captain America, the Avengers and the dedicated American soldiers – in Washington, D.C.
A fierce battle then took place with both sides hitting each other hard. After noticing Magneto’s lack of presence during the battle, Captain America then realizes that the long-time enemy of the X-Men took advantage of the fighting to penetrate the U.S. Capitol’s bomb shelters and got the nation’s leaders hostage. After easing some of his fellow heroes, Captain America decides not to escalate the fight against Magneto in consideration of the lives of America’s top officials…
Quality
A recap of the events in issue #46.
To begin with, I can say that this story is a well-planned follow-up to the events of issue #46. While Magneto’s presence has been magnified a lot here, there are still strong story connections to the previous issue.
With regards to what was emphasized on the front cover of the comic book, this story explores what would happen if Magneto took power to control the entire United States while leading a group of mutants with a platform focused on crushing anti-mutant racism even though it includes pushing the non-mutant people (which is the great majority of America’s people) as well as the dissenting mutants out of the way.
For one thing, this superhero fantasy concept is actually socially relevant with today’s geopolitics and the way America has turned out under the fake leadership of Joe Biden (who is NOT leading as US President but only following the modern-day American Communists and reckless SJWs dictating him to do their evil bidding. Biden also arrogantly denies reality when it goes against the desires of his administration and his Satanic Democrats) It should be noted that the US President visualized in this comic book eerily looks like Joe Biden complete with that absent-minded facial expression.
Next, a clear theme in this What If story is absolute power and why groups who crave for it would sacrifice so much and hurt others just to acquire it. Magneto, who carries deep hatred towards people he perceives to be obstacles or opposition for his quest of uplifting mutants, takes advantage of mutants who have lost hope and are depending on someone to lead them. Indeed, the long-time X-Men nemesis gains power to control America but finds himself facing a new force of opposition which leads the nation into a drastic series of change that clearly do not alight with his vision of a better future for mutants.
Still on the theme of absolute power, the US government in this story was portrayed to have developed technologies designed to overwhelm its citizens, as well as the means to establish infrastructure and protocols to transform America into an automated dictatorial state that enslaves its citizens and violate their rights without restraint. Once again, this aspect of the story makes it socially relevant.
Considering the epic concept and the dark turn of events the creative team prepared, this comic book does not have a clear good-versus-evil approach but rather it emphasizes chaos that comes with the pursuit and abuse of absolute power over the nation. You will see key elements from the classic X-Men storyline Days of Future Past here in relation to America’s deformation.
Conclusion
Wow! The US President in this comic book eerily looks so much like Joe Biden whose leadership led America into a lot of problems and hardship. Sky high inflation is just one of the problems that happened under Biden.
What If #47 (1993) is truly a very captivating read mainly because of its core concept which goes way beyond the scenario of Magneto taking control of America. Considering its portrayal of America and the exploration of dark themes about people getting overwhelmed by power abusers, the story is a warning about the fall of America told in superhero fantasy form. Considering the intense social degradation that rocked America the past few years (note: riots by the Black Lives Matter terrorists, SJWs disturbing the peace, Democrats allowing more illegal immigrants into the country, socialists in colleges continuing to brainwash students and more), this story is very socially relevant. It will keep you thinking and reflecting deeply, even if you strongly desire whatever superhero entertainment you seek in this comic book.
Overall, What If #47 (1993) 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 will take a look back at a certain crossover comic book that involved both Marvel Comics and DC Comics published in the mid-1990s. On my part, it’s been some time since I last reviewed a Marvel-DC crossover comic book. That being said, you can read about my retro comic book reviews of Batman versus The Incredible Hulk and Superman and Spider-Man on this website.
For this new retro review, we will focus on the 1995 crossover that brought two of Marvel and DC’s icons together for the first time – Spider-Man and Batman! To put things in perspective, the 1990s still remembered as the decade when Bane broke Batman’s back while the publishing of Spider-Man comic books became highly controversial with the Spider-Clone Saga. In the 1995 crossover produced the two comic book giants, Spider-Man and Batman are presented in their classic identities as Peter Parker and Bruce Wayne.
With those details laid down, here is a look back at Spider-Man and Batman: Disordered Minds published in 1995 by Marvel Comics and DC Comics with a story written by J.M. DeMatteis and drawn by Mark Bagley.
The cover.
Early story
The story begins with a nightmare in which Peter Parker’s Uncle Ben got shot by an armed man in the presence of Aunt May inside their home. Immediately Spider-Man arrives and grabs the man by the neck. The armed man creepily laughs and his face suddenly turns into the Joker. Peter Parker wakes up in bed with Mary Jane on his side. After a short talk with his wife, Peter decides to leave their apartment and swing around the city as Spider-Man.
In another nightmare, a very young Bruce Wayne witnesses the death of his parents caused by a man with a gun. He suddenly turns into Batman and grabs the gunman by the neck. The gunman suddenly turns into the horrific Carnage. Bruce wakes up and decides to reflect. As soon as his butler Alfred opens the door to check on him, Bruce immediately leaves as Batman in the middle of the night.
Somewhere that same night inside a secret facility of the Ravencroft Institute, Cletus Kasady/Carnage is restrained in a secured chamber surrounded by armed security personnel with Spider-Man and psychotherapist Ashley Kafka watching him…
Quality
The two superhero icons together.
I’ll start first with the visual quality of this crossover comic book. Mark Bagley, who was the lead artist on Marvel’s Amazing Spider-Man comic book series, delivered an unsurprisingly stylized look at the two superhero icons, super villains and characters, as well as on DC’s Gotham City (which was the most prominent location in the story).
While Bagley’s work on Spider-Man and the characters associated with him were typical of his Amazing Spider-Man of the decade, I can say that his take on Batman, Joker, Alfred, the Bat Cave and others on the DC Comics side resulted a unique look. Bagley drew Joker looking sinister, maniacal, clueless and even tamed as the plot progressed. Bagley’s Batman has a larger yet familiar style of muscular body compared to Spider-Man, and the visual presentation of his cape ranged from dynamic to looking authoritarian. There were however a few moments wherein Bagley went over the limit on emphasizing the length of Batman’s cape which resulted a few inaccuracies. Remember how there were times that Bagley drew Marvel characters’ thighs to look excessive with muscle? You will see that too on Batman here.
When it comes to artistic dynamism, it is clear that Bagley pushed himself hard creating some mixed results. Some scenes (action scenes and talk scenes included) had the appropriate amount of flash and style, while other scenes had an excessive amount. When it came to spectacle, Bagley succeeded in making the action, hard-hitting moments and explosions look very lively. To be clear, this comic book is entertaining to look at but ultimately it will resonate best with readers who are best familiar to the way Bagley draws.
For the storytelling, J.M. DeMatteis crafted a script that did not reach its full potential as there were obvious limits imposed to ensure equality on presenting the characters and the situations. This explains why in the beginning Spider-Man and Batman each had nightmares related to their respective past and end up seeing their respective super villains interchanged (Spider-Man sees Joker, Batman sees Carnage). The characters of Ashley Kafka and Cassandra Briar are not only looking too similar to each other (just imagine their characters having no colors), they both feel like cardboard cut-outs of a single character who specializes on analyzing people with dangerous minds and coming up with solutions to help them. The more known supporting characters from the respective sides of the two icons – Mary Jane and butler Alfred – made short appearances but did not really contribute much to the plot.
The limitations are also felt on the way Spider-Man and Batman – plus Carnage and Joker – were presented, right down to their interactions with each other. While it was expected that Batman and Spider-Man would be brought together by an unfortunate development, the complete absence of a fight between the two superhero icons was itself the biggest surprise here effectively defying crossover superhero tradition. Even without a fight, you will see Batman and Spider-Man do things separately in accordance to their respective traditions or character traits before getting back together leading to the big conflict with the super villains.
As for Joker and Carnage being together, the spotlight on them in this comic book is pretty limited. There simply is not enough space in this comic book to bring out the full potential of the two super villains who each are known to be murderers and psychologically dangerous. What is interesting in their limited time together is that the story emphasized the differences between them when it comes harming people. The Joker has his own sadistic style of leading people to their deaths in time-consuming ways which is opposite of the quick deaths Carnage enjoys. Considering their respective reputations, it is just a shame that this comic book not only failed to bring out the full potential of Carnage-Joker, it also failed to establish them as clear and present dangers to the public.
More on the plot itself in relation to the comic book sub-title “Disordered Minds”, the elements of mental instability, psycho-therapy, psychology and rehabilitation are present but they are all thrown out by the time the second half of the story begins, clearly making space for the crossover dynamics of Batman, Spider-Man, Joker and Carnage.
Conclusion
Joker and Carnage.
Spider-Man and Batman: Disordered Minds (1995) is a flawed crossover event comic book that just so happens to have more positive stuff than negative ones. It is enjoyable but not great and certainly not memorable. The imposed limits on the presentation made this comic book’s story feel very staged and predictable. With what little creative space was left, it is quite an achievement for the creative team to tell a cohesive and stuffed story (note: there is a lot of filler and some psychology related stuff may not interest some readers) while featuring Batman and Spider-Man the best way they could. It has enough superhero spectacle to be enjoyed although the interactions between Batman and Spider-Man and between Joker and Carnage could have been better.
If you are seriously planning to buy an existing hard copy of Spider-Man and Batman: Disordered Minds (1995) be aware that as of this writing, MileHighComics.com shows that a near-mint copy costs $120 while the near-mint copy of the signed-and-numbered edition is at $120.
Overall, Spider-Man and Batman: Disordered Minds (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 with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/
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 revisit Marvel Comics’ What If monthly series through the 51st issue. Its subject matter was about the Punisher becoming Captain America.
For the newcomers reading this, the Punisher in comics started when Vietnam War veteran Frank Castle lost his family to a gang of criminals who attacked them. Being the only survivor, Castle became obsessed with punishing others by means of assassination and waging a personal war against criminals. Captain America, meanwhile, was serving his country along with his teammates in the Avengers. The story in this reviewed issue of What If diverges from the events told in Captain America #212.
With those details laid down, here is a look back at What If #51, published by Marvel Comics in 1993 with a story written by Simon Furman and drawn by Paris Cullins.
The cover.
Early story
The story begins inside a military hospital deep beneath the Pentagon. Steve Rogers/Captain America was still recovering from his previous mission (told in Captain America #212) when Nick Fury and Falcon arrive. Steve tells Fury that there must be a Captain America again with someone strong to wear the flag.
Shortly after, top secret discussions about replacing Steve Rogers commence with a select committee at work and some representatives present. Due to the lack of real access to the original super soldier serum that enhanced Steve Rogers into becoming Captain America, it was announced that decorated Vietnam War hero Frank Castle was their pick to replace Rogers. Nick Fury expresses his reservation.
At a military camp, Frank Castle refuses to become Captain America expressing that he has served his country already through military operations and he barely has any time left for his wife, son and daughter. As far as he is concerned, his war is over…
Quality
The Punisher as the new Captain America!
On face value, the concept about the Punisher becoming the new Captain America is intriguing and that alone could lead to different outcomes. The story written by Simon Furman clearly shows what kind of Captain America Frank Castle would be. While he does not have the super human abilities of Steve Rogers, Castle’s intense drive to punish others makes his Captain America an effective weapon against not only America’s enemies but also the opposition that the Avengers themselves face. Of course, Castle’s obsession on punishing the opposition is not limited to his role as America’s iconic instrument as he still has a personal desire on bringing down America’s criminals.
The story tackles some of the ethics behind the role and symbolism that comes with being Captain America, and it shows certain elements that Frank Castle lacks when it comes to living up to his higher role. This comic book also serves as a reminder about how valuable it is for Americans, whether fictional or factual, to serve their nation and love it. In today’s era of unrelenting socialism, Communism, Marxism, Critical Race Theory (CRT), unrestrained political correctness, widespread diversity delusions and Leftist activism damaging America which in turn has Joe Biden as a President prioritizing socialism and illegal immigrants over his fellow Americans, this comic book carries a lot of weight about what it means to be an American who is ready to serve and love America. Its meaning will easily offend the social justice warriors (SJWs) in America.
Without spoiling the plot, I can say that the final encounter and conclusion were powerful and sentimental in a good way.
Conclusion
Frank Castle the pick to replace Steve Rogers as Captain America.
What If #51 (1993) could have been another issue that ended disappointingly. It is actually an engaging read and provides readers deep insight about what a Frank Castle Captain America would be like within the Marvel Comics universe of the 1990s. It’s got a good amount of action, several moments of intrigue and it shows a different type of Punisher (note: check out my other retro reviews involving the Punisher by clicking here, here and here) while still retaining some of his classic character background elements. The visuals and art style in this comic book could have been better.
If you are seriously planning to buy an existing hard copy of What If #51 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $60 while the near-mint copy of the newsstand edition costs $180.
Overall, What If #51 (1993) 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 with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/
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 collectors, 1990s culture enthusiasts and fans of Marvel Comics! Previously, I reviewed Uncanny X-Men #130 which was the first appearance of Dazzler who went on to become one of the most notable new characters of Marvel Comics in the 1980s. After appearing in Uncanny X-Men #131 and Amazing Spider-Man #203, Dazzler became more prominent among all of Marvel’s superheroes as the publisher launched an all-new monthly series featuring her. There is more to that than meets the eye, however.
In his article titled “Dazzler and Me”, Danny Fingeroth wrote: Marvel decided to tray an experiment with the relatively new “direct market” – comic book shops. It was decided that Dazzler #1 would only be available in comic book shops, not at traditional newsstands.
Dazzler #1 sold over 400,000 copies.
Even the top-selling comics of the era sold perhaps 250,000 copies. So, the first issue, anyway, was a major hit.
Apart from the confirmed commercial success of the comic book, it is a wonder if it is still good to read by today’s standards. To find out, here is a look back at Dazzler #1, published in 1981 by Marvel Comics with a story written by Tom DeFalco and drawn by John Romita, Jr.
The cover.
Early story
The story begins with Dazzler running away from four armed men who had been following her since she left the disco. She finds herself corned at the dead end of an alley as the men approach her. While pretending to be reaching for her make-up in the bag, Dazzler grabs and activates her portable radio which plays music. With the music turned on, she uses her power to convert it all into a dazzling display of light and color which makes the men disoriented.
While swinging nearby, Spider-Man notices the display of light but before he begins his approach, Dazzler makes her move to knock two men out. Another man fires his gun and his bullet ricochets until it hits the portable radio stops the music and Dazzler’s lights altogether leaving her vulnerable once again…
Quality
This page alone establishes Dazzler as a person struggling to make ends meet.
As far as telling a Dazzler story goes, this comic book is the complete package and it’s got very solid writing! Apart from showing what happened to her after her appearances in the Uncanny X-Men and Amazing Spider-Man series, this comic book formally introduces Dazzler in her civilian identity as Alison Blaire and thanks to efficient writing, it also reveals threads of her past and how her mutant powers manifested. Not only that, readers will get to see the title character as a typical person who is struggling to make ends meet even though she does her best with entertainment as a career.
Strangely, the focus on Dazzler is relatively light in content and the result is several pages of Marvel universe-related filler which shows several other characters like Captain America, Iron Man, Storm, Wolverine and others present with little to no connection with the title character. The X-Men scene is a nice touch as it will remind readers about Dazzler’s first interaction with them.
As a teenager, Alison Blaire’s power begins to manifest during this particular event in her life.
To build-up the first challenge for Dazzler, this comic book has the Enchantress as the villainess and ironically it also had some room of character development for her. Clearly this was done not only to build up anticipation for the next issue but to make readers root for Dazzler some more. In retrospect, the Enchantress would later emerge as an important figure in 1984’s crossover storyline Secret Wars.
Conclusion
The scene involving the X-Men is a nice touch as it connects with Dazzler’s previous interaction with them.
While it is indeed a product of the early 1980s carrying influences from the 1970s New York club scene, Dazzler #1 (1981) is still fun and engaging to read. Clearly this comic book is a must-have for anyone who loves Dazzler and it should be entertaining enough for geeks who love the 1980s and the Marvel-related crossovers of the time. Very clearly, this comic book succeeded in introducing and developing Dazzler as a person (as opposed to being a super hero) and the background story established fits in nicely with the character’s first appearance in Uncanny X-Men #130. Very clearly, there is a lot more to Dazzler than her unique super power and her disco look.
If you are seriously planning to buy an existing hard copy of Dazzler #1 (1981), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the comic book costs $70.
Overall, Dazzler #1 (1981) 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.
As already mentioned in my retro review of X-Men 2099 #25, a new creative direction was taken for the futuristic mutants of Marvel (who got back together after being apart for long) and the monthly series itself while still maintaining connection with the rule of Doom 2099 (already driven by Warren Ellis as the writer) as the US President. That story ended with noticeable changes on the characters, especially on Xi’an who ended up nothing like the strong and driven X-Men leader he was in X-Men 2099 #1. As such Tim Fitzgerald/Skullfire, who went through a lot of emotional struggles and confusion, finally learned to be strong to become the mutants’ new leader.
In this review, we will take a look at the aftermath of the events that happened in the above-mentioned anniversary celebration issue. Series lead creators John Francis Moore and Ron Lim took another shot heading towards the new direction in X-Men 2099 #26 published by Marvel Comics in 1995.
The cover by Ron Lim.
Early story
The comic book opens with Doom 2099’s Minister for Humanity Morphine Somers waking up and learns from his digital assistant that disaster happened in the White House (refer to Doom 2099 #33).
The story then shifts to Halo City which is the walled mecca which continues to attract some hundreds of thousands of misfits, mutants and refugees who seek sanctuary from the mega corporations which have dominated societies in most cities around the United States. In the middle of the traffic jam going into the city, a man decides to get out of the taxi and head on by foot.
The man is identified as Gunnar Tristan, an entertainment journalist. As the city authorities examines Gunnar, a man wearing a shirt looking like the American flag fires a shot at one of the security personnel.
“Down on your knees and pledge allegiance! The time’s come to sweep out all the genetic trash that’s polluting this great country. I got a thermonuclear bomb that’s gonna wash this mongrel city of the taint of foreigners and freaks,” said the armed man.
Just as Gunnar is about to fire, Henri Huang/Meanstreak of X-Men 2099 intervenes to prevent anymore danger from happening. Meanstreak is with teammate Krystalin and seen on their clothes are V-like symbols. They are now officially working for the city authorities as the mutant protectorate….
Quality
Clearly following up on the ending of X-Men 2099 #25, this story delivered strongly on showing the futuristic X-Men as Halo City authority members which is a drastic change from their past as outlaws and misadventure participants.
The X-Men as members working for the authorities.
A strong element in this comic book is character development and it shows the former X-Men leader Xi’ian feeling guilty and has gotten obsessed with healing sick people as a way to atone for his sins. At this point of time, Xi’an went from a bag guy into a reformed man (X-Men leader) into a bad guy again before ending up weak and confused. This puts him yet again into conflict with his long-time trustee Shakti/Cerebra (who by this time can be seen as a suitable team leader with a very strong moral direction). Skullfire meanwhile is feeling uneasy with his team working for an administration and it can be seen that the time he spent in the wilderness took its toll on him.
When it comes to art, Ron Lim pushed his creativity hard this time by establishing the overall look of Halo City and how it is transforming into a hot bed for people who don’t want to live in a place monitored always by mega corporations. On characters, I should say that Lim’s designs for the new villain group The Undead is not very captivating although one of them really looked horrifying. On action scenes, Lim continued to deliver the goods.
Conclusion
I should say that I like this comic book a lot. It’s got more character development scenes and story build-up with noticeably lesser spectacle (which is not a problem at all). Being the 26th issue of the X-Men 2099 monthly series, characterization really had to be prioritized by the creative team to emphasize the bold, new direction taken. Just to see the X-Men become authority members even though they are not really qualified is just intriguing!
What makes this particular old comic book special in a rather bizarre and accidental manner is the raging debate about how America of today should handle its immigration problems especially with hot topics like securing the borders, building the wall along the south border with Mexico, and deporting as many illegal immigrants (even those who have families in America, established business and paid taxes) as possible. Back in the year this old comic book was published, immigration was not such a hot topic and there were even more Democrats (including then US President Bill Clinton) who favored stricter moves to curb illegal immigration.
The presence of the armed man who despises foreigners and mutants is now more socially relevant to see. It’s so symbolic, you should look at the page below.
I wonder if anyone from the Democratic Party or the Political Left in America who support open borders had seen this page.
If you are seriously collecting comic books, be aware that as of this writing, MileHighComics.com shows that a near-mint copy of X-Men 2099 #26 regular edition is worth $4 while the near-mint copy of the newsstand edition is worth $8.
Overall, X-Men 2099 #26 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 by means of watching the movie and doing 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.
I just love watching superhero movies, especially the ones that were well crafted by the filmmakers complete with solid storytelling, sufficient spectacle as well as memorable performances by the hired talents (both behind and in front of the camera).
Of all the superhero movies made by the forces of Hollywood starting with 1978’s Superman, I can clearly say that 2017’s Wonder Woman is my favorite. Don’t get me wrong. I did not limit myself to just DC Comics superhero movies. I saw all the X-Men movies and their spinoffs, almost all the Spider-Man flicks, almost all of the Marvel Cinematic Universe movies and even the obscure ones. Along the way, there were some great superhero flicks that became modern-day classics like Logan and Avengers: Infinity War.
Still it is the Gal Gadot-led, Patty Jenkins-directed Wonder Woman that I loved watching the most.
Let’s start with my retro review of Wonder Woman, the one film that arguably saved the DC Comics Cinematic Universe for Warner Bros.
The Wonder Woman movie poster from 2017.
Early Story
The story begins sometime after the end of Batman v. Superman: Dawn of Justice during which Diana finds a long lost photograph recovered by Bruce Wayne. Then she remembers her past in Themyscira where she grew up as the only little girl among the women called the Amazons and her mother is none other than Queen Hippolyta. Concerned that the wicked Aries is still alive, Hippolyta’s sister Antiope trains Diana (initially in secret until they were discovered) to be strong, brave and more capable than their fellow Amazon warriors.
One day, Steve Trevor arrives in Themyscira becoming the first-ever man Diana ever met. Tension rises when the Germans (from World War I Earth) arrive on their island causing the Amazons to fight in defense. A lot of people lost their lives, including someone very close to Diana.
While interrogated with the Lasso of Truth, Steve reveals who he is and what he has been doing. He states that back in his world, World War I is ravaging the world costing many people their lives. This causes Diana to stand up and stop the war somehow (she believes Aries is responsible). Queen Hippolyta disapproves of Diana’s analysis. After privately meeting with Steve, Diana then starts her move for a mission to stop the war in Man’s World.
Quality
Gal Gadot as Wonder Woman in the middle of German soldiers.
Let me start with the performances. Gal Gadot definitely IS Wonder Woman in this movie. Regardless of how many versions of Wonder Woman there are in comics, the Israeli actress truly captured the essence of Diana’s early development which includes her special place among the Amazons (note: she is the only Amazon who was born in Themyscira and grew up from infant into a mature woman), her fateful meeting with Steve Trevor, her entry into Man’s World and how she adapts with the events and people outside of Themyscira. Wonder Woman’s purity on saving the world, doing what is right and emphasizing love and compassion were all nicely translated into cinematic art by Gal Gadot. From doing the action scenes to saving people, speaking her mind among her fellow Amazons and interacting with others as she adapts with Man’s World, I really love Gadot’s work on bringing Wonder Woman to life. As her cinematic work is great, there is no doubt that Gadot will always be iconic to fans of the Queen of Superheroes and superhero enthusiasts in general in the decades to come right beside Lynda Carter (who played the icon on TV), Christopher Reeve (Superman), Robert Downey, Jr. (Iron Man) and Chris Evans (Captain America). Meanwhile, the portrayals of Diana as an 8-year-old girl as well as a 12-year-old were perfectly done by Lilly Aspell (who is truly skilled with horse riding) and Emily Carey.
Lilly Aspell as young Diana with Connie Nielsen as Queen Hippolyta.
Chris Pine is excellent as Steve Trevor who is portrayed to be very dedicated to his work, brave in what he does and still shows compassion instead of arrogance towards others. He also has great chemistry with Gal Gadot and, like in the comic books, their relationship is nicely translated on the big screen. Pine’s performance here is, in my view, the best superhero movie supporting role to date.
Chris Pine as Steve Trevor with Gal Gadot as Diana in disguise.
Connie Nielsen meanwhile is great in playing Queen Hippolyta and all throughout, there is always a sense of leadership complete with a touch of motherly love just like in the comic books. Her sister Antiope was nicely portrayed by Robin Wright as the one Amazon who taught Diana to be brave, strong and highly capable as an Amazon warrior.
Danny Huston, who played the lead villain in the 2009 movie X-Men Origins: Wolverine, played yet another military bad guy here but this time he’s a World War I German officer. He’s a villain with a purpose who not only fights for the glory of Germany but also strongly believes that war is natural and inevitable for humanity. In some ways, Huston’s Ludendorff reminds me Michael Shannon’s General Zod in Man of Steel.
Robin Wright is excellent as Antiope.
When it comes to presentation, this film is Patty Jenkins’ 2nd movie as director (her debut was way back in 2003) and the great turnout of Wonder Woman as a high quality movie (as opposed to being a critical and commercial success) only proved yet again that the old saying in Hollywood – The director’s second movie is his/her best movie – is true. Jenkins, who also worked on television, not only prepared a lot to make this movie but also researched Wonder Woman, developed ways to get the most out of the cast members, tweak the written story of the film (by Allan Heinberg, Zach Snyder and Jason Fuchs) and, most notably, she led the production with a lot of passion. To put it short, Wonder Woman is a labor of love (and the No Man’s Land scene is iconic) that not only resonated with fans of the Queen of Superheroes but also with the film critics and moviegoers.
Regarding storytelling, I noticed that a key story from Wonder Woman’s origin in the comics (the contest of the Amazons) did not happen at all in the film. While there were die-hard fans of the icon who complained about it, I felt that the contest of the Amazons would have made this movie more complicated and surely would have lessened the impact of World War I as a key story element. Since the purpose of this movie was to emphasize Diana’s origin and her entry into Man’s World with a major mission, I believe that the contest of the Amazons can be made cinematically later in a future movie.
The way the story was told cinematically, it also captured Diana’s reactions to the events that happened around her. The scene in which she saw the village destroyed showed how death and destruction compelled Wonder Woman to accomplish her mission even though others find ending the war impossible. Along the way, the actors – specifically Gal Gadot – really added life into the narrative with their strong performances.
When it comes to on-screen humor, which is popular among moviegoers and is almost a requirement for most new superhero movies that come out, having it done by supporting players Lucy Davis and Saïd Taghmaoui was a clever move since it allows Gal Gadot to portray Wonder Woman without any performance disruption. Considering her short screen time, Davis as Etta Candy is really funny. The amount of humor in this film, in my view, was just right and never annoying.
Spectacle? Wonder Woman is loaded with action, stunts and exciting stuff! The action involving Wonder Woman was brutal and satisfying to watch, and Patty Jenkins’ use of slow motion on key moments was great (even comparable to John Woo’s past work) and at the same time not too excessive. The Themyscira battle between the Germans and the Amazons at the beach was engaging and strategically filmed. Also, it was fitting that the action ramped up nicely starting with the iconic No Man’s Land sequence. The final battle in the film, unsurprisingly, had lots of computer-generated images (CGI) which is understandable considering the fantasy element of Wonder Woman.
More on the action, I love the way Patty Jenkins had Gal Gadot, Robin Wright, Connie Nielsen and Chris Pine perform the action themselves which all made their characters even more believable. Of course, there were certain moments in which stunt doubles were used to do the more dangerous moments on behalf of the actors.
This happened just before the iconic No Man’s Land scene.
Apart from the core cast, a lot of the actresses playing the Amazons trained for several months not just to look the part but also to perform action sequences using weapons with actual skill. The stunt coordinators and specialists hired by the filmmakers deserve praise for contributing nicely on making the cinematic Amazons highly believable. This alone not only makes Wonder Woman stand out nicely among all Hollywood superhero movies but also reflects nicely what was portrayed in the comic books.
The production design is also top-notch. I love the scenic locations of Italy used for scenes set in Themyscira. The filmmakers also did a great job recapturing the look of World War I Europe from the historical pictures to the big screen. The costume designs were fantastic, and the standout designs were, unsurprisingly, the costumes of the Amazons which really made their fantasy culture look believable. The filmmakers decided to have much more colorful visuals instead of following the look of Man of Steel, Batman v. Superman: Dawn of Justice and Suicide Squad.
On the music, the work by Rupert Gregson-Williams was great. His rendition of the Wonder Woman theme was very lively to listen to. The same can be said about the music he provided in the memorable No Man’s Land scene which had a nice build-up as Wonder Woman made her first full appearance in costume on the field. Other tunes played in the film suited the scenes well.
If there were any weak spots in this movie, it would be certain shots of action that were not filmed with precision. I’m talking about filming action scenes way too close to the camera combined with music video-style editing that’s supposed to make film look flashy. It’s not only disorienting, it also took me out of the movie.
Conclusion
Overall, Wonder Woman is one of the best-ever superhero movies ever made and easily my favorite of them all. It has an excellent balance between storytelling, character development and spectacle, and Gal Gadot gave the performance of a lifetime not only by bringing Wonder Woman into life in cinematic form but also emphasizing what the Queen of Superheroes stood for. As part of the current DC Comics Cinematic Universe, this movie stood out by having optimism and heroism as core themes (as opposed to the dark, gritty and even cynical approach of Man of Steel, Batman v. Superman: Dawn of Justice and Suicide Squad) and, more importantly, by focusing strongly on Wonder Woman instead of building up for the Justice League movie (which was released months after this one).
Apart from high-quality production values and a strong creative approach, the cast and cinematic performances are easily among the best in the superhero movie genre. Chris Pine’s Steve Trevor is an excellent example of a supporting role that is engaging without ever overshadowing the lead role. By the end of the film, you will realize the impact that Queen Hippolyta and Antiope had on Diana’s personal development.
Connie Nielsen made a great queen and mother in this movie.
Being strongly focused on heroism with optimism, director Patty Jenkins and her crew succeeded in making this film without ever succumbing to the extreme views of the Political Left in Hollywood and the loudmouth social feminists. When I see the battle between the Amazons and the German soldiers on the beach of Themyscira happen, I simply saw armed women defending their homeland not from men who intend to rape them but rather men who had no right to intrude in the first place. Even as there were scenes showing men in power in World War I Europe (putting Diana in a powerless position), there still was no feminist-inspired hatred towards men. Also the bond between Steve and Diana developing from friendship into a romantic relationship literally shut the door on extreme feminism.
As a Wonder Woman-focused story, this film succeeded on emphasizing the Queen of Superheroes to both long-time fans and mainstream moviegoers. This movie also had a nice mix of having a fantasy setting with Themyscira moving on to a historic setting with World War I Europe. On the origins of Wonder Woman herself, I don’t mind at all that the contest of Amazons was not told because this movie’s concept is already great to begin with and its running time of 141 minutes was just right.
Gal Gadot will be remembered for a very long time for her excellent portray of Wonder Woman in cinema.
With all the greatness it was made with, I kept coming back to Wonder Woman when replaying superhero movies here at the comfort of home. In the cinemas back in 2017, I saw the film three times. Ultimately, I can say out loud that Wonder Woman is highly recommended and it is truly essential!
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. Also my fantasy book The World of Havenoris still available in paperback and e-book format. 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
Orient Cable has been ordered by the Optic Media Board or OMB (the national government’s arm on regulating the production, use and distribution of recording media) to explain to them why they should not be charged over the piracy of the mega blockbuster film Avengers: Endgame.
According to a report by Philippines News Agency (PNA), a “show-cause order” was served by the regulator to the Dipolog City-based company on May 6. The action was the result of a formal complaint issued by Teatro de Dapitan, a movie house that was authorized to show Avengers: Endgame to paying customers.
Atty. Hywel Vergara of the OMB’s legal division was assisted by police officers when the order was served to Orient Cable. It was reported that the company’s officials were reluctant to receive the order.
“With it is an order for the owners (of Orient Cable) to attend hearings at OMB in Manila on May 7 and 14,” said Vergara, referring to the show-cause directive.
For his part, OMB Chairman Ansel Adriano warned establishments and individuals to respect the intellectual rights of the film industry, especially local productions.
The movie opened around the Philippines on April 24 along with many other countries that same day. There were people who claimed to have seen the illegal airing of Avengers: Endgame on April 25 through Orient Cable. Subsequently Teatro de Dapitan complained to the local police the same day the airing happened.
As of this writing, the management of the cable firm is still silent over the issue.
Whatever questions the OMB has for them, it would be nice for the cable TV operator to answer the following questions:
Who within Orient Cable had the capability (or connections) of getting a pirated copy of the movie and make adjustments to show it publicly?
Where did the pirated copy come from?
What could the company gain from showing Avengers: Endgame in pirated form?
How is the financial health of Orient Cable and just how many paid subscribers do they have now?
Disclaimer: This is my original work with details sourced by means of watching the movie and doing 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.
I’ll just say it straight and clear – Avengers: Endgame is an epic superhero movie that, like its predecessor, is great to watch again and again although there are some noticeable differences.
For starters, the creative team led by the Russo Brothers came up with a story that somewhat defied most people’s expectations in relation to the ending of Avengers: Infinity War. Considering what happened in the previous film, it’s too easy for moviegoers to anticipate another uniting of remaining superheroes to defeat the omnipotent Thanos who wields the Infinity Gauntlet.
Quite daringly, the filmmakers came up with a story that focused more on time travel and time paradox. Since Endgame is still a new film, I won’t spoil the plot details and will focus on the technical aspects as to why the film is great.
On time travel and time paradox, Endgame felt somewhat self-aware by referencing other popular movies that had time travel concepts. The inevitable time machine gets set up obviously and when the superheroes went their own ways through time, Endgame suddenly felt like The Empire Strikes Back mixed with elements of Back to the Future. What do I mean? What I’m saying is that character development ramps up when the superheroes go their separate ways (not individually but by pairs or small teams) and their time travel exploits brought moviegoers back to the past, especially the unexplored segments of what we saw in previous movies of the Marvel Cinematic Universe.
The good news here is that the Russo Brothers did a great job telling the story even though the concepts of time travel and time paradox were so challenging to execute on-screen. Clearly the co-directors did their research to ensure that the story still made sense. Of course, there is the expository dialogue designed to explain to readers the film’s time travel concept.
When it comes to performances, just about each member of the cast performed nicely on bringing to life their respective characters. I felt Robert Downey, Jr.’s performance as Tony Stark/Iron Man is his best since Iron Man 3. Still, I think the standout performer of them all was Mark Ruffalo who proved to be creative not only with his smart Hulk but also managed to deliver the solid performance the movie script required from him. Personally, this cinematic Hulk is the best one yet and we can forget about the mindless, rampaging Hulk of years ago.
Josh Brolin returned as Thanos and his performance was great (as expected) but in order to understand this film’s version of his character, you need to watch the previous appearances of Thanos from the past years especially with 2014’s Guardians of the Galaxy.
When it comes to superhero spectacle, Endgame delivered the fun stuff – the flying, the energy blasts, powerful strikes, collateral damage, cosmic powers, futuristic sci-fi technology and the like. However, I felt that Infinity War was much more loaded with action, stunts, special effects and superhero spectacle. This is understandable because the first 30-45 minutes of Endgame was more about story build-up, heavy dialogue and character development delivered with little action. The good news is that the pace of the film ran faster when the time travel sequences started. Of course, there is also the anticipated giant battle near the end of the film. A very action-packed final battle indeed although I felt the darkness (lack of light on the setting) somewhat lessened the impact.
What felt out of place in the final conflict was the obviously forced presentation of the MCU’s female superheroes appearing together looking like a team. I can say it clearly that the sequence, which looked nice, is nothing more like pandering to the believers of Political Left (and its radical feminist allies) among the moviegoers. If that is not a political correctness expression, then it’s a silly way to suggest that a cinematic A-Force adaptation is in the works.
Overall, Avengers: Endgame is an epic superhero movie that must be seen and it also justifies replaying Infinity War. While both Endgame and its predecessor are epic movies heavily loaded with spectacle as well as a lot of heart in the story and character development, the major differences go like this – Infinity War carried more shock value while this new movie was more about the pleasant surprises related to time travel.
Does Endgame deserve its massive commercial success? Absolutely! More than that, this film is also the undeniable climax of the 11-year buildup of the Marvel Cinematic Universe that started with Iron Man.
Where the Marvel Cinematic Universe will go next after Endgame will most likely be another uncharted territory of superhero cinema.
Thank you for reading. If you find this movie review engaging, please click the like button below and also please consider sharing this article to others. Also my fantasy book The World of Havenoris still available in paperback and e-book format. 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 Carrascoand follow me at HavenorFantasy@twitter.com
Author Carlo Carrasco 