comic books – Author Carlo Carrasco

A Look Back at Resident Evil: The Official Comic Book Magazine #3 (1998)

March 20, 2026March 19, 2026carlocarrasco

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, 1990s arts and culture enthusiasts, video game enthusiasts and comic book collectors! Today we go back to the late-1990s to examine another issue of the magazine-sized comic book series titled Resident Evil: The Official Comic Book Magazine.

By the time WildStorm Productions released the 3^rd issue in 1998, many millions of gamers around the world played Resident Evil 2 on PlayStation. The Resident Evil fanbase expanded dramatically and many of them completed the game’s multiple scenarios. At the same time, Leon Kennedy and Claire Redfield became popular characters in gaming.

The 2^nd issue I reviewed had a very bad adaptation of Resident Evil 2’s story. What prevented the comic book from ending up as a complete disaster were the two other short stories which were surprisingly entertaining to read. Still, I wonder if Shinji Mikami and the game developers ever saw the abysmal Resident Evil 2 adaptation in the 2^nd issue.

With those details laid down, here is a look back at Resident Evil: The Official Comic Book Magazine #3, published by WildStorm/Image Comics in 1998 with short stories written by Ted Adams and Kris Oprisko, and drawn by Ryan Odagawa, Carlos D’Anda and Lee Bermejo.

Early stories

Wolf Hunt – At Raccoon City College, a few students talk about someone who got killed at school and her body was all torn up. They aware that the authorities are keeping the story out of the papers to avoid causing a panic. In the evening, of the students got harmed by a ferocious monster. The next day at S.T.A.R.S. headquarters, Albert Wesker, Jill Valentine and Barry Burton discuss the killings that happened at the city college. They were asked by the local police to investigate what happened. Jill takes the assignment of going undercover as a student.

Danger Island – A man and a woman arrive at Isla Bonale in Caribbean for a vacation. The island is so exclusive, they only let ten couples on it at a time. After having a romantic night of dinner and dancing, they decide to go snorkeling and rent a boat. Just as they start snorkeling, a plane crashes on the island.

Dead Air – Following the events of Resident Evil (1996) and Resident Evil 2, Chris Redfield, Jill Valentine and Barry Burton start traveling to Europe with the goal of ending Umbrella’s current progress on a new variation of the T-virus even though they have to go undercover. They have the support of a top-secret international agency which already has someone in place to help them. Meanwhile, Umbrella has a spy watching on the three.

Quality

*Imagine being surrounded by the deadly Lickers of Umbrella on an island wearing only swimwear and having no useful pieces of equipment to protect yourself with.*

Similar to issue #2, this comic book has three short stories and some extras.

The short story Wolf Hunt, which took place before the events of the original Resident Evil game of 1996, has the odd concept of having werewolves existing within the RE universe. Werewolves are often super natural and such monsters don’t align with the sci-fi and biological aspects of the Resident Evil games. In fairness, the creative team had this interesting concept of having Jill Valentine going undercover as a student in the city college to find answers and solve the problem. I should state that the artwork by Ryan Odagawa is good overall although his take on Jill Valentine is cartoonish. This story is pretty short and lacked a solid conclusion. It’s really a glorified piece of fan fiction that should interest fans of the 1996 game.

Danger Island, the 2^nd short story, is easily the gem of this comic book. This is a completely original tale that has brand-new lead characters – the couple Stan and Leslie – and an island as the setting. Without spoiling the plot, this is a suspense story with a moderate pace, some dynamic visuals and a good implementation of elements from the lore of Resident Evil. The creative team behind this tale emphasized that as long as Umbrella and is biological experiments exist, danger and death will creep up on people regardless of location. A notable monster species from Resident Evil 2 is included here and the effects the G-virus has on creatures on the island are cleverly presented complete with nice artwork by Lee Bermejo.

Through the couple, readers will feel the danger, desperation and anxiety as the story went on. How the story ended is a must-see and I am confident it will encourage you to revisit Resident Evil 2.

The final tale Dead Air is a daring attempt by WildStorm’s creators to make a sequel to the first two games. As mentioned above, Chris Redfield, Jill Valentine and Barry Burton are together on a high-risk mission to find and stop Umbrella in Europe. The main setting is inside a commercial flight where a zombie outbreak happens. Without their weapons, Chris, Jill and Barry are compelled to use alternative items and ways to overcome the zombies.

While this tale is packed with action and the violence is uncompromised, something is off with the way Jill Valentine is portrayed. She is more violent with action and even expressed sarcasm. This tale is pretty short as the comic book made it clear that the continuation will happen in the next issue. Considering what was told in Resident Evil: Code Veronica (released in 2000 with Chris and Claire Redfield included), Dead Air is clearly a non-canon Resident Evil tale and it is at best a polished piece of fan fiction by WildStorm.

When it comes to the extras, you will find the Readers Art gallery and The Resident Evil Files (featuring Chris Redfield and his sister Claire). The most notable extra stuff here, however, is another interview with Resident Evil creator/producer Shinji Mikami and you will even see a few pictures of not just him but also Hideki Kamiya (the game director of Resident Evil 2 who went on to produce lots of highly entertaining games through the decades) and members of the team behind the RE games of the time. Enjoy the pages of the interview below.

*The members of the development team of Resident Evil games of the time.*

*Very notable details shared by Shinji Mikami.*

*Shinji Mikami with Hideki Kamiya. Mikami directed the original Resident Evil game of 1996 while Kamiya directed Resident Evil 2. The two are still prolific makers of video games today.*

*Shinji Mikami played Space Invaders when he was young.*

Conclusion

*Remember Jill Valentine’s extra costume in the original game of 1996?*

Considering the qualities of the three short stories and the extra stuff, Resident Evil: The Official Comic Book Magazine #3 (1998) is easily a huge improvement over issue #2. The quality and creativity of the short stories are better, the interview with Shinji Mikami was worth reading and the comic book itself is more entertaining. That said, I am convinced to move on to the next Resident Evil comic book.

Overall, Resident Evil: The Official Comic Book Magazine #3 (1998) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. 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 The Kindred #2 (1994)

March 16, 2026March 10, 2026carlocarrasco

Welcome back, superhero fans, 1990s arts and culture enthusiasts, Image Comics and comic book collectors! Today we go back to the mid-1990s to examine one of the many tales of the WildStorm universe through The Kindred mini-series.

The Kindred #1 was an entertaining piece of work by Jim Lee’s team. It was a build-up comic book that smoothly sets the stage for the inevitable reuniting of Grifter and Backlash – two former teammates of Team 7 who are also among the most defining heroes of the WildStorm universe – and the dangerous mission to find and rescue IO director John Lynch (who was also part of Team 7) and his assistant in South America. As the story of issue #1 went on, it was clear that elements from the past are creeping up on the characters and IO itself.

With those details laid down, here is a look back at The Kindred #2, published by Image Comics in 1994 with a story written by Jim Lee, Brandon Choi, Sean Ruffner and Brett Booth. Booth illustrated the comic book.

Early story

The story begins with a high-tech aircraft speeding off the coast of South America. Inside, the temporary leader Backlash (supported by deputy Colby) talks with members of the Black Razor team about what the mission is about and what their objectives are. Their goal is to find IO superior John Lynch and his assistant Alica Turner who have been held captive by a mysterious and dangerous bunch called the Kindred.

Upon arrival at their destination, Backlash, Colby and the Black Razors land to start their operation. Moments later, the stowaway Grifter emerges from inside the aircraft and gets spotted by a corporal. Grifter fires at an ugly, human-like monster of the Kindred saving the corporal’s life. Grifter then descends to follow Backlash and the Black Razors…

Quality

*Backlash and Grifter (Marc Slayton and Cole Cash) together after so many years apart. They are former teammates of Team 7.*

This early, I can say that the entertainment value of this comic book went up really high. It is clearly a nice pay-off to the build-up that happened in issue #1 and it has some notable moments as the storytelling went on.

Without spoiling the plot, the core concept of this series became clearer to me as the story progressed. Apart from the creative idea of having the former Team 7 teammates reunited, there are believable reasons as to why Backlash is leading a team of IO’s armed operative and why Grifter tagged along. Both of them are searching for answers while having different agendas or personal goals. There is also animosity between them which strongly implies something bad happened during their time together with Team 7. John Lynch, who often has been a background or supporting character in previous WildStorm tales (but eventually got a stronger role in Team 7 comics), finds himself cornered by the Kindred whose leader is very aware of what IO has been doing all along. At the same time, IO’s legacy of indiscriminate genetic testing on animal fetuses created a force of not only evil but vengeance. What the Kindred leader mentions effectively blurred the boundary that separates good and evil, and even that of abusers and victims.

By the time I reached the end of the comic book, the stakes and the suspense were raised. The same can be said about the overall fun factor.

Conclusion

*The leader of the Kindred is not only evil. He is driven by vengeance and he knows a lot about IO.*

Thanks to strong creative writing, The Kindred #2 (1994) is indeed a more engaging and more intriguing comic book. It consistently paid off the build-up that happened in the previous issue, and the creative team managed to keep on building up the suspense and tension as the story went on. Those who love spectacle will enjoy the high amount of action here and artist Brett Booth proved himself to be capable of showing dynamic visuals. Booth has an inspired take on showing Backlash and Grifter in action. I am looking forward to the next issue.

Overall, The Kindred #2 (1994) is recommended.

+++++

A Look Back at The Kindred #1 (1994)

March 13, 2026March 9, 2026carlocarrasco

Welcome back, superhero fans, 1990s arts and culture enthusiasts, Image Comics fans and comic book collectors! Today we go back to the mid-1990s to examine one of the many tales of the WildStorm universe as published by Image Comics.

To put things in perspective, Jim Lee’s WildStorm universe quickly expanded after launching WildC.A.T.s: Covert Action Teams in 1992. Other WildStorm properties followed such as StormWatch, Gen13, Team 7 and Wetworks. By 1994, things went rolling with the WildStorm projects and the production team of Jim Lee decided to expand the lore by having key characters Grifter (WildCATs) and Backlash involved in a story told in a mini-series. The said characters are actually former teammates of Team 7.

With those details laid down, here is a look back at The Kindred #1, published by Image Comics in 1994 with a story written by Jim Lee, Brandon Choi, Sean Ruffner and Brett Booth. Booth illustrated the comic book.

Early story

The story begins in New York City. Even as darkness envelopes the city that never sleeps, thousands of its denizens walk the streets in relentless pursuit of their hopes and dreams. One man walks alone and his thoughts are not filled with dreams of the future. Instead, he has nightmares from the past.

The man is Marc Slayton and he knocks the door communicating with Jack. He converts himself into vapor and easily enters the building moving towards Jack. He emerges as Backlash and tells Jack that he needs classified information on an alien race known as the Daemonites. It turns out, Backlash needs Jack’s hacking abilities to bypass the government’s bureaucracy and secrecy.

Suddenly, the armored members of Black Razor emerge behind Backlash…

Quality

*Grifter appears in a violent way of helping someone.*

I like this comic book. This is a tale that has strong elements of the 1990s WildStorm universe all over it, specifically paramilitary influence and intrigue. As this was released before Team 7 #1 (a tale set in the past), it was the WildStorm creators’ way of getting former teammates Grifter and Backlash together after being separated for a long time. The result is a dangerous mission launched while bringing key elements from the past back for the two heroes to encounter. Conveniently, this comic book added to the pre-release anticipation of the Team 7 mini-series.

More on the plot itself, Backlash wants crucial information about the Daemonites (monsters from space that are ugly, dangerous and capable of possessing people) and it so happens he has been targeted by IO (International Operations) for the mentioned mission. The way Backlash was portrayed involved his past coming back at him, dealing with IO and having to decide to participate or not. Clearly, Backlash here is cornered more than once and it is a sign that something intriguing and dangerous awaits him.

Grifter’s presence here is directly linked with his exit from WildCATs #8. Similar with Backlash, Grifter is in search for answers and he shows no intention of having a friendly reunion with his former teammate. Along the way, you will see the masked gunslinger being more analytical as the plot went on and his determination to find answers is really strong. Grifter here is also a huge risk-taker which is a nice touch.

Speaking of elements of the past, this comic book has some notable connections with other developments and parts of the WildStorm universe. A certain scene here could convince WildStorm fans to revisit the WildCATs mini-series.

Conclusion

*Backlash hit hard by Black Razor members.*

Considering the way the story was told and the high amount of expository dialogue executed, The Kindred #1 (1994) is clearly a build-up comic book that will eventually lead to the true essence of this mini-series. What I enjoyed the most here was how the creative team portrayed Backlash and Grifter. They are former teammates of Team 7 who each have grudges, personal problems and secrets that could potentially widen the gap between them. At the same time, the creative team succeeded in setting up the threat by showing the violent kidnap of John Lynch (the former leader of Team 7) and the rise of a new enemy who is very driven by revenge. Ultimately, this comic book succeeded in convincing me to read the next issue.

Overall, The Kindred #1 (1994) is recommended.

+++++

A Look Back at Resident Evil: The Official Comic Book Magazine #2 (1998)

March 11, 2026March 14, 2026carlocarrasco

The launch issue of Resident Evil: The Official Comic Book Magazine was surprisingly entertaining. That’s not to say it was excellent as it had some flaws here and there. It succeeded with creative stuff by WildStorm to give readers and RE fans a wider lore of Resident Evil by reconnecting them with the first video game and slowly connecting them to Resident Evil 2. The interview with RE creator and producer Shinji Mikami (still a prolific video games industry producer) was indeed a good bonus.

As many of us know, Resident Evil 2 was a huge critical and commercial hit in 1998. By the time WildStorm continued publishing another issue of the official comic book magazine, enthusiasm for Resident Evil was intensified and many new gamers who enjoy RE2 on PlayStation became fans.

With those details laid down, here is a look back at Resident Evil: The Official Comic Book Magazine #2, published by WildStorm/Image Comics in 1998 with short stories written by Ted Adams and Kris Oprisko, and drawn by Carlos D’Anda and Lee Bermejo.

Early stories

A New Chapter of Evil (Resident Evil 2 adaptation) – Inside a police car moving along the street in the middle of a zombie-fested Raccoon City, Leon Kennedy and Claire Redfield tried to figure out what has been happening around them. Leon notices an over-speeding truck is about to hit them from behind. The two managed to get out of the car before it got hit by the truck. From a distance, Leon tells Claire to make her way to the Raccoon City police station where they can meet again.

Mutant Menagerie – After getting left behind by the armed men who shot him, chief researcher William Birkin clutches an overlooked vial of the G-virus and injects himself with it. He soon mutates into a large, deformed monster capable of killing anyone easily. Propelled by sheer willpower to save his life’s work, Birkin simply thinks about infecting many. The next day at the zoo of Raccoon City, a monstrous roar catches the attention of a security guard who rushes outside only to find his two colleagues dead and their bodies torn apart.

Lock Down – Barry Burton, who has been experiencing recurring nightmares since the disastrous mission at the Spencer mansion, visits a facility to seek the help of a psychiatrist. As he approaches the office of the psychiatrist, he noticed someone looking strange.

Quality

*Barry Burton suddenly encounters a Tyrant!*

In this 2^nd issue, the WildStorm team prepared three short stories with the first one serving as the illustrated adaptation of Resident Evil 2’s story (specifically with Leon on Scenario A and Claire on Scenario B).

The RE2 adaptation titled A New Chapter of Evil is very sloppy and so poorly done. The assigned writer and artist forcibly crammed the entire Resident Evil 2 story into a limited number of pages. The result is a very rushed approach on storytelling and the noticeable lack of care on the presentation. Having played RE2 a number of times myself, I can easily say that the order of scenes from the game were sloppily chained together in illustrated format to unbelievably occur next to each other without any proper spacing. That also means leaving no space for the reader to slow down to be able to absorb the details and to understand what has been going on.

Since there were not enough pages allocated, the visual presentation also suffered. Each battle with a monster happened too fast and not enough panels could be made to emphasize clearly what happened. The same thing also happened in key scenes of the story.

In the scene in which Claire Redfield encountered the office of the corrupt chief of police (with the dead body of a blonde woman on his desk), the creative team showed the two having a really short talk quickly followed by Claire meeting Sherry for the first time (without even showing Claire moving out of the chief’s office) followed by showing them descending on a motorized lift and quickly encountering the chief (who somehow teleported ahead of them).

The cramming of scenes, dialogue and bad visualization happened all throughout this Resident Evil 2 adaptation. One has to wonder why WildStorm decided not to use the entire 2^nd issue for the adaptation. This literary adaptation of RE2 is absolutely bad and it is clearly an embarrassing piece of work of WildStorm’s publishing.

The short story Mutant Menagerie is an attempt to connect to the lord of RE2 by having the mutated William Birkin as the monster with the zoo as the environment. The protagonist is the zoo security guard Patrick Brady who is unsurprisingly in a major disadvantage. Creatively, this tale provides readers an interesting look at what would happen had the G-virus infected the animals in the zoo which added a new element of danger in the zombie crisis within the Resident Evil universe. The story has some Rambo-vibes when it came to the protagonist taking extreme measures to deal with the infected zoo animals.

While Mutant Menagerie is clearly non-canon as the presence of Birkin in the zoo made no sense at all in relation to what was shown in Resident Evil 2 (Birkin’s presence was limited to the NEST facility underneath Raccoon City), this short story became more relevant as the Raccoon City Zoo officially appeared in Resident Evil Outbreak: File #2 (released SIX YEARS after this comic book). This short story is an intriguing and satisfying piece of fan fiction.

The third tale Lock Down is a serious attempt to give RE fans a look at what happened to Barry Burton after the events of the 1996 game. This one has some Die Hard vibes as you will see Burton as a desperate action hero who happens to be present during a very unfortunate series of events. You will also see how he strives hard to solve problems without Jill Valentine, Chris Redfield and Rebecca Chambers to assist him. Artist Lee Bermejo did not compromise with the graphic violence and gore, and his approach on visual dynamism was nicely executed. His visualization of Burton is pretty good too.

While the series of unfortunate events here makes the tale believable, there is something weird as the narrative went on. The building itself has secrets of its own and scenes such as Barry Burton suddenly encountering a Tyrant felt like a nightmare from nowhere. It is implied that the laboratory, the postal center, the smelly sub-basement and the penthouse could have all been established by Umbrella within the city. This short story is actually entertaining and surprising.

Conclusion

*Claire Redfield and Leon Kennedy in the Resident Evil 2 adaptation.*

The main feature story of Resident Evil: The Official Comic Book Magazine #2 (1998) – the official adaptation of Resident Evil 2’s story – is clearly the failure and is an obvious waste of time. What prevented this comic book magazine from becoming a total disaster were the short stories Mutant Menagerie and Lock Down which were entertaining and surprising to read. That said, it is mind-boggling that WildStorm did not use this entire issue to properly tell the Resident Evil 2 story and give the creative team enough space to ensure a quality adaptation. I wonder how Capcom and the Resident Evil 2 developers reacted to this issue’s RE2 adaptation.

Overall, Resident Evil: The Official Comic Book Magazine #2 (1998) is serviceable.

+++++

Retro Gaming Ads Blast – Part 40 (RPG Special)

March 2, 2026February 25, 2026carlocarrasco

Welcome back readers, fellow geeks and electronic gaming fans!

In this edition of the Retro Gaming Ads Blast (RGAB) series, we will take a look at another batch of retro gaming print ads from the 1980s to the 1990s focused mainly on role-playing games (RPGs) from the East and the West. This is the RPG Special!

For the newcomers reading this, Retro Gaming Ads Blast (RGAB) looks back at the many print ads of games (console, arcade, computer and handheld) that were published in comic books, magazines, flyers, posters and newspapers long before smartphones, social media, the worldwide web and streaming became popular. To put things in perspective, people back in the 1980s to the 1990s were more trusting of print media for information and images about electronic games and related products.

With those details laid down, here is the newest batch of retro gaming print ads for you to see and enjoy…

1. Dragon Warrior II Print Ad

*The art style used made this one looked similar with Dungeons & Dragons.*

When Dragon Quest was released in America titled as Dragon Warrior, its sales there came nowhere close to what it sold in Japan. The game, however, sold enough copies to convince Enix to bring the sequel Dragon Warrior II (Japanese title: Dragon Quest II) to the Nintendo Entertainment System (NES) in America and they came up with an ad that had obvious Western-style artwork to emphasize the fantasy elements. By comparison, the Japanese version of the game used the distinct art of Akira Toriyama (Dragon Ball Z). Back in those days, there was this belief that Toriyama’s art style would not be effective in promoting the game in America.

2. Breath Of Fire Japanese Print Ad

*This is how Breath of Fire looked like in Japanese print media.*

In 1993, Capcom officially broke into the Japanese role-playing game (JRPG) genre with Breath of Fire on the Super Family Computer (Super Famicom). The print ad they came up with for the Japanese market showed several characters – including Ryu and Nina who would later become recurring characters as sequels were released – with designs that had elements of anime and manga styles blended which contrasted the gritty and realistic approach of Western fantasy art. The ad made it clear to readers that new adventures in a fantastic world await them. The game achieved enough commercial success in Japan which convinced Capcom to make a sequel (plus more in the years that followed).

3. Phantasy Star II North American Print Ad

*The 3-page ad showcasing Phantasy Star II and many other games.*

After selling a good amount of copies of the original Phantasy Star worldwide on the Sega Master System, Sega knew they were on to something. They confidently produced the sequel Phantasy Star II for their brand-new Sega Genesis console in 1989 and aggressively promoted it in America with a daring 3-page print ad. If you look closely, majority of two of the pages were used to promote Phantasy Star II with screenshots (including a big one with a TV), the text description and the console. The spaces below allowed Sega to promote their many other games in convenient fashion. The result is huge success for Sega as more than 1.6 million copies of Phantasy Star II were sold worldwide. Sega would go on to make even more Phantasy Star games.

4. Estopolis Denki II Japanese Print Ad

When Estopolis Denki was released on the Super Famicom in Japan, sold enough copies to justify not only bringing the game to Western markets as Lufia & The Fortress of Doom but also the production of a follow-up titled Estopolis Denki II. To promote it, Taito made a Japanese print ad that had a captivating art style (with the characters looking more realistic and a floating land that had a gritty touch), some screenshots and the promise of fantastic adventures. While the game’s title sounded like a sequel, its story was actually set in the past. Estopolis Denki II would be released in the West as Lufia II: Rise of the Sinistrals.

5. Lufia II: Rise of the Sinistrals North American Print Ad

*Clearly Natsume did not have any game critics quotes to use to promote Lufia II.*

When the first Lufia RPG was released in America on the Super Nintendo Entertainment System (SNES), it became a commercial hit finishing as the top SNES game in the February 1994 sales chart. The sequel Lufia II: Rise of the Sinistrals was published by Natsume in America in 1996 and they daringly called it “The Ultimate Role Playing Game!” in its print ad utilizing the official artwork of a major character, two screenshots and descriptive text giving readers an idea on what to expect. This ad strongly relied on the visual elements while the first game’s American print ad (made by Taito) emphasized the critical acclaim received.

6. Chrono Trigger North American Print Ad

*A lot of Dragon Ball Z fans recognized the art style of Akira Toriyama here.*

Chrono Trigger, the JRPG that had the dream team creators of Hironobu Sakaguchi (Final Fantasy creator), Yuji Horii (Dragon Quest creator) and Akira Toriyama (Dragon Ball Z creator) behind the production, was easily the most ambitious game SquareSoft released in 1995. As part of the marketing strategy for the North American market, Square came up with a 2-page ad that had Toriyama’s art as the dominant image while using the remaining space for screenshots, the description and the SNES box cover placed strategically. Such a creative visual design was eye-catching and even memorable. Chrono Trigger became a huge commercial and critical hit in the West and it has long been regarded as a classic JRPG.

7. Secret of Evermore North American Print Ad

*The creepy red images overshadowed the promotion of Secret of Evermore in America. Some readers might have been scared away by this ad.*

Still in 1995, Square released Secret of Evermore for the SNES. Unlike most of Square’s RPGs, Secret of Evermore was developed by an American team in Washington state which explains why the game has a very distinct tone and strongly Western art style (note: the gameplay was patterned after that of Secret of Mana). To promote the game, Square came up with a very odd-looking 2-page print ad that had two dominating red images – eyes of a man on top and the front of a dog below) that felt like a forced approach to emphasize the game’s concept of the hero (a teenager boy) and his loyal dog (a very capable fighter). They used the remaining space for screenshots (which made gamers believe it was a sequel to Secret of Mana), the game box cover and a not so helpful text description. In my view, this print ad was a marketing misfire and Square could have produced hand-drawn art of the hero and his dog instead of the creepy red pictures.

8. Star Ocean: The Second Story North American Print Ad

The Star Ocean JRPG franchise of Enix had its first game released in Japan only. That first game on Super Famicom sold a lot of copies which led to the production of the sequel Star Ocean: The Second Story. By the late 1990s, Enix itself had a partnership with developer tri-Ace on the Star Ocean games. Somewhere along the way, Sony Computer Entertainment America (SCEA) secured the publishing rights of Star Ocean: The Second Story for not only America but also in other parts of the world. For the American market, Sony came up with a very odd-looking 2-page print ad that had a mail service form on the left. The form emphasized the concept of being away for a long time (reflecting the science fiction and extensive fantasy adventuring of the game itself) which incidentally was the eye-catcher of the ad. The other half of the page showing the game’s title, screenshots and detailed text description got overshadowed. This is another marketing misfire.

9. The Legend of Dragoon North American Print Ad

*The movie poster-inspired print ad is memorable to look at.*

Given how success Sony was with selling PlayStation consoles worldwide and how massively successful the Final Fantasy RPG franchise of SquareSoft was, it was not surprising that they decided to make their very own big-budget and exclusive JRPG with the intention to succeed and possibly establish a franchise. The result was the PlayStation-exclusive game The Legend of Dragoon which was made with a budget of $16 million and lasted three years in development. The game was released in Japan in late-1999 and sold at least 280,000 copies (note: majority of that in its first week of sales). In preparation for the June 2000 launch in America, Sony produced a print ad that had a very strong movie poster vibe showing what looked like painted art of the characters with vivid colors in the background and the title on the lower part. If you look closely, the credits were deliberately stylized over the way movie posters showed credits. While the game was not the massive hit Sony hoped for, it went on to become a million-seller and a great majority of its sales were from America. By today’s standards, the movie poster-like ad used to promote The Legend of Dragoon is memorable and an inspired piece of marketing work.

+++++

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 Resident Evil: The Official Comic Book Magazine #1 (1998)

February 27, 2026March 6, 2026carlocarrasco

Welcome back, 1990s arts and culture enthusiasts, video game enthusiasts and comic book collectors! Today we go back to the late-1990s to examine the launch issue of the magazine-sized comic book series titled Resident Evil: The Official Comic Book Magazine.

To put things in perspective, this year marks the 30^th anniversary of the Resident Evil video games and multimedia entertainment franchise . The original Resident Evil (Japanese title: Biohazard) video game released in 1996 was arguably a major turning point in console gaming as it was an adulterated game that blended horror, action, monsters and the cinematic experience. Initially released on PlayStation, the game got released on Windows PC and the Sega Saturn, and eventually sold millions of copies worldwide while establishing a solid fanbase. Arguably, RE sparked the revival of the zombie genre in pop culture during the 1990s and contributed to new zombie-related multimedia productions in the 2000s.

Even before the release of Resident Evil 2, the number of Resident Evil fans grew and so did demand for more related stuff. Marvel Comics published a free one-shot Resident Evil comic book while Resident Evil: The Book was released in Japan.

When Resident Evil 2 was released in 1998, it became an even bigger blockbuster and resulted in even more new RE fans as gamers enjoyed playing it so much. The massive commercial success of RE2 led Capcom to approving several new Resident Evil game projects for development. Still within 1998, the licensed RE multimedia projects were released in the form of two novels and a new comic book series with a magazine format.

With those details laid down, here is a look back at Resident Evil: The Official Comic Book Magazine #1, published by WildStorm/Image Comics in 1998 with short stories written by Ted Adams and Kris Oprisko, and drawn by Ryan Odagawa, Carlos D’Anda and Lee Bermejo.

Early stories

S.T.A.R.S. Files – Inside an office, Albert Wesker gets briefed about his next assignment in Raccoon City which has been experiencing a series of mysterious murders. The superior tells Wesker to field a S.T.A.R.S. (Special Tactics and Rescue Service) team to find out what is going on.

Who Are These Guys? – A scientist writes a letter to Ada Wong and reveals key details about the research of the T-Virus, including what his team has been doing and what he observed.

Dangerous Secrets – Inside the high-tech debriefing room of the S.T.A.R.S. headquarters, Chris Redfield begins a review of what happened during their mission at the mansion and what took place before they even got involved. Present are Jill Valentine, Rebecca Chambers and Barry Burton.

Raccoon City – R.I.P. – A very sick and physically deteriorating man watches the news on TV at home. As the moments passed by, he begins to lose control of himself as his deteriorates. He suddenly goes out of his house and walks down the street aimlessly.

Quality

*Ada Wong, the scientist and the journalist who secretly spied in a scene that happened before Resident Evil 2 started.*

As already revealed on the cover of this magazine-style comic book, this is a collection of four short stories designed to provide readers insight on the lore of Resident Evil, additional portrayals of the established RE characters of the time – Chris Redfield, Barry Burton, Jill Valentine, Rebecca Chambers, Albert Wesker, Leon Kennedy and a few supporting characters seen in the games – and, more notably, illustrated development of events that connect the first two games with each other in ways that the games themselves could not. To be clear, Resident Evil took place in July 1998 while its sequel took place in September 1998.

Without spoiling the stories, I can say that S.T.A.R.S. Files was a warm-up in the form of introducing the characters of the first RE game. Who Are These Guys? was a creepy telling of what happened behind the scenes with regards to the unethical scientific experiments that caused zombies and monsters at the mansion to happen. It has a violent ending which made one of the most popular Resident Evil characters look like a murderer (note: I’m surprised it was not controversial). Dangerous Secrets was a creative recap of what happened at the mansion (which follows the game ending involving the rescue of Jill Valentine) and S.T.A.R.S. had such futuristic office equipment to work with (it has a strong sci-fi flavor). Raccoon City – R.I.P. was the build-up of developments leading to the start of Resident Evil 2.

Clearly, the quality of the writing and artworks varied from one story to another. The writing of Who Are These Guys? really stood out nicely due to its creepy vibe and the fine way of telling the story of the scientist who wrote to Ada Wong. Dangerous Secrets also stood out with its dramatization of Chris Redfield, Jill Valentine, Rebecca Chambers and Barry Burton who have to move on knowing that a lot of lives were lost and lots of dirty secrets were uncovered. When it comes to the art style used on established RE characters, the zombies and monsters, fans looking for a more realistic take will end up disappointed (example: a few shots of Jill Valentine had a cartoony aesthetic). At the same time, Jim Lee’s only art of Resident Evil was the cover.

Readers looking for spectacle and moments of zombie horror will find something to enjoy here. I can confirm that the creative teams did not hold back on the violence and gore.

WildStorm did not just settle with doing their own literary take on the Resident Evil lore. They even went further by publishing an interview with Resident Evil creator Shinji Mikami knowing that the fans will enjoy discovering details and revelations through the production side of the video games.

Going back to the first RE game of 1996, be aware that certain details in this comic book could end up lacking or feel irrelevant given the fact that this was published years before the Resident Evil remake on Nintendo GameCube was released.

Conclusion

*Chris Redfield leads the post-mission review.*

Resident Evil: The Official Comic Book Magazine #1 (1998) succeeded in what it was meant to do. It gave readers added insight to the characters and the events – including those that happened off-screen – of the 1996 video game while literally warming them up for Resident Evil 2’s illustrated events. To really enjoy this comic book magazine, it is clear that one has to play BOTH video games to gain at least a basic understanding of what happened and who is who. As it was released at a time when Resident Evil 2 was available and selling a lot of copies, this comic book adaptation turned out to be a helpful read that fans and newcomers can enjoy. It is also a reminder that the late 1990s was an exciting time to be a Resident Evil fan.

Overall, Resident Evil: The Official Comic Book Magazine #1 (1998) is recommended.

+++++

A Look Back at Elven #3 (1995)

February 16, 2026February 12, 2026carlocarrasco

Welcome back, superhero fans, 1990s arts and culture enthusiasts, Ultraverse fans and comic book collectors! Today we go back to the mid-1990s to examine one of the many tales of the Ultraverse through the Elven mini-series.

Having read the first two issues (click here and here), I can say that there is indeed progressive development of the personality of Elvia and her fantasy inspired identity as Elven. At the same time, the fantasy elements of the Ultraverse itself were portrayed in lively fashion. Clearly, Elven’s own corner of the Ultraverse has been established and there is some excitement to find out what would happen next and how it could affect others within the UV.

With those details laid down, here is a look back at Elven #3, published by Malibu Comics in 1995 with a story written by Len Strazewski and illustrated by Aaron Lopresti (Sludge).

Early story

The story begins on top of the building with Elven and Prime meeting again. Tensions are high as Elven accuses him of lying. By this time, she learned a lot of details about her origin from the demon she fought with which convinced her that Prime lied to her about their genetic connections with each other (note: Doctor Vincent Gross was involved as he wanted to create ultras).

Elven rejects the science as she is strong convinced she is of magical origin from a mystical world and happens to be trapped on Earth. As Prime tries to put sense into her, Elven strikes him with a blast of energy to push him back. The blast turned to be of biological energy instead of magic.

As Elven reveals that she learned crucial information from the demon she fought with, Prime realizes it is none other than the one enemy he fought with some time ago…

Quality

*Once again, Elven impulsively uses violence on individuals to help Bruno.*

Following the events of issue #2, Elven here remains confused and even lost as she has a lot of trouble figuring out the facts. Of course, being a fanatic of fantasy and Elfquest, Elven clings on to the belief that the fantasy realm is real and that she is of magical origin (which conflicts with the biology and science of her abilities and physical transformation). This is evident in the early part of the comic book when she has a tense reunion with Prime who did his best to explain details and help her understand.

When it comes to the very conflict of the story itself, the stakes were raised when Strazewski has Prime-Evil and elements of unethical science present during the later stage. Apart from abducting Elven, Prime-Evil has his own agenda pursuing Mantra (who in turn has an evil version called Necro Mantra) and a lot of arrogance within. Literally, Prime-Evil’s presence added intrigue to the plot and only made Elven’s struggle to realize the truth of her origin – both the scientific and fantasy aspects – even more complicated.

Bruno, who was a significant and surprising factor behind the conflict in issue #2, gets his nice share of the spotlight. Without spoiling the plot, I can say that he is a lot more than what he seems and has more to add to the conflict.

Considering the intensity of the conflict in issue #2, I find it very weird that Bruno and Elvia were not even reported to the local authorities for questioning and accountability. Perhaps the psychiatrist did not bother to do what is right since he was so fascinated with the fantastic conflict and unexplained moments that happened in his office (note: his own office assistant even became naked suddenly), and he has ambitions to become America’s next big name with his knowledge.

Conclusion

*Elvia with Bruno and their psychiatrist.*

At this particular stage of the mini-series, Elven #3 (1995) had an even more intriguing story to tell while gradually moving forward with Elven’s quest for the truth of her origin and her own purpose. The Strazewski-Lopresti duo did fine work in this comic book for the most part and ultimately the story convinced me to look forward to the next issue. I can say that the ending of this comic book is more suspenseful than that of issue #2.

Overall, Elven #3 (1995) is recommended.

+++++

A Look Back at Elven #2 (1995)

February 6, 2026January 30, 2026carlocarrasco

When I grabbed a copy of Elven #1, I did not expect much entertainment and surprise. But as I started reading it and witnessed Elven’s interactions with Prime, the narrative became even more engaging to read. In addition, Len Strazewski’s writing clearly defined the personality of fantasy fanatic and confused girl Elvia Swanson and established Elven as a twisted female parallel to Prime. Along the way, Aaron Lopresti’s art showed a lot of details, emotions and dynamism (on the action).

With those details laid down, here is a look back at Elven #2, published by Malibu Comics in 1995 with a story written by Len Strazewski and illustrated by Aaron Lopresti (Sludge).

Early story

The story begins inside the office of a psychiatrist where Elven encounters a demon which just came out of the teenage boy Bruno. As the two fight each other violently, the psychiatrist watches them obsessively and writes down the notable details for a potential advancement in his career. Bruno, who carried the demon in him some time prior, watches the fight from a distance marveling at Elven while also observing how chaotic the demon is.

Elven fights the demon hard while maintaining a mindset of pride and even being superior. The demon reveals his link with Boneyard (for reference, click here) confirming he came from a distant world.

After getting hit by Elven’s elf-fire, the demon begins to laugh at her. Elven gets triggered and starts hitting the demon more…

Quality

*By giving in to her impulses, Elven commits a very violent move on a man. This also shows her inability to restrain herself.*

While issue #1 established Elvia Swenson personality and her super-powered, fantasy inspired Elven identity who has a genetic connection with Prime, this comic book emphasizes the deeper fantasy aspects of the Ultraverse while expanding the lore within Elven’s part of the shared comic book universe.

Similar to Prime (Kevin Green in disguise), Elven gets triggered emotionally which is the result of the youth and obvious lack of maturity of Elvia. That being said, the moments of Elven getting more violent and shedding a few tears after getting laughed at by the demon deserve any reader’s attention.

Len Strazewski’s writing is pretty rich here and he pulled of some clever moves with the narrative. As the battle between Elven and the demon intensified, there were signs that the conflict would turn into an even bigger and more destructive battle. Instead, there were these deep revelations that happened (note: for relevance, you will have to read Prime #5 which I reviewed some time ago) and even the arrogant boy Bruno has his own share of what has been going on. Even the psychiatrist turned out to be a pretty significant bystander during the battle which suggests a build-up for a sub-plot.

As such, Strazewski wrote the story to be very intriguing and the plot threads are not limited to Elven and the demon. The way I see it, something is being built up and to grasp the relevance, you will have to read some issues of the Prime and Mantra comic book series.

If there is any weakness in the storytelling, it is the fact that the psychiatrist and his office assistant very easily forgot the moments of Bruno turning evil during the late part of issue #1. The way they reacted in this comic book after the end of the battle between Elven and the demon, they did not make any moves to hold Bruno accountable nor did they question Elven’s way of handling matters (which includes the eventual ruining of the office).

Conclusion

*After getting triggered (being laughed at by the demon), Elven acted move violently and impulsively.*

While there were a few weak spots in certain parts of the story, Elven #2 (1995) is another solid read from the Strazewski-Lopresti duo. Elven got developed even more through conflict with the demon, and her own search for the truth about her origin. Aside from that, the fantasy elements implemented in the story expanded the lore of the Ultraverse in a very unique way. Ultimately, I am looking forward to reading the next chapter of this mini-series.

Overall, Elven #2 (1995) is recommended.

+++++

Retro Gaming Ads Blast – Part 39 (RPG Special)

February 2, 2026January 29, 2026carlocarrasco

Welcome back readers, fellow geeks and electronic gaming fans!

In this edition of the Retro Gaming Ads Blast (RGAB) series, we will take a look at another batch of retro gaming print ads from the 1980s to the 1990s, particularly on role-playing games (RPGs) from the East and the West. This is the RPG Special!

With those details laid down, here is the newest batch of retro gaming print ads for you to see and enjoy…

1. Phantasie North American and Japanese Print Ads

Released by Strategic Simulations in the mid-1980s, Phantasie was a fantasy role-playing game that became a huge commercial success paving the way for not only ports on other computer systems of the time but also sequels later. The ad they came up with for the North American market had strong fantasy vibes and the screenshots gave readers the impression that it looked playable or user friendly. For the Japanese market, Phantasie was ported to the MSX system and they came up with an ad using radically different art work that had a horror vibe.

2. Phantasy Star Japanese Print Ad

*Phantasy Star in the Japanese print ad sharing the spotlight with After Burner.*

In the 1980s, role-playing games started gaining popularity with Japanese console gamers and there were game developers who were inspired by established RPGs from the West. Enix released two Dragon Quest games and each of them sold a lot of copies on Nintendo’s Family Computer (Famicom). At the time, Sega already had the Master System (called the SG-1000 and its variants with revisions) in the console market and they were way behind Nintendo on hardware sales. Knowing there is a market for console RPGs, Sega went on to make their exclusive RPG Phantasy Star. In 1987, a print ad was released showing Phantasy Star sharing the spotlight with Sega’s blockbuster game After Burner in the background. While the ad felt a bit disorienting to see, the game achieved much-needed success for Sega which in turn brought the game to the Master System in America in 1988. The game sold more and eventually led to sequels in the years that followed.

3. Ultima III Japanese Print Ad

*Remember the old days when anime or comic book-style artwork was used to promote games in the Japanese print media?*

Released in Japan under the title Ultima: Kyoufu no Exodus, Ultima III: Exodus was a breakthrough for the series as the Famicom version marked the first console release for Japanese gamers (note: the game was also offered for MSX and other computer systems in the country). The anime-style artwork used for the print ad is the same virtually the same with the front cover of Famicom version. Very notably, the art on the covers of the PC-88 and PC-98 versions were different.

4. Lunar: The Silver Star Japanese Print Ad

*Game Arts’ Lunar: The Silver Star as advertized in Japanese magazines.*

By the 1990s, console RPGs were very popular as franchises like Dragon Quest and Final Fantasy each released sequels that sold a lot of copies. The company Game Arts decided to make a role-playing game which can tell stories better using animation with voiceovers and music while being very playable and enjoyable. They came up with Lunar: The Silver Star and released it on the Mega-CD add-on (connected with the Mega Drive console of Sega) in 1992. As such, it was not surprising to see the print ad having anime-style artwork as the game itself had several minutes of anime cutscenes complete with audio. As most Japanese role-playing games (JRPGs) did not have playable anime cutscenes for storytelling, Lunar: The Silver Star really stood out. Sometime later, the small American company Working Designs would handle the game’s English version and start a healthy business relationship with Game Arts.

5. Dungeons & Dragons: Warriors of the Eternal Sun North American Print Ad

*A print ad that strongly appealed to both Sega Genesis gamers as well as fans of Dungeons & Dragons.*

By the year 1992, the fantasy games franchise Dungeons & Dragons was wildly popular as players around the world kept enjoying the tabletop RPG modules (using dice, pen paper) as well as many computer and video games already available. Sega acquired a D&D license and eventually released Dungeons & Dragons: Warriors of the Eternal Sun exclusively on their Genesis console in 1992. To promote it, Sega produced a 2-page print ad that had one half showing the game’s box placed with jewelry while using the other half to show the screenshots, descriptive text and other details. The way it was presented, the print ad was cleverly structured to attract the attention of Sega Genesis gamers as well as Dungeons & Dragons fans. The game ended up as the first and only official D&D product for the console.

6. Shadow Sorcerer North American Print Ad

*This is one of many Dungeons & Dragons computer games released. The use of painted art for marketing was done many times.*

In the history of the Dungeons & Dragons franchise and electronic gaming, it was on computers where the more ambitious and more intricate licensed games were played by many fans. In 1991, the Advanced Dungeons & Dragons (AD&D) electronic game Shadow Sorcerer was released on MS-DOS PC, Amiga and the Atari ST. The painted artwork used on the print ad was virtually the same as that on the box covers of the MS-DOS and Amiga versions. I can only guess that the ad markers must have paid a lot of money on the painted art and decided to use it for both marketing and packaging since it looked so detailed.

7. Estopolis Denki Japanese Print Ad

*The 2-page Japanese print ad of Estopolis Denki.*

In 1993, a brand-new Japanese developer called Neverland was established and its first project was the fantasy role-playing game Estopolis Denki for the Super Family Computer (Super Famicom). That same year, publisher Taito released the game and they promoted it with a 2-page print ad that featured a whimsical looking hand-drawn art work on one half and utilized the other half with details, screenshots and part of the art that was used on the game’s Super Famicom box cover. While Japanese game sales are not available, it seems Estopolis Denki sold enough to convince the publisher to release the game in North America as Lufia & The Fortress of Doom.

8. Lufia & The Fortress of Doom North American Print Ad

*If you were able to play Lufia & The Fortress of Doom on the SNES, were you able to see this ad in a comic book or in a magazine?*

Upon release in America in late 1993, Taito scored gold as Lufia & The Fortress of Doom on the Super Nintendo Entertainment System (SNES or Super NES) became a critical and commercial success. In fact, it literally gained steam during the early months of availability and ended up as the top-selling SNES game in America for the month of February of 1994. Take note that at this particular point of time, RPGs on game consoles in America were not yet in high demand as gamers’ tastes were different. When it comes to the marketing, Taito came up with a single-page print ad showing fantasy artwork, the game’s box cover and the published quotes from game critics who gave the game positive reviews. This is smart marketing on the part of Taito.

9. Record of Lodoss War Japanese Print Ad

*The Japanese print ad of Record of Lodoss War for Super Famicom.*

Have you ever heard of the Record of Lodoss War fantasy franchise? That one started as a series of fantasy novels by Ryo Mizuno who previously worked on an RPG project. Record of Lodoss War was eventually adapted into comics, anime and video games. One of those games was released on the Super Famicom in December 1995 published by Kadokawa Shoten which in turn made the one-page print ad for the Japanese market. Using established art from the anime OVA (original video animation) series was a strategic move by the publisher as millions of Japanese people viewed it. Unsurprisingly, the art on the ad is almost the same as the one displayed on the game box cover.

10. Fallout North American Print Ad

*A gritty looking print ad of the original Fallout PC game.*

In my gaming life, I played Fallout 3, Fallout 4 and Fallout: New Vegas on Xbox consoles. When the first-ever Fallout game was released in 1997, I did not notice it as I was more into console gaming than PC gaming. The above print ad appeared is several PC gaming magazines and it clearly shows what it offered which gamers eventually ended up enjoying a lot. The mechanical helmet – protection for the user during battles and from radiation in the nuclear wasteland – on the left side of the ad became a key symbol of the Fallout franchise as further games also featured mechanical helmets. Fallout was highly acclaimed for featuring open-ended gameplay and its immersive post-apocalyptic setting. It sold enough copies to convince publisher Interplay to proceed with a sequel and the rest was history.

11. Xenogears Japanese and North American Print Ad

*This North American print ad of Xenogears clearly showed the main character, a robot, the sci-fi setting and the visual style of the game.*

Xenogears was a sci-fi JRPG I played on the PlayStation in 1998 but I was unable to finish it. Before it was released in America, there was speculation that Squaresoft would not be able to produce an English version for international release due to its religious content. The game was highly challenging to translate into English due to religious themes and psychological elements. Regardless, the game achieved successes commercially and critically in both Japan and America. Xenogears has since been considered by many as a classic JRPG and to play it today is pretty challenging as an existing PlayStation One, PlayStation 3 or PlayStation Vita is required as well as the physical PlayStation disc itself (note: digital copy of Xenogears for PS Vita). Square Enix – which previously remastered Chrono Cross and several Final Fantasy games for modern gaming platforms – has yet to remaster Xenogears for those with modern game consoles, mobile devices and the PC.

12. Final Fantasy Anthology Print Ad

*I remember seeing this 2-page print ad in many gaming magazines I read.*

By the year 1999, Squaresoft established itself as the best role-playing game company as they achieved critical and commercial success with Final Fantasy VII in 1997, Brave Fencer Musashi, Parasite Eve and Xenogears in 1998. For 1999, Squaresoft decided to bring ports Final Fantasy V and Final Fantasy VI – both games were released in cartridge format on Super Famicom/Super NES some years prior – to their fans who owned PlayStation consoles by releasing the collection called Final Fantasy Anthology. For the North American market, Squaresoft aggressively promoted the 2-game collection with the above 2-page print ad on several video game publications. One half featured exquisite artwork by Yoshitaka Amano and the other half showed the screenshots, descriptions and details. Clearly the ad was made with Final Fantasy fans in mind and it was also clever with the use of nostalgia.

13. Final Fantasy VII North American Print Ad

While it did not show any of the characters, this 2-page print ad of Final Fantasy VII appeared in many gaming magazines and ultimately made the public aware of the game which went on to sell millions.

There is no denying that Final Fantasy VII is the most defining Japanese RPG of the 1990s. Given its huge pre-release promotions, the critical acclaim and the tremendous sales achieved in North America and Europe, the game arguably made the JRPG sub-genre more popular among gamers and game publishers while also making the original PlayStation console the must-have machine for video gaming. The above print ad is one of several released through print media and even though it did not show any characters, the image of a futuristic looking city caught the attention of not just gamers but also others who loved entertainment.

+++++

A Look Back at Elven #1 (1995)

January 23, 2026January 16, 2026carlocarrasco

Welcome back, superhero fans, 1990s arts and culture enthusiasts, Ultraverse fans and comic book collectors! Today we go back to the mid-1990s to examine one of the many tales of the Ultraverse.

For the newcomers to the Ultraverse, Prime is one of its most definitive heroes and his true identity is the teenager Kevin Green who can transform into an overly muscular caped adult superhero. The Prime monthly series of comic books ran for two years and the title character appeared in many other Ultraverse comic books.

Considering the prominence of Prime, it is not surprising that Malibu Comics proceeded to create comic books featuring a female counterpart to Prime. That counterpart is called Elven who appeared in a few early issues of the Ultraverse Premiere series and eventually Prime interacted with her.

With those details laid down, here is a look back at Elven #1, published by Malibu Comics in 1995 with a story written by Len Strazewski and illustrated by Aaron Lopresti (Sludge).

Early story

The story begins deep within a city when a beautiful blonde woman got hurt by a very angry man named Billy. With the lady down on the floor, the man raises his metallic weapon intending to strike her not realizing that someone is emerging from behind. He turns and sees a scantily clad caped woman who immediately hits him hard. The caped woman is Elven who believes she is helping the blonde woman.

To Elven’s surprise, the blonde woman tells her to stop and not hurt the man who was violent towards her. The man hits Elven on the face with his weapon but ended up getting hit hard again in retaliation. Elven then uses an optic blast at the wall as she tells the blonde woman to leave.

With the violent man down and hurt, Elven decides to kill him but is prevented by Prime from behind. After telling Prime that she told him not to interfere with her, she hits him with an energy blast…

Quality

*Elvia with her hard-working mother. The lack of a loving father affected Elvia deeply.*

Being written by Prime co-creator and series co-author Len Strazewski, this Ultraverse tale about Elven is very good and there is a lot of depth in the plot. You will meet Elven and the true human behind her named Elvia Swenson, a teenage girl who has a painful past, has an obsession with fantasy tales, and was created through the very same secret government fertility research program as Kevin Green/Prime. Elven’s disturbing look (with elvish features) reflects Elvia’s fantasy obsession and personally belief of using violence against men. She and Prime are genetically related due to the top secret project.

This comic book examines Elvia whose life lacks direction and her abusive father really impacted her negatively. With her mother’s love and guidance remaining in her life, Elvia is literally in a quest to find purpose, happiness and friendship. Unfortunately, the young guy Bruno is in the neighborhood and he is actually a demon. Bruno’s presence literally raised the stakes of the story which justifies Elvia’s transformation into Elven for the eventually good-versus-evil conflict. All throughout, there is tension and drama which got balanced with superhero spectacle. The way Elven is portrayed here makes her comparable with the arrogant, man-bashing, rabid feminists of modern society.

When it comes to Prime himself, this comic book features a really mature portrayal of him. I am talking about the early part of the story when Prime did his best to calm Elven down, restrain her and convince her to think first as a way to prevent her recklessness. Long-time Ultraverse readers should now that Prime is actually teenager Kevin Green inside all that muscle and he often has an awkward or a tense way of communicating with others (note: imagine the teenager pretending to think and act like an adult). That said, Prime here really interacts maturely and his attempt to put a lot of sense into the impulsive Elven is very believable. This is clever writing by Strazewski and it is one of the more notable portrayals of Prime.

When it comes to the visual side, artist Aaron Lopresti’s style worked smoothly in this comic book. I have seen his works in the Sludge series and he really excels with facial expressions, spectacle and the monsters looking very creepy. Strangely enough, Lopresti’s take on Elven is noticeable smaller and less muscular when compared to how the character appeared in Elven #0 and Ultraverse Premiere drawn by Greg Luzniak.

Conclusion

*Prime struggles to calm the impulsive and reckless Elven down. Without Prime’s intervention, Elven definitely would have committed murder against a man who harmed a woman moments earlier.*

Elven #1 (1995) is clearly a very solid read and easily one of the best spin-off comic books of the Ultraverse. Strazewski and Lopresti crafted a tale that was intense and dramatic while successfully defining Elven and her true identity as the teenage Elvia. Considering her painful background and current situation, Elvia is sympathetic although things got twisted when she becomes Elven which brings out her violent side, her recklessness and distorted view about helping women by using violence. That being said, Elven at this stage in the Ultraverse is not really a likable lead character and that only makes her more unique when compared to Prime. Will Elven become as terrible as the evil ones? There is more to discover as this comic book is part of the limited series.

The specific portrayals of Elvia and Elven is very tricky to write down and Strazewski succeeded in making it work. Ultimately, this comic book added strong fantasy elements within the Ultraverse.

Overall, Elven #1 (1995) is recommended.

+++++

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