comic book adaptation – Page 4 – Author Carlo Carrasco

A Look Back at Godzilla: King of the Monsters #1 (1977)

October 13, 2023October 10, 2023carlocarrasco

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

Welcome back superhero enthusiasts, 1970s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1977 when Marvel Comics had the license to publish comic books about Japan’s iconic monster Godzilla (Gojira in Japanese) and even integrated him into their shared comic books universe.

The mid-1970s saw a decline of Godzilla’s popularity in Japan as reflected in the commercial disappointment of the movie Terror of Mechagodzilla (1975). The company Toho decided to put on-hold the production of its monster movies without permanently ending the Godzilla film franchise. The next Godzilla movie released was The Return of Godzilla (1984) which proved to be a solid rebound of the Japanese film franchise.

Sometime between the mentioned movies, there was interaction between Toho officials and Marvel Comics – including the late Stan Lee – when the Japanese company screened the movie Godzilla vs. Gigan (titled in America as Monster Island) to the comic guys in relation to the film’s American theatrical release. It turns out Stan Lee enjoyed the movie a lot and seated next to him was writer Doug Moench (the eventual writer for the Godzilla comic book series).

With those details laid down, here is a look back at Godzilla: King of the Monsters #1, published in 1977 by Marvel Comics with a story written by Doug Moench and drawn by Herb Trimpe.

Early story

The story begins in Alaska when a huge iceberg suddenly deteriorates unleashing a gigantic monster with sharp teeth, dorsal fins and immense strength – Godzilla. After instantly crushing a supply ship, the monster moves onto the land destroying structures and disrupting the lives of every person nearby.

In response to Godzilla’s rampage in Alaska, S.H.I.E.L.D. dispatches its agents to the site of destruction to take on the monster. Meanwhile, S.H.I.E.L.D. director Col. Nick Fury is transporting with him three Japanese individuals deemed important (with clearances from the Pentagon and the White House)…

Quality

*Dum Dum Dugan, Col. Nick Fury and the Japanese characters.*

To get straight to the point, this comic book not only marked the literary debut of Japan’s iconic monster under Marvel Comics’ banner but also his integration into the shared universe of the time. That being said, the story written by Doug Mench was pretty much a functional build-up of Godzilla’s presence within the realm of Marvel which includes a strategic choice of having S.H.I.E.L.D. and its characters encountering the monster. In short, the creative team decided not to literally pull out Marvel’s biggest guns (the more popular superheroes and teams) as such a move would have lessened the impact of Godzilla’s debut.

For the most part, S.H.I.E.L.D.’s Nick Fury and Dum Dum Dugan had lively portrayals and the way they reacted to the rampage of Godzilla was believable. The introductions of the Japanese characters (who could provide breakthroughs on dealing with the giant monster) were clearly inspired by the Japanese scientists who were crucial in the plot of the original 1954 movie Gojira.

Going further, Doug Mench went on to efficiently establish Godzilla’s origin which creatively is a sensible reinterpretation of what was established in the 1954 movie. The giant monster’s rise as a result of humanity’s testing of powerful weapons on Earth is definitely here.

As expected, Godzilla is the unrestrained force of destruction but as this comic book was released in the 1970s, the destruction scenes lacked impact as they were creatively sanitized with deliberate moves of showing no casualties no matter what happened. This limitation on the part of Marvel Comics showed they were not willing to emulate the approach on destruction and death that was clearly emphasized in the first Godzilla movie of 1954.

As for Godzilla himself, Herb Trimpe’s visual approach is not really good. While Trimpe implemented the guy-in-a-suit shape on the giant monster’s form, he made Godzilla his own (took no inspiration from Godzilla’s cinematic designs) which resulted in making the icon look unrecognizable. There were inconsistencies on Godzilla’s head as well. In certain shots, Godzilla looked terrifying but in other shots, he looked weird or cartoony. The use of the color green did not make Godzilla look reptilian but rather comical.

Conclusion

*I can only imagine the SJWs and the climate change extremists enjoying these images of an unrecognizable Godzilla wreaking havoc to the oil supply.* *Are there lots of people in your local community who were brainwashed to hate oil and gas?*

Godzilla: King of the Monsters #1 (1977) is a serviceable approach on debuting the iconic monster within the fantasy realm of Marvel Comics and sparking a new wave of crossovers. There were uneven levels of quality here and there, and Herb Trimpe’s visual approach on Godzilla was alienating to say the least. Honestly, I did not really see Godzilla in this comic book but rather a green-colored dinosaur-like creature that was mislabeled as Godzilla. What works here is the writing by Doug Mench which proved to be entertaining enough.

Overall, Godzilla: King of the Monsters #1 (1977) is satisfactory.

For my other Godzilla-related posts, click here, here, here, here and here.

+++++

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

September 21, 2023September 21, 2023carlocarrasco

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

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

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

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

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

Early story

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

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

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

Quality

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

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

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

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

+++++

A Look Back at Stephen King’s Creepshow (1982)

July 14, 2023July 13, 2023carlocarrasco

Welcome back fellow geeks, pop culture enthusiasts and comic book collectors! Way back in 1982, the horror comedy anthology film Creepshow was released in cinemas and it gave moviegoers a fun time getting scared as it featured well-made short stories written by Stephen King and directed by George Romero. The two creators were strongly influenced by the 1950s horror comic books of EC Comics when they made the movie. Very recently, Creepshow was released on 4K Blu-ray loaded with lots of extras for fans and moviegoers to enjoy. The said 4K Blu-ray release can be ordered online now.

I myself first saw Creepshow on home video sometime in 1983 and got to replay it occasionally on cable TV and DVD. Strangely enough, it was only a few years ago when I first learned that there was indeed a comic book adaptation of the movie that was also released the same year it hit cinemas.

With those details laid down, here is a look back at Stepehen King’s Creepshow published in 1982 by Plum with stories written by Stephen King and drawn by Bernie Wrightson (with Michele Wrightson). The cover was illustrated by the late EC Comics legend Jack Kamen.

Early stories

Father’s Day – Sylvia Grantham, her nephew Richard, niece Cass and Hank (husband of Cass) enjoy time together at the Grantham estate anticipating the arrival of Bedelia for the annual family dinner. It is an open secret within the family that Bedelia killed her late father Nathan Grantham who was so overbearing to her as she became responsible on nursing him full-time.

*Bedelia apart from her relatives in **Father’s Day**.*

The Lonesome Death of Jordy Verril – A lonely farmer named Jordy witnesses the unexpected arrival of a meteorite from out space which landed violently on his farm. After realizing what it is, he touches it without any protection and gets his fingers burned. Considering the rarity of the object, Jordy begins to imagine making a lot money by bringing it to the local college.

*A page of the story of Jordy and the meteor.*

The Crate – In the basement level of Amberson Hall (science building of Horlicks University), a janitor accidentally finds a very old wooden crate located right under the staircase. The writings “Ship to Horlicks University via Julia Carpenter – Arctic Expedition – June 19, 1834” were marked on the crate. Meanwhile a faculty party is taking place across town. During the party, the mild-mannered college professor Henry Northrup experiences embarrassment as his unhinged wife Wilma (note: referred to as Billie) talks way too much in front of professor Dexter Stanley and many others. Henry reveals to Dexter that he has grown to hate his wife. Suddenly, someone tells Dexter that a telephone call for him is waiting. It was the janitor who made the call.

*Henry, wife Wilma (AKA Bilie), the janitor and Dexter Stanley in **The Crate**.*

Something to Tide You Over – At a beach, Harry Wentworth could do nothing but remain helplessly immobile as his entire body and neck have been buried under the sand by Richard. It turns out that Harry has been having an affair with Becky, Richard’s wife. The helpless Harry expressed that he and Becky were really in love with each other. For his part, Richard has something else to show to him and he certainly has some things prepared.

*Richard and Harry in **Something to Tide You Over**.*

They’re Creeping Up on You – A wealthy and cruel businessman named Upson Pratt is alone in his well-lighted apartment. He has been suffering from mysophobia and has been living in isolation and only communicates with others using the telephone and other electronic methods. Slowly but surely, cockroaches begin to multiply in his apartment.

*Upson Pratt and the cockroaches in **They’re Creeping Up on You**.*

Quality

Starting with the storytelling with emphasis on how the comic creators selected content from the movie and translated it all into illustrated literature format with a little over sixty pages to work with, I can say that this comic book is pretty much a faithful adaptation of the film’s five short stories (note: the cinematic prologue and epilogue were never adapted). For each short story, it is clear that sufficient details from each cinematic tale were adapted and the overall concepts, acts and characterizations were pretty much maintained. This is a credible piece of illustrated literature work as each tale is not only readable but also engaging and entertaining complete with shock moments. Take note that Stephen King not only wrote all these tales for the movie, there were two tales that were previously published in literary format before Creepshow was even made. Whoever participated in the editing process behind the production of this comic book deserves commendations.

While the writing used in adapting the film’s concepts and characters turned out good, it is clearly obvious that certain cinematic elements could not be translated here. Remember how frantic and scared Dexter Stanley (played by the late Fritz Weaver) was in the movie after he witnessed the janitor got killed by the monster? Those cinematic emotions never made it in illustrated literary format here.

The artworks by Bernie Wrightson are pretty good to look at. Similar to the writing, the visuals here were made to recapture the look of the movie not in a shot-for-shot manner but with the artist’s own approach on how such scenes should be presented. That being said, I should state that the comic book panels that appeared in the movie’s transition scenes (example: still live action image slowly turning into illustrated comic book form) are NOT here at all.

You will instead see Wrightson’s own visual interpretation of the scenes from the movie and the artworks were inspired a bit by the 1950s horror comics of EC Comics and ultimately were more in line with the contemporary approach of drawing comic book art of the 1980s. The gory scenes from the movie made it in this comic book. When it comes to drawing monsters or the undead, the art result was uneven. While Wrightson’s art of the monster in The Crate was really scary to look at (in accordance to how it appeared cinematically), the work on the walking dead in Something to Tide You Over looked much less scary compared to those in the film.

While Wrightson clearly did not prioritize recapturing the likenesses of the actors to illustrate their respective characters, there were a few shots in which professor Henry Northrup somewhat looked like the late Hal Holbrook, and the illustrated Bedelia resembled the late Viveca Lindfors.

Conclusion

The best way to describe Stephen King’s Creepshow (1982) is this…it is indeed a very solid adaptation of the movie and its five short stories. While it was clear that not all the dialogue and other types of content of the movie could ever fit in this comic book, the creators did a very credible job of adapting Creepshow’s core elements and succeeded in making what they had solidly presented for readers to enjoy. Each short story from the movie turned out to be cohesive and enjoyable for reading.

When it comes to really enjoying this graphic novel, I personally would recommend you readers to watch the Creepshow movie first before reading. The film is the complete package of entertainment showcasing the combined works of Stephen King and director George Romero, while this comic book is ultimately the companion piece for those who enjoyed the movie as well as EC Comics’s horror comic books of the 1950s.

Overall, Stephen King’s Creepshow (1982) is highly recommended!

+++++

A Look Back at Superman vs. Aliens #1 (1995)

June 15, 2023June 13, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1995 to examine what was back then one of the most unthinkable comic book crossovers to ever happen – Superman vs. Aliens (also referred to as Superman/Aliens).

I remember sometime back in 1994, I bought a new superhero comic book from the local comic book retailer and what caught my attention was the print ad on the back – an Alien chestburster crashing through the iconic Superman S logo. A few of my friends who saw the same print ad chuckled at the concept of having the Man of Steel together with the monsters from the movie franchise that first started in 1979 with Ridley Scott’s Alien. Then came 1995 and eventually the first issue of the Superman vs. Aliens mini-series made it on the shelves of local comic book stores. Its cover easily attracted the attention of many and I saw the image of Superman being smaller to the Xenomorph alien in the background, the concept of the crossover started to intrigue me.

With those details laid down, here is a look back at Superman vs. Aliens #1, 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 fast moving object from nowhere heads towards Earth which was detected by a satellite of Lex Luthor’s corporation. Behind the scenes, personnel initiated an alert for a certain Dr. Kimble.

Clark Kent (Superman) and Lois Lane arrive at the headquarters of Lexcorp. It turns out they were suddenly called for by the corporation due to what happened in space. As they ride the elevator heading towards the rooftop, Clark and Lois talk about Lexcorp’s space program and Dr. Kimble who happens to lead the said program.

At the roof, they meet Dr. Cheryl Kimble and immediately ride with her in the helicopter going to a certain destination in anticipation of the probe’s estimated arrival. During the trip, Kimble reveals that they received radio signals from the incoming probe which were garbled almost unintelligible. She then plays an excerpt of the radio signals for Clark and Lois to listen to.

For Clark, he cannot help but feel shocked as he finds the audio sounding like Kryptonian…

Quality

*Superman finds a dead Facehugger alien.*

Firstly, I can say without any hesitation that the creative team succeeded in making the crossover between Superman and the Aliens believable within this very comic book. For one thing, Dan Jurgens came up with a script and visual design that radically different from what was shown in Superman comic books of the time. The script had this somewhat adulterated tone that made the comic book move away from superhero fantasy and move into the realm of cinematic science fiction. For setting the tone and the look, the creative team scored a home run.

Secondly, the script was properly structured to immerse readers with the tale initially following Superman, Lois Lane and Dr. Kimble which ultimately served as a build-up. The good news here is that readers don’t have to wait too long for the pay-off to be executed. In fact, the pay-off itself (which happens when the Man of Steel finally encounters the Xenomorph for the first time) is huge and immediately the tension and depth of the plot really shifted into high-gear which I enjoyed. Along the way, the expository dialogue or the presentation of details (to help readers understand) was nicely balanced.

Thirdly, I love the way how Dan Jurgens presented Superman as being more troubled and more vulnerable than usual. To see the American icon go into personal obsession over the Kryptonian details was a really unique way to presenting his human side. Also having Superman deep in space far away from any sun or star (the essential source for his powers) really made him truly vulnerable as he actually got weaker even before facing off with a Xenomorph. Being in a vulnerable state, you will see the Man of Steel in real danger which truly goes against type (note: being super strong and invulnerable all the time). As such, the danger of the Aliens against him is believable and intense. What I do find weird, however, is how awkward it is for me to see Superman actually trying to reason with the first Xenomorph he encounters. Of course, he has no previous knowledge about the violent nature of the Aliens but we readers – and millions of people who saw any of the movies – know better than him.

As part of the build-up, Dan Jurgens inserted details and flashbacks that recalled previous tales that were published during the early stage of the post-Crisis era of DC Comics. This not only includes Superman’s arrival on Earth but also his strategic killing of General Zod, Zaora and Quex-Ul using green Kryptonite (as published in Superman #22 of 1988). As such, Superman’s deep regret of taking life away from others serves as a build-up for his avoidance of killing in this crossover. This actually races the stakes for his upcoming encounters with the Aliens.

Even though the story is told through Superman, Dan Jurgens still had enough room to develop Lois Lane and Dr. Kimble. Kimble symbolizes the driven corporate executive who is in-charge of operations that could help her make claims on scientific discoveries and new technologies. Lois Lane here served as the intellectual opposite of Kimble without ever going into the extremes of gaining something for her journalistic career.

Conclusion

*Superman with Lois Lane and Dr. Kimble.*

Very clearly, Superman vs. Aliens #1 (1995) is indeed a great comic book as well as great opener for its mini-series. Dan Jurgens established a tale that had sufficient build-up and when the pay-off started, the crossover aspect really made the story more compelling to read. Ultimately, this one made the crossover between Superman and the Xenomorphs believable, engaging and intriguing. This comic book is a great start and I am eager to find out what happens next.

Overall, Superman vs. Aliens #1 (1995) is highly recommended!

+++++

A Look Back at Aliens vs. Predator #2 (1990)

June 2, 2023June 4, 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, most of the humans living and working in Prosperity Wells are unaware about the creeping danger coming at them. Alien eggs were laid in the wilderness while a ship carrying multiple Predator hunters has landed. At the human outpost, the leader Machiko Noguchi remains disrespected as the staffers and ranchers still trust her predecessor Hiroki Shimura.

With those details laid down, here is a look back at Aliens vs. Predator #2, published in 1990 by Dark Horse Comics with a story written by Randy Stradley and drawn by Phill Norwood.

Early story

The story begins with the huge spaceship still at the launch platform of Prosperity Wells. The ship should have launched already with a huge cargo of indigenous animals – the Rynth – for export. It turns out that the two human pilots were captured by the Xenomorphs and in the presence of the Alien queen inside the ship, they witness one rynth (part of the herd from the ranching) die as a Chestburster alien comes out of its body.

Meanwhile, Machiko wakes up as her respected predecessor Shimura arrives and tells her that Dr. Revna still has not returned. During her talk with the wife (also a doctor), Machiko learns that the missing doctor was on his way to Iwa Gorge to find more aliens (note: the Facehugger alien) and that a lady worker (who made the first discovery of a Facehugger) informed him of the place.

As Machiko and Shimura analyze what they know, two outpost personnel discover the remains of a destroyed Predator space ship and, more notably, one unconscious Predator hunter…

Quality

*The Predators looks really odd with the colors implemented on them by the creative team of this comic book.*

If you were deeply engaged in issue #1, then you will have a lot to be engaged with in this issue. The script by Stradley is very solid and with a medium pace, details were consistently laid out for readers’ understanding while the build-up for the inevitable chaos – between Xenomorphs and Predators with humans in the middle literally – is strongly felt.

Machiko Noguchi’s management and ability to analyze situations really get tested in this story and along the way, you will see how much the outpost changes reflecting the moves made by her administration which is ultimately a response to a brewing crisis. At this stage of the comic book mini-series, the danger of the two galactic species begin to make impact on innocent humans in violent ways. The scene showing the home of people (located some distance away from the main complex of the outpost) getting invaded by the Predators has uncompromising violence which makes the incidental action look really disturbing.

More on the human characters, this comic book has very rich dialogue backed with special attention to details implemented by Stradley. This is very evident in the scene in which Machiko, Roth, Ackland and Shimura talk intensely about what happened and what factors caused those things to happen. Through the verbal exchange, you will witness Machiko’s bravery and leadership come to life as she confronts a rebellious rancher (who insulted her in a very personal way) over the truth about what happened. Not only that, you will also feel the stress she experiences as she manages the outpost at a time of crisis.

For the fans of Predators and Aliens reading this, you will see a lot more of them in this issue and I can assure you that Norwood is really great in visualizing them and showing them with violent action that will remind you of the movies. As with the previous issue, the colors implemented on the Predators remains very odd to look at.

Conclusion

*Live humans helplessly watching an animal die as a Chestburster alien comes out of it in the presence of the Alien queen.*

Aliens vs. Predator #2 (1990) is a great follow-up to issue #1. As expected, the stakes were raised higher and the tension really intensified as the narrative went on. The creative team really should be admired for not only crafting this high-quality chapter of the mini-series, but also for their believable and engaging build-up of the plot, the characters and conflict altogether. This comic book is a lively reminder of how great a non-superhero comic book crossover could be.

Overall, Aliens vs. Predator #2 (1990) is highly recommended!

+++++

A Look Back at Armorines #1 (1994)

March 28, 2023March 25, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the early 1990s and explore a part of the shared universe of Valiant Comics through the Armorines monthly series.

Before I start, I should state that the superhero concept of an armored human protagonist who could do many incredible things made possible by high technology made an impact on comic book storytelling for decades. Look at Marvel’s Iron Man and the Ultraverse’s Prototype for examples.

While Valiant Comics already had its own armored superhero with X-O Manowar (note: his armor is symbiotic, not technological), they decided to move forward with the concept of armored figures in the form of a military team.

With those details laid down, here is a look back at Armorines #1, published in 1994 by Valiant Comics with a story written by Jorge Gonzalez and drawn by Jim Calafiore.

Early story

The story begins five hundred kilometers off the southern coast of Australia. Four people dive very deeply to explore nuclear-powered submarine U.S.S. Benchley which has been dormant for some time already. While exploring the interiors of the submarine, the divers got attacked by something in the dark.

At Camp Pendleton in California, an armored U.S. marine goes through an intense training session fighting machines not knowing that there could be traps waiting to get triggered. As Gunny (the armored marine in the session) falls into a trap, his teammates, General Kendall and the scientist Zahn watch the proceedings behind the scenes as another teammate (operating with virtual reality on her high-tech station) continues to communicate with him.

As time passes by, the situation gets even worse for Gunny physically…

Quality

Armorines has members who go out on the field wearing high-tech suits of armor while there are other members who serve as co-pilots using virtual technology and constant communication behind closed doors.

In terms of storytelling, the creative team focused mainly on the build-up of not just the plot but also the importance and the ways of the Armorines themselves. As weapons of the government, Armorines are an expensive team to run due to the use of very advanced technologies for operations. The Armorines have members who go out on the field wearing high-tech suits of armor that provide enhanced protection while also carrying high-tech weapons for offense. The team also has members who stay behind closed doors to use individual stations with virtual reality and enhanced communication with their brothers on the field.

When it comes to the characters, the smoking Gunnery is noticeably the one who got the most exposure and the most development. The other Armorine members got token exposure for the readers.

More on the plot itself, there is a mission that requires the Armorines to go deep underwater to solve a mystery and do something dangerous secretly. The mission was essentially all about protecting America’s top-secret weapons from falling into the wrong hands. To be clear, the mission itself happens in the 2^nd half of this comic book which ultimately serves as a pay-off to the build-up the happened earlier. In fairness to the creative team, there was a good amount of suspense presented when the mission really started moving. There definitely something worth seeing during the mission.

Conclusion

*In this story, Gunny is the closest thing to a definitive protagonist.*

To be very clear, Armorines #1 (1994) is not exactly the high-powered, action-packed story people could expect from seeing the armored marines looking capable of fighting terrorists and other enemies of America in militaristic fashion. This comic book’s story is indeed surprising to me and the creative team was not hesitant to push hard with the concept they came up with here. As this comic book was clearly executed with build-up, introductions and emphasizing concepts in mind, it is not surprising that the pay-off in the 2^nd half led to moments of intrigue and suspense with momentum going into the next issue. Lastly, I should state that this comic book is free from political influence and its focus on the team has been very consistent.

Overall, Armorines #1 (1994) is recommended.

+++++

A Look Back at Hulk 2099 #1 (1994)

March 15, 2023March 13, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the wild 1990s by examining one of the many tales of Marvel Comics’ 2099 line of franchises, specifically through the Hulk 2099 monthly series.

For the newcomers reading this, Hulk 2099 first appeared in 2099 Unlimited #1 (1993) which also had his origin story told. Hulk 2099 was not a mere version of the classic Incredible Hulk with a futuristic touch. In fact, the futuristic green creature highlighted the protagonist John Eisenhart as a very selfish and obsessed Hollywood studio executive who happens to stumble upon the idolaters/worshipers of the classic Hulk Bruce Banner because he was searching for new properties and stories for his studio. Hulk 2099’s origin has notable similarities to that of the classic Hulk and gamma radiation exposure is one of them. As tales of the futuristic Hulk were told through the quarterly releases of 2099 Unlimited, Marvel decided it was time to give the green creature his own monthly series.

With those details laid down, here is a look back at Hulk 2099 #1 published in 1994 by Marvel Comics with a story written by Gerard Jones and drawn by Malcolm Davis.

Early story

The story begins with the Hulk of 2099 destroying security droids and verbally attacking civilization. As he retains the intellect of John Eisenhart, he expresses his opposition against civilization for keeping people out of the water reclamation zone.

The story then shifts to California where Lotus Entertainment (Eisenhart’s employer) and its crew work on producing a film which is a dishonest telling of Eisenhart’s dealings with the Knights of Banner (already eliminated in 2099 Unlimited #1). During the production, one of the executives notices the absence of Eisenhart.

Elsewhere, John Eisenhart drives his flying car with Knights of Banner youth survivor Gawain as his passenger. Already struggling with the guilt over the deaths of all the adult Knights of Banner members, Eisenhart intends to end his employment and cash out of his contract. Gawain remains hostile towards Eisenhart.

Quality

*The creative team used flashback images that look really similar to what was told in 2099 Unlimited #1.*

If there is anything that is very obvious to talk about, it is the fact that this tale shows a radically different John Eisenhart who wants to get out of Hollywood’s multiple mazes of crookedness as he feels very guilty over what happened to the Knights of Banner. This happens just as a new entity took corporate control of Eisenhart’s employer before he could leave the company. In many ways, Eisenhart’s distress and struggle with being guilty reminds me a lot about Hardcase of the Ultraverse and the way the creative dramatized him was engaging.

For the story, there is a lot of corporate intrigue going on and Eisenhart’s failure to quit quickly was inevitable because the new enemy he faces here has a lot to do with the sudden takeover of Lotus Entertainment. At least on face value, this looks like an attempt by the creative team to change the status quo and move Hulk 2099 to a new creative direction away from what was established in 2099 Unlimited. Without spoiling the details, I can say that something very significant happened before the comic book’s ending and it will impact readers who followed the futuristic Hulk’s stories closely in the 2099 Unlimited series.

Along the way, there is a lot of action and unfortunate physical happenings which symbolize the chaos concept of the script. The notable thing here is that you won’t see very much of Hulk 2099’s monstrous form as the script was specifically written to tell a tale that went beyond one issue. Clearly, the creative team were sparing Hulk 2099 for a conflict in the next issue.

Malcolm Davis’ art has that visceral aesthetic that fits the established look of Marvel’s 2099 universe of the time but there were instances when he showed so much happening, the visuals looked chaotic and even disorienting. In fairness, his take on Eisenhart, Quirk, Gawain and others made them looked recognizable.

Conclusion

*The future of Commiewood, wokeness, and dishonesty.*

While its story has little of the green monster in it, Hulk 2099 #1 (1994) does a decent job building up the tension on top of the guilt-filled Eisenhart while setting up events that looked like a bold new creative direction was coming. By the time this comic book was published, several Hulk 2099 tales were already published in the quarterly 2099 series. On its own, this comic book lightly builds up the lore of the 2099 universe as it was clearly focused on Hulk 2099’s creative concept and characters.

While Eisenhart was indeed determined to change, it is a turnoff to see him lie and exaggerate details to protect himself from a certain corporate psychologist who is after the truth. There is also a lot of anti-corporate expressions here which seems to suggest that someone within the creative team had been thinking with socialist concepts and decided to use the script as an outlet of expression. The weird but true thing is that by today’s standards, Hollywood is filled with Commies/socialists/Marxists/liberals/woke nuts from the film crew up to the executives that run studios and produce films or shows that are dumb, lies about reality, self-centered and extensions of their ideologies. This showed that this comic book was prophetic in some ways.

Overall, Hulk 2099 #1 (1994) is satisfactory.

+++++

A Look Back at Jurassic Park #4 (1993)

July 12, 2022July 10, 2022carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1993 for another look at Steven Spielberg’s Jurassic Park in the form of licensed comic books published by Topps Comics.

In my previous retro review, I found issue #3 to be much more entertaining than the two previous issues mainly due to the thrills and suspense that were the result of the comic book creators’ interpretation the encounter between Dr. Alan Grant’s group and the Tyrannosaurus Rex at its paddock (with the fence no longer electrified due to Dennis Nedry’s dirty act). While the said comic book still had lots of exposition and a wordy presentation, the pace of the storytelling notably moved a bit faster overall.

With those details laid down, here is a look back at Jurassic Park #4, published in 1993 by Topps Comics with a story written by Walter Simonson and drawn by Gil Kane with ink work done by the late George Perez. This comic book was the fourth of a 4-issue mini-series based on the Spielberg-directed movie.

Early story

The story begins at the ruined side of the Tyrannosaurus Rex paddock. Lawyer Gennaro is dead while Dr. Ian Malcolm got serious injured as a result of being chased by the T. Rex. The same T. Rex is right in front of Dr. Alan Grant and teenager Lex with the flipped, ruined vehicle near them (with Tim still inside). Knowing that the huge dinosaur’s vision is based on movement, Grant tells Lex to stand perfectly still no matter what happens. As they try to make their slow move to safety, the T. Rex suddenly moves the ruined vehicle against them by the wall of the still deactivated fence. While holding Lex with his left arm, Grant grabs a loose cable to break their fall as the vehicle got pushed over the edge. Several feet down, Grant and Lex land safely as the vehicle hits the ground.

Over at Jurassic Park’s control center, John Hammond is outraged over what happened as Nedry left them (secretly carrying the stolen dinosaur embryos) and their safety systems are all down. Hammond dispatches Robert Muldoon to go out and rescue his grandchildren, and Ellie Sattler volunteers to help out. Struggling with the computer, Ray Arnold tells his boss that there is no way to get Jurassic Park back on-line without Nedry.

Elsewhere within the park, Dennis Nedry struggles to find his way to his destination. Suddenly, his vehicle slips and loses traction…

Quality

*This is how the memorable scene of the Raptors and Hammond’s grandchildren was adapted.*

Let me start by stating what is very obvious here….this comic book is easily the most enjoyable and fastest-moving adaptation of the key events of Spielberg’s movie (from the T. Rex encounter until the end of the film) albeit with some signs of rush and creative short-cuts. It is also here where the exposition has been lessened and the creators focused more on adapting the cinematic dialogue and the remaining scenes along with the spectacle. The narrative is clearly rushed and it is amusingly amazing to see how the creators managed to cover the remaining events of the movie (note: Dennis Nedry’s death, Robert Muldoon’s tragic encounter with the raptors, Ellie Sattler’s struggle to reactivate the park’s power system, and the varied encounters with the raptors were included) to fit within the pages of this very comic book. In my reading experience, it still worked.

While it is flawed in its execution, this comic book managed to click as a pay-off to the build-up that happened in the first three issues. There is a decent amount of action and sudden moments of incidents here and there, and still the creators managed to tell their own interpretation of the remaining events from the movie.

*This is how Dennis Nedry’s death and the loss of the canister (containing the stolen dinosaur embros) were portrayed in this comic book.*

Gil Kane’s art on the dinosaurs are somewhat good but in what seems to be a sign of behind-the-scenes production rush, his visual take on the T. Rex’s unexpected heroic moment and struggle with the two raptors was drawn with a lack of precision on size and scale. Such literary translation only made me want to return to the movie itself and replay the said scene (which was climactic cinematically speaking). Surprisingly, Gil Kane managed to visualize a few but noticeable bloody moments particularly with the respective deaths of Dennis Nedry (to the Dilophosaurus) and Robert Muldoon (to the raptors).

As the focus here has always been the adaptation of cinematic events, it is unsurprising that there really was no room for character development. Dr. Grant is the only one who showed any real change from being rough on children (as seen in issue #1) to becoming more caring on them (specifically John Hammond’s grandchildren) due to incidents. All the development on Dr. Grant took four issues both literally and visually. John Hammond could have been developed a lot more if only the dialogue was not too limited with the focus on adapting movie dialogue. Speaking of adaptation, the cinematic error about the instant drop (from the perimeter fence of the T. Rex paddock opposite the road) also made it in this comic book.

Conclusion

*This is a creative and clever way the comic book creators combined elements of two separate film scenes into a single sequence with readers in mind.*

Even though it had a rushed narrative, Jurassic Park #4 (1993) ironically managed to be the most enjoyable issue of the 4-issue mini-series adapting the blockbuster movie. It has the most amount of spectacle, more dinosaur visuals for dinosaur enthusiasts to enjoy, and the pace moved much faster. Compared to each of the previous issues, this one was a breeze to read and there were bouts of fun. As a companion piece to the blockbuster movie, the 4-part Jurassic Park movie adaptation mini-series served its purpose to translate its events within the limits of illustrated literature. While it does not obviously capture the magical moments nor the sentimental elements of Spielberg’s work, this mini-series managed to complete its own interpretation ultimately creating stuff that could satisfy the brainy comic book reader, the reader who loves thrills and the reader who is simply obsessed with dinosaurs. It is somewhat symbolic that this final issue had the most fun stuff.

Overall, Jurassic Park #4 (1993) is recommended.

+++++

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A Look Back at Jurassic Park #3 (1993)

July 5, 2022July 2, 2022carlocarrasco

In my previous retro review, the comic book still had the creative issues of heavy exposition and being very word-heavy to read as the creators focused on adapting the movie’s story closely (from the iconic brachiosaurus scene up to the encounter with the triceratops). Compared to issue #1, the comic book’s narrative improved temporarily as it closely adapted the lunch-and-talk scene between John Hammond, Donald Gennaro, Ellie Sattler, Alan Grant and Ian Malcolm whose dialogue was easily the most engaging in both film and in literary format.

With those details laid down, here is a look back at Jurassic Park #3, published in 1993 by Topps Comics with a story written by Walter Simonson and drawn by Gil Kane with ink work done by the late George Perez. This comic book was the third of a 4-issue mini-series based on the Spielberg-directed movie.

Early story

The story begins with the group of Alan Grant, Ellie Sattler, Ian Malcolm, Donald Gennaro and the two kids Lex and Tim who are shocked to see a living triceratops. The large dinosaur, however, falls down on its side causing Ellie Sattler to go near and examine it. Gerry Harding, a Jurassic Park employee, suddenly appears and explains that the triceratops was tranquilized by Robert Muldoon and has been sick. After examining the dinosaur further, Ellie wants to have its droppings examined.

Back in the control room of Jurassic Park, Ray Arnold explains to John Hammond that the center of an approaching story has not changed course and states that he likes to cut the current tour and resume the next day. He emphasized to Hammond that the storm is risky to those on tour.

Just across the room, Dennis Nedry (who secretly cut a deal with a business rival of inGen’s and has been frustrated working for John Hammond) carefully communicates with the captain of the ship that will depart once all the workers have boarded. Knowing he is running out of time to steal the dinosaur embryos and send it to Biosyn, he starts his move with Jurassic Park’s main system…

Quality

*While the sequences of the T.Rex going after Ian Malcolm are not the same as those in the movie, the dinosaur itself really looks creepy.*

When it comes to entertainment value related to spectacle, I can say clearly that this issue really marked the beginning of fun in this 4-issue mini-series. This is because this comic book includes the appearance of the Tyrannosaurus Rex (T.Rex) which arrived just when Alan Grant, Ian Malcolm, Lex, Tim and Donald Gennaro are helpless sitting inside vehicles that stopped by the said dinosaur’s paddock with the fences no longer electrified.

Of course, the minutes-long T. Rex scene in the movie remains memorable as it had a well-blended mix of suspense, action and some horror directed by Steven Spielberg. This comic book’s creators did their best to replicate the experience in illustrated literature format. While it’s not surprising that the essence of the T.Rex paddock scenes in movie were not perfectly captured, this comic book’s adaptation still managed to be entertaining to read showing suspense, horror and some thrills plus Gil Kane managed to even make the infamous dinosaur look frightening. Very clearly, Kane went all-out in presenting the T.Rex as the main dinosaur not only in this comic book but for the whole mini-series.

While the T.Rex paddock scene is the highlight of this comic book, the scene with the triceratops proved to be another exposition-heavy presentation laced with pretentious science and technical explanations dealing with plants, animal health and the like. Meanwhile, the scenes about John Hammond, Robert Muldoon and Ray Arnold struggling with the failures of the park systems while Nedry betrays them secretly were pretty intense to read.

Conclusion

*Lots of exposition and creative explanations in this scene about the sick triceratops.*

So far, I find Jurassic Park #3 (1993) to be the most entertaining issue so far thanks to the way the comic book creators adapted the Tyrannosaurus Rex paddock scene from the movie. While the narrative still had lots of exposition and creative explanations that started since issue #1, the consequential events of Dennis Nedry’s acts intensified the reading experience and the T.Rex scenes really ramped up the fun factor.

Overall, Jurassic Park #3 (1993) is recommended.

+++++

A Look Back at Superman III comic book adaptation (1983)

June 13, 2022July 10, 2025carlocarrasco

Welcome back superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today we go back to the year 1983 which saw the theatrical release of Superman III that featured the late Christopher Reeve as the cinematic Man of Steel.

The 1980s was a very different time with regards to Hollywood’s handling of superhero movies. The concept of a shared cinematic universe was decades away from realization. Warner Bros. back then relied on the Salkind family to produce Superman movies and the first flick in 1978 proved to be a major hit for both viewers and critics while also establishing Christopher Reeve as the definitive live-action Superman for countless people. Unsurprisingly, a sequel was released in the early 1980s which continued box office success for the stakeholders and only led to the approval of another sequel.

Along the way, the late Richard Pryor (a major comedian already) appeared on TV and talked about Superman II which eventually led to him getting hired for Superman III. The movie was released in 1983 making a little over $80 million worldwide while also getting a noticeably weaker reception from critics. More notably, Richard Pryor had a huge chunk of the film’s spotlight as Gus Gorman while the overshadowed Christopher Reeve managed to stretch his cinematic art on playing Clark Kent and Superman (note: there is also the memorable Clark versus Superman battle). Superman III very clearly had a lot more comedy in its presentation. As part of the movie’s marketing, an official comic book adaptation by DC Comics was published.

With those details laid down, here is a look back at the Superman III comic book adaptation, published by DC Comics in 1983 with a story written by Cary Bates and art made by the late Curt Swan and Sal Amendola.

Early story

The story begins inside the unemployment bureau of Metropolis. There, August “Gus” Gorman was told after 36 weeks of chronic unemployment, he is no longer eligible for financial assistance (read: welfare) from the city. As he was about to light his cigarette, he noticed computer job ad on the match. Gorman proceeds to the Archibald Data Processing School where he gets enrolled with several others. In front of others, Gorman does something on a computer which impressed the instructor a lot.

Over at the Daily Planet, Clark Kent/Superman, Lois Lane and Jimmy Olsen meet with Perry White at his office. Kent will be returning home to Smallville and make a news story out of it. White gives Kent his approval and then tells Lois she deserves a vacation.

Hours later, Kent and Jimmy Olsen ride the bus together going to Smallville but their ride stops as a result of a huge fire damaging a large chemical plant. A police officer reveals to Olsen that the scientists inside are worried about the plant and its stuff getting destroyed by the fire.

Kent carefully leaves the bus and discreetly changes into Superman to help solve the problem. Olsen, meanwhile, sneaks past the authorities to get to the burning chemical plant.

Over at Webcoe Industries, company head Ross Webster and his sister Vera learn that more than $85,000 worth of company funds was stolen by someone within. Just outside the office, Gus Gorman enters his fancy looking sports car which Webster, Vera and Lorelei notice. Webster asked how could one of their computer technicians afford such a vehicle worth $75,000…

Quality

*This is a creative way the comic book team used to dramatize Gus Gorman scene revealing and acting the bad news to his boss Ross Webster whose plans were thwarted by Superman.*

While it is understandable that not all scenes and not all character moments from the movie made it on print media, this comic book still managed to capture the film’s essence for the most part. The creative team pulled off their own interpretations of the events and made something entertaining and engaging even though they had to deal with the major challenge of summarizing the movie’s plot and establishing a workable comic book narrative.

I should state that the comic team creatively avoided making in-depth references about liquor and smoking which were obvious in the movie. You will not see Superman drinking liquor at a bar nor will you see Gus Gorman referring to tar listed on a cigarette pack. I suppose this was done to ensure the comic book would be released widely and be acceptable to very young readers and the parents watching them.

*The battle between evil Superman and Clark Kent is best viewed in the movie. This one is a shorter and less detailed version of it.*

When it comes to establishing the clear lead among all the characters featured, Superman fans should be delighted to know that the Man of Steel is indeed more prominent than Gus Gorman. Take note that in the movie, Richard Pryor’s Gus Gorman overshadowed Christopher Reeve’s Superman/Clark.

*Remember the frightening sequence of Vera getting captured and turned into a cybernetic figure by the Super Computer? This is what it looks like in comic book format.*

The art done by Curt Swan and Sal Amendola is decent and it seems to me that their time on visualizing Cary Bates’ script was indeed limited. That being said, it was not surprising to me that, with the exception of Ross Webster in one specific image, none of the characters resembled their cinematic counterparts. Clark Kent/Superman never resembled Christopher Reeve, and Gus Gorman looks nothing like Richard Pryor. Clearly, the artists’ focus was visualizing the narrative which they succeeded.

Conclusion

*Clark Kent, Lois Lane, Jimmy Olsen and Perry White in the Daily Planet.*

*Superman saving Lana Lang’s son from certain death.*

Having seen the Christopher Reeve/Richard Pryor movie in the cinema and on cable TV since 1983, I can say that Superman III (1983) is a decent adaptation. It’s not 100% faithful but it is still a worthy read as it will give you the movie’s concept and entertainment values in literary form. If you really want to full essence of film along with the cinematic moments (note: the Superman-Clark battle is the cinematic highlight) all intact, then your obvious choice is to watch the movie. If you are turned off by the movie’s wacky comedy, then the comic book adaptation will deliver to you the more serious approach on telling Superman III’s story. Let me repeat that Superman is more prominent than Gus Gorman in this comic book.

Overall, Superman III (1983) is satisfactory.

+++++

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