comic – Page 12 – Author Carlo Carrasco

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

August 15, 2023January 30, 2025carlocarrasco

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

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

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

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

Early story

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

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

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

Quality

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

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

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

Conclusion

*Spidey, Strange 2099 and the grave digger.*

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

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

+++++

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

A Look Back at Venom: Funeral Pyre #3 (1993)

August 10, 2023August 5, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1993 to take a close look at the second issue of the second Venom comic book mini-series Venom: Funeral Pyre.

In my previous review, the gang-driven violence intensifies as the Punisher makes his move armed with lots of resources (including a van loaded with weapons and computerized functions). Venom struggles to free himself from the temporary prison the Punisher placed him in. As the violence escalated, Gray Russell finds himself in much deeper trouble as the anticipated rescue does not happen.

With those details laid down, here is a look back at Venom: Funeral Pyre #3, published in 1993 by Marvel Comics with a story written by Carl Potts and drawn by the late Tom Lyle. This if the final issue of the mini-series.

Early story

The story begins inside a building with high-tech equipment from HYDRA. Gray Russel is no longer himself but as the red-skinned, highly radiated figure Pyre. He fires a microwave blast at Venom which hurts him so much. In response to Venom’s claim that he came to rescue him, Pyre reacts with rage telling the murderous man with the symbiote that he arrived too late which resulted in the forced killing of people during the gang violence on the streets of Oakland.

Being filled with pure rage, Pyre intends to burn Venom alive. Thinking that Pyre is distracted, the Punisher leaps to get a gun on the floor which causes the radiated person to fire a microwave blast at him. The Punisher takes cover behind a machine but notices the microwaves sparking off the metal.

Venom then takes advantage of situation…

Quality

*This page shows Venom at a disadvantageous state with Pyre whose microwave blasts are more than enough to kill him.*

As the conclusion of the mini-series, this comic book went all-out portraying what turned out to be the final conflict involving the murderous Venom, the vigilante Punisher and the energy-filled Pyre. As a result, the narrative strongly focused on the final conflict (note: stretched out to last several pages) and never bothered to look back at the people and activities on the city street.

That being said, you will get to see more of the two established Marvel figures struggling hard against an unexpected force of opposition who was previously an undercover news reporter who infiltrated a certain gang and sent a message (delivered by a young boy) that caught Eddie Brock’s attention. At this point, it is clear that Venom’s effort to rescue Gray (who became Pyre after using a super soldier chamber left behind by HYDRA) ended in total failure and finds himself facing someone who could kill him and his alien costume together.

If there is anything notable about this issue, it is the portrayal of Venom being highly disadvantaged and even vulnerable. There are no armed men with sonic weapons and high-tech equipment to bring Venom down but Pyre whose microwave blasts are deadlier than flame and sonic. In connection to the situation, Venom is not his aggressive self but a struggling figure who strives to survive and somehow find solutions during the heat of danger.

The Punisher, meanwhile, also struggled to survive but would simply not run away even though his chances of escape are much better. Instead, he focuses on actually eliminating Pyre without hesitation and Venom’s attempt to rescue Gray meant absolutely nothing to him.

More on Pyre, he is not really interesting nor was he ever engaging as the one powerful force of opposition that Venom and the Punisher must face. His being consumed by unrestrained rage and wielding so much power did not really raise the tension of the story. Had he eliminated the two Marvel figures who got in his way, what would Pyre do afterwards? Devastate the entire city of Oakland because he lost his identity as Gray and could not get over his involvement of taking other people’s lives while in the middle of gang activities? Would he proceed to San Francisco’s underground community and eliminate the people only because he blames Venom (note: Eddie Brock got involved with the underground people of San Francisco as seen in the Lethal Protector mini-series) for his failure of rescuing him? Pyre is nothing more than a throwaway comic book force of opposition.

From a visual standpoint, Tom Lyle once again pushed his creativity hard and showed some dynamic shots of spectacle here and there. At this stage, he proved to be very capable of visualizing Venom and the Punisher.

Conclusion

*The Punisher refuses to give up and gets Microchip to assist him.*

While issue #2 was a notable improvement over the first issue, Venom: Funeral Pyre #3 (1993) does not have much to offer in terms of engagement and entertainment. This is because it was crafted as a strict Venom-Punisher-Pyre conflict that provided spectacle and intrigue but ultimately ended up hollow. To see Venom at a huge disadvantage is interesting but did not add much weight to the plot. The Punisher was his usual self and in some ways overshadowed Venom for a while. Too bad there was not much space left for Venom and Punisher to fight each other again.

As the final issue of this mini-series, the story concluded with a whimper. Ultimately the Funeral Pyre storyline ended up as a diversion within the Marvel Comics shared universe that happened to attract Punisher, Venom and the gangsters of Oakland.

Overall, Venom: Funeral Pyre #3 (1993) is satisfactory.

+++++

A Look Back at 2099 Unlimited #10 (1995)

July 31, 2023September 22, 2024carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1995 to revisit one of the many tales of Marvel’s 2099 franchise focused on Spider-Man 2099 through the 2099 Unlimited quarterly comic book series!

Some time ago, I reviewed the inaugural issue of 2099 Unlimited which after all these decades remained entertaining and engaging enough to read. That comic book opened with a Spider-Man 2099 story handled by a creative team that did not involve the monthly series duo of Peter David and Rick Leonardi. Its 2^nd story introduced Hulk 2099 and it efficiently told his origin story while expanding the world of 2099 convincingly.

With those details laid down, here is a look back at 2099 Unlimited #10 published in 1995 by Malibu Comics with its main story written by the late Len Wein and drawn by Andrew Wildman. The two other stories were done by the creative teams of Nancy Collins/Gary Erskine and Bob Fingerman respectively.

Early story

The story begins with Miguel O’Hara (Spider-Man) and his brother Gabriel attending Woodstock 2099 at a wet and muddy open-air location. It turns out Miguel feels uneasy being present at the music festival which for Gabriel is too important an event to miss as they are attending the final weekend.

As they talk and walk together, trouble breaks out when a man is suddenly changing physically causing his body to rip out of his clothes. Immediately he leaves Gabriel, cuts in line to enter a portalet, changes into his disguise, opens the rear with his talons and leaps off into action as Spider-Man of 2099.

The man who ripped through his clothes has since turned even bigger and monstrous looking. He grabs a woman and was about to throw her when Spider-Man suddenly swings in to grab her and move away from the monstrous guy.

Right after Spider-Man and the lady land on the ground, the monstrous guy mutated even more and begins to charge right at him with the intention to kill him…

Quality

*There is nothing like encountering Spider-Man at the more isolated parts of the city in 2099.*

Focusing on what is clearly the main feature of this comic book, the Spider-Man 2099 tale “Chameleon 2099” turned out to be a really good story that sets itself apart from the monthly series while still emphasizing the essence of the titular hero. Written by the late legend Len Wein, this is a tale of the futuristic Spider-Man that was crafted to entertain and also intrigue readers. The build-up of the plot moved at a medium pace with some bouts of surprise or excitement that happened along the way. By the time the story reaches the final conflict, the plot details came together nicely and the purpose behind Spider-Man’s pursuit made a lot more sense as I kept reading. This is a must-read story and Andrew Wildman’s art really brought Len Wein’s script into life!

Without spoiling the plot, I can say that this tale sheds light on the following topics: Miguel O’Hara investigating questionable ends within the very corporation he works for; a growing society of freaks within a very high-tech society; illegal substance abuse and distribution; the loss humanity paving the way for unrestrained violence. I just love the way Len Wein fused the mentioned topics into the story and executed them all while still making the story understandable and believable.

It should be noted that Wein portrayed the titular hero as a very determined protagonist who still maintains his sanity as well as his concern for others even though he gets into very violent situations.

This comic book has two other stories that do NOT feature the other established protagonists of the Marvel 2099 universe. Not even Hulk 2099 – the one major 2099 character who debuted in the launch issue of this very same quarterly comic book series – is here. The 2^nd story introduces Machina Jones (who is not so interesting) and emphasizes a dark element within the 2099 society – the implantation of wetware programs into people’s bodies which are capable of controlling both the voluntary and involuntary motor responses.

The 3^rd story on the other hand is a very cartoonish look at the helplessness of 2099 society’s members who suddenly get displaced by the implementation of the urban reclamation project of Alchemax. This one does not have any of the established Marvel 2099 characters.

Conclusion

*Spider-Man 2099 at the field of Woodstock 2099.*

With one very solid Spider-Man 2099 tale and two other stories that never engaged me at all, 2099 Unlimited #10 (1995) is very clearly a mixed bag. The Spider-Man story is indeed the biggest feature and the main reason this comic book has good stuff. Too bad the other two stories were essentially wasted efforts.

Overall, 2099 Unlimited #10 (1995) is satisfactory. It is also the final issue of the quarterly series.

+++++

A Look Back at Freex #16 (1995)

July 26, 2023July 24, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1995 to revisit one of the many tales of Malibu Comics’ Ultraverse through the Freex monthly series.

In my previous review, the Freex encountered someone very deadly (note: Rafferty who also encountered The Strangers) and out of nowhere one of their members got killed as he made his move to protect someone’s life.

With those details laid down, here is a look back at Freex #16 published in 1995 by Malibu Comics with a story written by Gerard Jones and drawn by Klebs de Moura e Silva.

Early story

The story begins at midnight when Ruby arrives at a sorrowful gathering composed of Contrary, her academic students, the Night Man, the Old Man and the remaining members of Freex. They are all mourning over the dead body of Michael. Just after Old Man declared that everyone should move on and let Michael (Plug) rest, Contrary (now an established member of UltraForce) stated that her academy will keep him in the company of others like him at their Mt. Shasta Citadel headquarters as the dead Freex member does not have any known surviving family members.

The loss of Michael then begins to take its toll on Angela/Sweetface as she cries and states that there is nothing left to live for. Suddenly, something appears to the Freex…an angel-like figure who tells Angela to end the pain and join the only one who still cares for her. Valerie and Lewis try to help Angela resist the one who spoke…

Quality

*The Old Man becomes the target of Freex.*

What is obvious to me here is that this comic book is all about the consequences of the death of original Freex team member Michael and how his death impacted specific teammates who had really grown close with him. The plot in this comic book is pretty light as this was clearly written to have strong character dramatization and development.

While there were indeed a whole lot of characters who appeared here, this comic book highlights Sweetface as the one most affected by the sudden death of Michael. That being said, any dedicated Freex fan who seriously followed the series right from the start will be able to relate with Sweetface’s emotions and even feel her deep feelings with Michael. Incidentally, this paves the way for her to interact more with Lewis who also got impacted by the death of their teammate. As the story went on, there were key developments here that strongly symbolized that Freex will take a serious change of direction focusing more on team survival and avenging Michael while severing ties with the Old Man. Clearly the creative team were building up something for the team who at this point have been on a very long and painful journey as nomads.

All throughout, the script really is detailed, richly layered and engaging. Apart from Freex, Night Man, Contrary and her students, and other characters had their fair share of the spotlight strongly symbolizing the current state of the Ultraverse at the time.

Conclusion

*Even as she is mourning over the death of Michael, Angela suddenly sees a mesmerizing vision in front of the others.*

Freex #16 (1995) is indeed a solid comic book to read. The strong writing is its strongest feature and it really delivered the compelling stuff that will resonate most with the long-time Freex fans. The dramatization of the effects of Michael’s death really is strong and the new change of direction for the surviving Freex was implemented really smoothly. The lack of a good-versus-evil element was no problem at all here. By the end of the comic book, I became eager to find out what would happen next to Freex.

Overall, Freex #16 (1995) is recommended.

+++++

A Look Back at Venom: Funeral Pyre #2 (1993)

July 18, 2023July 15, 2023carlocarrasco

In my previous review, the Punisher and Venom encountered each other for the first time ever and along the way Gray – who is secretly a journalist with a mission – struggles to maintain his composure and his sanity as he finds himself in the middle of a very violent gang war in Oakland, California. The more time Gray spends time with the crime gang he joined, the tougher the situation becomes for him.

With those details laid down, here is a look back at Venom: Funeral Pyre #2, published in 1993 by Marvel Comics with a story written by Carl Potts and drawn by the late Tom Lyle.

Early story

The story begins with Gray and his gang companions riding a car approaching a group of people on the street. The gang leader pressures Gray to use his weapon to kill them. Gray is deeply worried not only because he has to prove his worth to the gang by killing other, but also because the rescue attempt he was waiting for had not yet happened.

Meanwhile, Venom finds himself trapped on the doorway of a building with the metal gate locked and with rays of microwave from the Punisher’s van radiating him painfully. As the Punisher leaves them behind, Venom manages to use the symbiote to reach into the van and smash the control panel inside which disabled the microwave rays.

Immediately, he recovers and breaks out to continue his mission: to rescue Gray…

Quality

*The murderous Venom actually helped the Punisher.*

When it comes to the storytelling, there are some improvements that made this comic book more readable than issue #1. For one thing, the exposition has been reduced which allowed the pace of the story to move faster. Most of the exposition here has been limited to Gray who at this stage of the mini-series was clearly bound to become the central object of the Funeral Pyre concept. Another thing is that the story’s structure here is simpler and easier to follow as Venom and Punisher moved on their own struggles separately before predictably getting together again.

While the mini-series has clearly been a tale of a city gang war – with a pretentious and unwilling gang member who expected to be rescued before things become too chaotic – that happened to pull the Punisher and Venom in for different reasons, Carl Potts added some elements that would resonate with Marvel Comics fans who are familiar with HYDRA and the Super Soldier aspects of the Marvel Comics universe history. Not only that, there is a science fiction-inspired setting near the end of the story that added variety to the in-story environment.

Like the first issue, this one is packed with a good amount of action scenes and that means Punisher and Venom fans have a lot of stuff to enjoy. Tom Lyle really is good with showcasing the respective spectacle of the vigilante and the symbiote-wearing murderer, and when he has the two together, his visual creativity intensifies.

Conclusion

*Grey shooting blindly at the targets while riding the car of the gangsters he joined.*

Venom: Funeral Pyre #2 (1993) is clearly an improved reading experience over issue #1 mainly because of the reduced information dump, the simpler plot structure and the creative showcase of Venom and the Punisher. While Gray remains uninteresting, his late-stage transformation turned out to be somewhat surprising and it was only near the end of this comic book that the Funeral Pyre concept became clear.

Overall, Venom: Funeral Pyre #2 (1993) is satisfactory.

+++++

Better than Streaming: Creepshow Collector’s Edition 4K Blu-ray now available

July 11, 2023July 9, 2023carlocarrasco

Welcome back, fellow geeks, Blu-ray collectors and movie buffs! Back in the early 1980s, I managed to watch on home video the 1982 horror comedy anthology film Creepshow which was a fine collaboration between director George Romero and author Stephen King clearly inspired by the 1950s horror comic books of EC Comics.

The good news for fans of the movie as well as those who love watching movies in the comfort of home without streaming is that the Creepshow Collector’s Edition 4K Blu-ray (2 discs inside the set) from Shout Factory is now available at retail and for ordering online. For those who want the best in visuals, Creepshow’s 4K version is in native 4K!

*The 4K Blu-ray cover cleverly uses the same art from the original movie poster of 1982.*

To begin with, posted below are the technical specs of Creepshow Collector’s Edition 4K Blu-ray sourced from its Blu-ray.com page. Some parts in boldface…

Video

Codec: HEVC / H.265 (75.09 Mbps)

Resolution: Native 4K (2160p)

HDR: Dolby Vision, HDR10

Aspect ratio: 1.85:1

Original aspect ratio: 1.85:1

Audio

English: Dolby Atmos

English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)

English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)

Note: Atmos: 4035 kbps, 5.1: 3609 kbps, 2.0: 2002 kbps

Subtitles – English SDH

Discs -4K Ultra HD, Blu-ray Disc

Two-disc set (1 BD-100, 1 BD-50)

Packaging – Slipcover in original pressing, Reversible cover

Playback – 4K Blu-ray: Region free, 2K Blu-ray: Region A

In case you are wondering how much stuff you will get in return for purchasing Creepshow Collector’s Edition 4K Blu-ray, posted below is an excerpt from the Blu-ray.com announcement page. Some parts in boldface…

BRAND NEW 4K RESTORATION OF THE FILM FROM THE ORIGINAL CAMERA NEGATIVE (2023)

NEW DOLBY ATMOS TRACK

Audio: DTS-HD Master Audio 5.1, DTS-HD Master Audio 2.0

Audio Commentary With Director George A. Romero And Special Make-Up Effects Creator Tom Savini

Audio Commentary With Director Of Photography Michael Gornick

Audio Commentary With Composer/First Assistant Director John Harrison And Construction Coordinator Ed Fountain

Terror And The Three Rivers – A Round Table Discussion On The Making Of Creepshow With John

Amplas, Tom Atkins, Tom Savini, And Marty Schiff

The Comic Book Look – An Interview With Costume Designer Barbara Anderson

Ripped From The Pages – An Interview With Animator Rick Catizone

The Colors Of Creepshow – A Look At The Restoration of Creepshow With Director Of Photography Michael Gornick

Into The Mix – An Interview With Sound Re-recordist Chris Jenkins

Mondo Macabre – A Look At Mondo’s Various Creepshow Posters With Mondo Co-Founder Rob Jones And Mondo Gallery Events Planner Josh Curry

Collecting Creepshow – A Look At Some Of The Original Props And Collectibles From The Film With Collector Dave Burian

Audio Interviews With Director Of Photography Michael Gornick, Actor John Amplas, Property Master Bruce Alan Miller, And Make-up Effects Assistant Darryl Ferrucci

Tom Savini’s Behind-The-Scenes Footage

Horror’s Hallowed Grounds – A Look At The Original Film Locations Hosted By Sean Clark

Deleted Scenes

Theatrical Trailers

TV Spot, Radio Spots

Still Galleries – Posters, Lobby Cards, And Movie Stills

Still Galleries – Behind The Scenes Photos

Wow, the above sure is a lot of stuff for the long-time Creepshow fans and the Blu-ray/4K Blu-ray collectors to digest.

For the newcomers reading this, Creepshow is arguably a landmark American horror movie as it used a very unique format of telling not one, not two but five standalone horror comedy stories that each had its unique concept and different casts. As comedy is mentioned, it means there is dark humor implemented that prevents each story from being too grim with its horror. In other words, the horror in this anthology film is unique and fun to watch. Adding further zest into its creativity was the use of comic book-inspired panels and backgrounds that really captured the vibes of 1950’s EC Comics-published horror comic books. This passionate collaboration between a movie director best known for zombie movies and an author best known for horror and suspense literature really stood the test of time. Not to be outdone, however, is the movie makeup and special effects works done by fan-favorite Tom Savini.

I should also state that Creepshow several actors who made fine contributions on-screen. Horror genre standout Tom Atkins plays the angry father in the film’s prologue and epilogue. The late Leslie Nielsen, who is often remembered for cinematic comedy, cleverly plays a villain (with a fine mix of evil and humor in his performance) opposite Ted Danson. There were also Hal Holbrook and Adrienne Barbeau as a very unique couple. In the Father’s Day segment, you will see the late classic actress Viveca Lindfors as the unfortunate aunt as well as a much younger Ed Harris in a supporting role. The late E.G. Marshall is the lead star in the fifth segment. Last but not least, you will see Stephen King himself act in one of the segments concerning the crash of a meteor. Apart from the horror concepts and stylish directing of Romero, the lineup of actors alone add tremendous value to Creepshow’s overall attraction and fun value.

*Hal Holbrook and Adrienne Barbeau as a married couple.*

The impact of this 1982 horror anthology movie cannot be denied. In the years following Creepshow’s release, the Twilight Zone: The Movie anthology film of 1983 (note: this one even involved Steven Spielberg directing one story), the Tales from the Darkside horror anthology TV series (created by George Romero himself) and the Tales from the Crypt horror anthology TV series were released.

To know more about Creepshow, watch the video from Minty Comedic Arts below…

In case you are interested or if you have made up your mind, you can order a copy of Creepshow Collector’s Edition 4K Blu-ray right now by clicking https://www.amazon.com/Creepshow-Collectors-Ultra-Blu-ray-UHD/dp/B0BZCM3S54/ref=sr_1_1?crid=IE8C3YOK8ER7&keywords=creepshow+4k&qid=1688810895&sprefix=Creepshow%2Caps%2C363&sr=8-1

If you want the best enjoyment possible from watching Creepshow Collector’s Edition 4K Blu-ray, I highly recommend you avoid watching Creepshow movie reaction videos and the spoileriffic retro movie reviews posted by YouTubers.

If you wish to join a group of movie enthusiasts and talk about cinema, visit the Movie Fans Worldwide Facebook group at https://www.facebook.com/groups/322857711779576

+++++

A Look Back at The Further Adventures of Indiana Jones #1 (1983)

July 6, 2023July 5, 2023carlocarrasco

Welcome back fellow geeks, pop culture enthusiasts and comic book collectors! I want to make things clear to all of you that when it comes to movies, Indiana Jones is truly an American icon who will be remembered for a long time thanks to the combined works of the legendary creative team of Steven Spielberg, George Lucas and Harrison Ford.

I love watching the films Raiders of the Lost Ark (1981), Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989) and Indiana Jones and the Kingdom of the Crystal Skull (2008). While the respective qualities, artistry and fun factors of those films varied through the years, there is no denying that those are cinematic adventures worth replaying.

In case you are wondering, I have no intention to watch Indiana Jones and the Dial of Destiny (2023) since that movie was specifically handled by Kathleen Kennedy whose leadership of Lucasfilm (under the Disney banner) ruined Star Wars since 2015. It does not help that the new movie was not directed by Spielberg and clearly it does not involve George Lucas on the creative side. I should state that I reject wokeness, political correctness and identity politics which defined Kathleen Kennedy’s handling of Star Wars and Indiana Jones.

That being said, now is a good time to back into the 1980s when the Indiana Jones entertainment franchise was still new and creatively expanding into other forms of media. In fact, Marvel Comics started publishing an Indiana Jones comic book series between Raiders of the Lost Ark and Indiana Jones and the Temple of Doom.

With those details laid down, here is a look back at The Further Adventures of Indiana Jones #1, published in 1983 by Marvel Comics with a story written and drawn by John Byrne with ink work by Terry Austin.

Early story

The story begins with Indiana Jones (wearing formal attire for his academic profession) attempting to whip a small stick off the mouth of Miss Greebly who was standing very still. Jones’ superior Dr. Marcus came in to witness the stunt.

Shortly after, Jones and Marcus meet with former student Charlie Dunne who reveals to them he and his sister Edith learned the location of the Ikons of Ikammanen. Just seconds after stating he could prove that the ikons exist, Dunne suddenly gets hit on the back with a knife.

With Dunne suddenly killed and the discreet killer already gone, Jones and Marcus examine the content of the victim’s bag and find a map of coastal Africa, a photograph of a temple and an address…

Quality

*Indiana Jones and Edith on a dangerous search.*

I will start by stating the obvious thing about this comic book…it looks and feels like a genuine Indiana Jones adventure with clear inspiration taken from the 1981 movie. The basic elements are here: Indy does research and some detective work, he travels overseas searching for answers, faces danger along the way, and gets involved in a series of unexpected events. The good news is that John Byrne crafted a fun and high-quality literary adventure featuring the cinematic icon.

This comic book has an original story concept and deliberately the narrative flowed at a medium pace which allows build-up to immerse readers into the details, followed by some bouts of pay-off to entertain readers. I also like the way the narrations laid down the details with the intention of helping readers understand not only the situations, locations and people, but also giving them unique perspectives about Indy himself. The dialogue was well written and clearly believable. When Indiana Jones explains details, he really uses the knowledge he gained through academic research as well as recollections from his past expeditions or adventures.

I should also state that Byrne gave Indiana Jones, the other characters and locations stylized looks. I don’t mind Jones not resembling Harrison Ford at all but Byrne still made him recognizable in his own unique way. There were some location images that looked pretty detailed.

Conclusion

*And just like that, Indiana Jones takes a leave from academic work for his next adventure.*

The best way to describe The Further Adventures of Indiana Jones #1 (1983) is this…John Byrne and his team succeeded in making this a fun read inspired by elements of Raiders of the Lost Ark. The story has a strong adventure feel with Indy having a strong presence and the introduction of new characters were executed smoothly. For a launch issue, this one is indeed engaging to read and it succeeded in convincing me to anticipate the next issue. Ultimately it is clear that John Byrne really is an effective Indiana Jones storyteller.

Overall, The Further Adventures of Indiana Jones #1 (1983) is highly recommended!

+++++

A Look Back at Aliens vs. Predator #4 (1990)

June 30, 2023June 29, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1990 to take a close look at one of the more significant non-superhero crossover comic book events ever published – Aliens vs. Predator!

In my previous review, things changed for the worse for the humans as their colonial community gets overwhelmed by the presence of Aliens and Predators. Risking her own life, Machiko Noguchi does what she could to protect her constituents. Along the way, one certain Predator that was restrained and examined in the laboratory eerily decides to help the humans.

With those details laid down, here is a look back at Aliens vs. Predator #4, published in 1990 by Dark Horse Comics with a story written by Randy Stradley and drawn by Phill Norwood. This is the final issue of the mini-series.

Early story

The story begins with Noguchi and Miriam flying in a Copter and right below them is the chaos composed of a cattle stampede and the ongoing conflict between Alien Xenomorphs and the armed Predators. While flying, Noguchi and Miriam spot a lone Predator climbing up a tower while fighting off several Xenomorphs chasing him unrelentingly. It turns out the said Predator was Miriam’s own patient at the laboratory and she urges Noguchi to help him.

As part of the tower separates itself, the Predator is about to fall down and the Copter piloted by Noguchi comes closer to help him. Miriam uses a communicator to help the Predator realize they are helping him. As the Predator hangs on to one part of the Copter, an Alien jumps towards the vehicle causing Noguchi to react instinctively by jerking the controls. The Copter then spins on its axis as the nearby tower collapses.

The Copter begins to fall down on the street below…

Quality

*Even as this comic book is packed with lots of action scenes, thrills, and Aliens-Predator fights, the creative team succeeded in emphasizing the narrative all throughout.*

I am delighted to say that the Stradley-Norwood duo succeeded with maintaining the high quality works of this mini-series and concluded it with impact. At the heart of the story is the theme of survival with the humans being symbolized as casualties of a raging conflict between the fully determined and instinctive Aliens and the strategic and technological Predators.

Through the protagonist Machiko Noguchi, readers will realize that as a species, humans can survive not only by having a powerful will to progress backed with focus, but also by communicating and cooperating with an intelligent non-human species that shares their traits. In this case, the non-human species I’m referring to are the Predators. That being said, the Aliens are the non-human species with limited intelligence, fully determined to hunt anyone or anything, and absolutely do not care about morals nor the existence of any species they find different from themselves. All the symbolism about the three species got portrayed powerfully and creatively throughout the story here.

As before, the plot moved at a medium pace and details are emphasized through dialogue, visuals and narrations without ever dragging the pace down. This shows how the creative team proved to be efficient with explaining the details as they focused on telling the story in ways to keep readers engaged.

I should mention that the protagonist Machiko Noguchi became even more significant in this comic book. Without spoiling the details, I can say she blossomed into a heroic figure who risks her life to help many even as she faces tremendous odds. In case you are wondering, Noguchi is NOT a rip-off of Ellen Ripley as she is the colonial overseer dedicated to the corporation. It just so happens that Noguchi shares common traits with the cinematic icon such as bravery, the refusal to give up and having the will to help others even while risking her own life. I can only imagine Ripley and Noguchi conflicting with each other if they were together under normal circumstances.

Noguchis’s short but intense union with the cooperative Predator was told very believably which added depth to the story as well as impact on the conclusion.

As this is the final issue of the mini-series, the creative team really ramped up the big-payoff to what was built up before. In fact, the final conflict here seems to show that Stradley and Norwood were aware about what made the cinematic final conflicts of Aliens (1986) and Predator (1987) entertaining and memorable to moviegoers. That being said, I can say that certain action and sci-fi elements from those movies were implemented in this comic book’s final conflict which I found really engaging, inspired and fun to read.

Conclusion

*The union between Machiko Noguchi and this particular Predator is a must-read!*

Aliens vs. Predator #4 (1990) is truly a great comic book as well as a powerful conclusion to this very significant comic book mini-series. The creative team not only told the whole storyline with great quality, a steady pace and strong engagement all throughout. It is also here where you will get to see Machiko Noguchi become very significant not only within the Aliens-Predator comic book universe of Dark Horse Comics but in sci-fi comics in general. The ending of this comic book is very powerful and served also as a big pay-off to what preceded it. This is a genuine sci-fi comic book classic!

Overall, Aliens vs. Predator #4 (1990) is highly recommended!

+++++

A Look Back at Superman vs. Aliens #2 (1995)

June 22, 2023June 19, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1995 to examine another chapter of the Superman vs. Aliens mini-series.

In my previous retro review, an object from space on Earth and Superman (who previously as Clark Kent learned of the Kryptonian language from the signals transmitted by the object) intervened the discovery of it in the presence of Lexcorp. After much talk and an agreement, Superman went into space with one of Lexcorp’s space ships (under the watch of Dr. Kimble who leads the corporation’s space division) leaving behind Lois Lane at the space station with Kimble. Deep in space, Superman arrives and discovers a ruined city with physical signs of struggle. What he does not realize is the presence of eggs and the Xenomorphs lurking within the new environment.

With those details laid down, here is a look back at Superman vs. Aliens #2, published in 1995 by Dark Horse Comics and DC Comics with a story written and drawn by Dan Jurgens with ink work done by Kevin Nowlan.

Early story

The story begins in space when a space ship sent home by Superman is about to collide with the space station near Earth. As one of the crew members failed to take remote control of the incoming ship, a very determined Dr. Kimble takes over the controls and eventually took command of the said ship. Lois Lane, who showed signs of self-restraint and deterioration of her professionalism as a journalist, watches. As Kimble, Lane and the crew members approach the ship at the station’s docking bay, one passenger was found dead (a Chestburster alien came out of him) while three others were still alive.

As Dr. Kimble and personnel brought the surviving passengers in the infirmary, Lois Lane takes advantage of the situation by climbing up the ship to examine it closely. She knows that without the ship, her beloved Clark Kent/Superman is stranded in space. She is completely unaware of the presence of a fully grown Xenomorph alien watching her from a dark corner.

Meanwhile at the ruined city on the other side of the galaxy, a blindfolded Superman is carefully guided by the armed Kara going to a place that has medical equipment and supplies…

Quality

*Lois Lane during her encounter with the Xenomorph inside the space station.*

This is a solid follow-up to what was established in issue #1. In this comic book, the creative team gradually raised the stakes as two sides of the story were told extensively in alternating fashion – the side of Superman and Kara in deep space, and the other side of Lois Lane and Dr. Kimble (clearly the 3^rd most important character in this mini-series) inside the space station.

As the story went on, Superman became even more vulnerable not only because he grew weaker as he has been cut off from the sun (a primary source of energy for him), but also because struggling with the aliens wore him down a lot and he still insists on avoiding any acts of killing due to what happened to him previously. As the Man of Steel became more vulnerable, Kara (who is experienced already in fighting the Xenomorphs which she referred to as the uglies) became an even more significant character (next to Dr. Kimble) and she became a highly essential partner for the icon.

Even for us readers, Kara creatively became even more engaging as she shared memories of events (note: exposition) that happened sometime prior which explains why her city got ruined and how the Aliens arrived and made her people’s problems even worse. The visualization of the said events were efficiently done for a good immersion into the past.

While the Superman-Kara thread emphasized survival facing tremendous odds, the Lois-Kimble thread became a more significant part of this mini-series as the space station became the new place for Xenomorph attacks. While Dr. Kimble remained obsessed with achieving results with scientific discoveries and corporate interests in mind, Lois Lane became the hunted similar in the style of Ellen Ripley in 1979’s Alien.

If you are looking for action, you will find a lot of them in both threads of the story. While just one Xenomorph on the space station led to some incidental action moments, a lot more action happened on Superman-Kara’s side of the story as they (along with a few human survivors on the ruined city) faced a huge horde of aliens that kept on attacking them from all sides. If you are looking for superhero spectacle, you won’t find it here as the action is more grounded with sci-fi’s interpretation of reality and Superman here is weaker and a lot more worn down physically. Then again, this is not surprising given the tone and concept the creators aimed for.

Conclusion

*Superman and Kara struggling hard as they are surrounded by lots of Aliens. One of Kara’s fellow people is present in this shot.*

Superman vs. Aliens #2 (1995) is really engaging to read and there were lots of fun moments along the way. Even as the creators were building up something for the third and final issue, they managed to pull off big pay-offs to what was built up in issue #1. While the lack of superhero-style spectacle is clear, it is not a problem at all as there is a lot of action involving the many Xenomorphs in the ruined city plus the bouts of suspense and incidental action executed during Lois Lane’s encounter with a single but deadly Alien. Considering how much fun and engagement this comic book has, it remains to be seen how the next issue will live up to it.

Overall, Superman vs. Aliens #2 (1995) is highly recommended!

+++++

A Look Back at Spider-Man 2099 Special #1 (1995)

June 21, 2023June 18, 2023carlocarrasco

Specifically speaking, we will examine a thick one-shot comic book about the futuristic Spider-Man simply referred to as a special. Back in those days, Marvel Comics hired the famous Brothers Hildebrandt and among the projects they worked on were varied pieces of captivating art about Marvel’s 2099 universe. In relation to this particular retro comic book review, the Hildebrandt brothers made the cover art for the special comic book which contained three standalone stories.

With those details laid down, here is a look back at Spider-Man 2099 Special #1, published in 1995 by Marvel Comics with the main story “The Menace of the Man-Spider” written by Jon Peterson and drawn by Joe St. Pierre.

Early story

The story begins at 1:45 AM inside the high-tech laboratory of Synthia when the Man-Spider (a human in a monstrous form of a huge spider) causes havoc and tries to hurt the personnel inside in response to their interference of his work. One of the troubled personnel manages to call for help as the Man-Spider tries to get them.

Just as the two workers get hit by the Man-Spider’s organic green web, armored elements of the security force arrived in response to the call and one of them fires a hot at the beast’s right arm causing a serious wound. Suddenly, the Man-Spider violently jumps away smashing through a large window going into the city. The Man-Spider escapes leaving behind a mess at the laboratory including a high amount of organic web that disgusts the people back there.

Hours later at another part of the city, Spider-Man got spotted by a floating drone which declares him as under arrest under the authority of the Public Eye. Spider-Man simply kept on swinging away to another destination until he uses his organic web on the drone and hurls it to a wall and explodes into several tiny pieces. Once alone, he changes into civilian clothes as Miguel O’Hara and rushes to Synthia’s facility…

Quality

Focusing on the main story (the first story), I find this particular tale of Spider-Man of 2099 rather worthy to read even though there were some flaws here and there. Jon Peterson crafted a story that took place sometime before the 34^th issue of the original Spider-Man 2099 monthly series while reflecting what was declared in issue #8 and building up something new with it. The main story was about Spider-Man getting into eventual conflict with the Man-Spider (note: it looks like someone at Marvel decided to copy DC Comics’ Man-Bat and make something new for the Marvel 2099 franchise) who in turn is an antagonist who is deeply troubled and yet not really evil. The Man-Spider is actually a man who does not have super abilities but rather high scientific intelligence and the capabilities to alter genetics using advanced technologies. The Man-Spider is not obsessed with destroying the world or murdering people, but achieving a major breakthrough backed with good intentions.

One of the most notable weaknesses of the script written by Peterson is the emphasis that Miguel O’Hara/Spider-Man 2099, Dana and the so-called resident mad scientist Antoine have a history together since their youth. This one felt very forced and ended up being unbelievable.

Still on the world-building aspect of the story, this comic book showed a true link between the company Synthia and the gigantic Alchemax which reflects what was state in issue #8. This link between the two corporations opened up opportunities for the creators to emphasize Alchemax’s moves on securing valuable stuff for the future.

Ultimately, the main story turned out to be a good read even though there were flaws that somewhat took away credibility from its core concept. I should also state that Joe St. Pierre established a rather unique look for the Spider-Man 2099 franchise. His work here is a nice alternative opposite Rick Leonardi’s Spidey 2099 art.

While the 2^nd story of this one-shot was not worth reading at all, the final story has a unique concept exploring voyeurism in 2099 which accidentally reminded me about how social media in real life could ruin the public’s perception and people themselves.

Conclusion

*Spider-Man 2099, Dana and the Man-Spider in a dangerous situation.*

With a good enough main story, one forgetful 2^nd story and a satisfactory third story, Spider-Man 2099 Special #1 (1995) is ultimately a mixed bag. You will find variety here as well as unique takes on the futuristic Spider-Man and 2099’s society from the creators, but don’t expect great stuff. I think the most die-hard Spidey 2099 and Marvel 2099 fans will enjoy this the most.

Overall, Spider-Man 2099 Special #1 (1995) is serviceable.

+++++

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