Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today we go back to the early 1980s to explore Marvel Comics’ handling of a series based on the wildly popular military-themed franchise of toys – G.I. Joe: A Real American Hero.
Last time around, G.I. Joe members were sent to an island to rescue a very important woman who was kidnapped by Cobra. Along the way, the Joes faced stiff opposition and the duo of Snake-Eyes and Scarlett infiltrated the headquarters facing off with Cobra Commander and the Baroness. The comic book itself was indeed engaging and fun to read.
With those details laid down, here is a look back at G.I. Joe: A Real American Hero #2 published in 1982 by Marvel Comics with the main story written by Larry Hama and drawn by Don Perlin.
The cover.
Early story
The story begins when the United States discovers its research station in the North Pole has been attacked and left in ruin. The damage found indicates that it has been wiped out in a commando-style raid, all station personnel were found dead and all the records were missing.
After carefully assessing the available information about the ruined American base, General Austin decides to send the G.I. Joe team to the North Pole. This resulted in cutting short the respective leaves of Stalker, Breaker, Scarlett and Snake-Eyes.
After being dropped at the North Pole, the selected G.I. Joe members carefully make their way to the Russian base and decide to watch from a distance…
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The character Kwinn is the most interesting character in this story.
When compared to what happened in issue #1, this comic book’s concept is smaller in scale but allows room for readers to get to know the Joes closely and follow the simplified plot which itself has details that are worth looking into.
When it comes to entertainment value, don’t expect a repeat of the bombastic action of the previous comic book. Expect to see lesser action but with more suspense and a stronger emphasis on the complexities that come with the world of espionage which itself is never simple.
That being said, the force of opposition here is not Cobra at all but something different. The new character Kwinn is a freelance operative who is quite formidable and he sure has extensive experience that enables him to outsmart the Joes. On top of that, Kwinn’s strong adherence to his principles and code of honor made him quite a pretty deep character which are nicely reflected into the story itself. For this reason alone, this is a must-read G.I. Joe tale.
Conclusion
Have you ever experienced your leave getting canceled suddenly?
With G.I. Joe: A Real American Hero #2(1982), the creative team of Larry Hama and Don Perlin took a very different approach that shifted away from the classic G.I. Joe/Cobra rivalry and deep into the world of espionage with a really engaging and refreshing tale. As the story features much lesser characters, you will get to know Stalker, Breaker, Scarlett and Snake-Eyes better. Kwinn is easily the most interesting and most compelling character of this comic book. While the story is fun and engaging, it may not delight fans who love to see the Joes fight the Cobra terrorists.
Overall, G.I. Joe: A Real American Hero #2(1982) is recommended.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today we go back to the early 1980s to explore Marvel Comics’ launch of a comic book series based on the wildly popular military-themed franchise of toys – G.I. Joe: A Real American Hero.
For the newcomers reading this, Hasbro launched the G.I. Joe: A Real American Hero toyline in 1982 which was actually a revival of the original G.I. Joe series of toys (sized 12 inches) in the 1960s and 1970s. G.I. Joe: A Real American Hero toys had a new format for its action figures influenced by the success of the Micronauts and Star Wars toys. Veteran writer Larry Hama (the same guy behind the memorable Wolverine #75 of 1993) was already working for Marvel and was developing the concept of a new comic book about elite commandos fighting terrorists. Such development happened before the 1982 relaunch of G.I. Joe, and eventually Marvel’s editor-in-chief Jim Shooter approached Hama for a new comic book project based on Hasbro’s military toyline. Eventually a series of developments followed that saw the creation of the evil organization Cobra, the core villain Cobra Commander and more.
The impact of G.I. Joe as a licensed comic book series turned out positively as it helped attract new readers at the newsstands and it developed a strong following with young readers who were not highly interested with superheroes.
With those details laid down, here is a look back at G.I. Joe: A Real American Hero #1 published in 1982 by Marvel Comics with the main story written by Larry Hama and drawn by Herb Trimpe.
The cover.
Early story
The story begins with an Amtrak train traveling between New York City and Washington, D.C. Inside the nuclear physicist Dr. Adele Burkhart who previously served as one of the brains behind the Doomsday Project. It turns out, Burkhart was declared a traitor for denouncing the military claiming that she was misled by them to work on the said project. Inside the train, she has several security personnel guarding her as she is on her way to testify in front of a certain congressional committee.
As she speaks during a press conference inside one of the train’s cars, several flying soldiers of Cobra attacked the exterior of the train. In front of Burkhart, a few of the journalists turned out to be elements of Cobra led by the Baroness. The Baroness and her companions succeed in defeating the bodyguards and kidnapped Burkhart by means of flight.
At the Pentagon, the kidnapping of Burkhart compels the military to call in their special counter-terrorist group called G.I. Joe for a rescue operation. The stakes are high as they know that they cannot let Cobra keep Burkhart long enough to use her and they cannot let her die as the whole world is aware that they considered her an embarrassment. They ordered Colonel Clayton Abernathy (code name: Hawk) to assemble the Joe Team composed of Clutch, Flash, Breaker, Rock ‘n Roll, Scarlett, Stalker, Short-Fuse and Snake-Eyes…
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Dr. Burkhart held hostage by Cobra and in the presence of Cobra Commander, the Baroness and many terrorists.
To get straight to the point, the main story (Operation: Lady Doomsday) was carefully structured by Hama to tell a story engagingly while also functioning to introduce readers to the characters and immersing them into the illustrated literary universe of G.I. Joe that is noticeably separated from the popular cartoon series. It is a classic portrayal of good versus evil laced with militarism and espionage.
The story moved at a medium pace and the approach on build-up and pay-off was executed carefully. There were scenes that had a sufficient amount of details regarding the plot or character moments (as opposed to development) that made the reading experience immersive. In short, there was no rush in the narrative while the pace never slowed down to a halt (no boring moments).
That being said, you will get to see lots of scenes that focus on the side of G.I. Joe as well as on the side of Cobra which is led by Cobra Commander (who is obsessed and scheming) followed by the Baroness (who is more focused on achieving goals but cannot do so without authority). You will see a certain gap between Cobra Commander and the Baroness which shows something seems off within their terrorist organization. This served as a creative contrast with G.I. Joe being more straightforward with the way they organize themselves.
The only weakness this comic book has is the fact that with so many characters from both the good and the bad sides, identifying them was pretty challenging especially when their military uniforms obscured their looks. Characters like Cobra Commander, Snake-Eyes, Scarlett, Rock ‘n Roll, Stalker and the Baroness are instantly recognizable.
As the main story remains a really good read, the 2nd story (Hot Potato) also written by Hama but drawn by Perlin served as a nice additive to this comic book.
Conclusion
G.I. Joe starts getting ready for the high-stakes rescue mission.
G.I. Joe: A Real American Hero #1(1982) is indeed a very solid reading experience. This is a strong introduction of the literary version of G.I. Joe and its portrayal of good versus evil remains believable and compelling. I also enjoyed the way the creators balanced the build-up of tension, plot and character moments with spectacle or twists utilized as pay-off. Lastly, I should say that this comic book has lots of action for you to enjoy and the execution of the action scenes made sense within the context of the stories. Remember that this marked the beginning of a memorable long run of G.I. Joe comics that reached into the 1990s. This one is a true classic and it should remind you that there was a time when political correctness and wokeness did not get in America’s way of fighting terrorists.
Overall, G.I. Joe: A Real American Hero #1(1982) is highly recommended!
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today we go back to the year 1982 to take a close look at one of the many tales of the Marvel Comics shared universe told through the monthly series of Uncanny X-Men.
In my previous retro review, the X-Men got involved in a high-stakes mission to find and rescue the kidnapped Shi’ar empress Lilandra. Things are not easy on the X-Men’s side as Cyclops is still uneasy over the truth he learned about his father Corsair while the leader Charles Xavier had to deal with the Shi’ar officials who have their agenda that could cause trouble on Earth. What the X-Men faced was a few of the Brood and Deathbird.
With those details laid down, here is a look back at Uncanny X-Men #156 published in 1982 by Marvel Comics with a story written by Chris Claremont and drawn by Dave Cockrum.
The cover.
Early story
The story begins in New York City. The X-Men just fought with the Brood and Deathbird, and Charles Xavier has gone missing. Wolverine, Storm, Corsair, Cyclops and the Avengers member Tigra attend to a mortally wounded Colossus who was hit with acid.
Just as the local police arrived, Tigra tries her best to talk with them. Suddenly a gigantic space ship arrived floating above New York shocking everyone. The ship unleashes a beam of light down to pick up Wolverine, Cyclops, Storm, Corsair and the ailing Colossus. The giant ship then flies away leaving a lot of people stunned.
It turns out the ship belongs to the Starjammers, a group of space pirates that Corsair leads. Colossus then gets treated with alien technology…
Quality
The spectacle and the new encounter with the Brood were nicely done.
Similar to issue #155, the story here is very in-depth and has so much details and plot-related connections, it will require a great amount of attention from you in order to understand what is going and what is happening within. In this issue, you will get to see the Starjammers gang that Corsair spent a long time with, further development between Corsair and son Cyclops, the reunion between Charles Xavier and Empress Lilandra, and more of the Brood.
To put things clearly, Chris Claremont invested a lot of details when it comes to dramatizing the characters, insert revelations from the past, emphasized the many reactions of the X-Men members and carefully implemented stronger science fiction elements that really added depth to the plot. In many ways, this story is a huge pay-off to the build-up of the previous comic book and there is a lot more to the connection between Deathbird (a very capable villainess) and the Brood.
Having read lots of Claremont-authored X-Men stories, I found this 1982 story enjoyable and compelling to read. The big difference is that there is a stronger element of spectacle in this story which is related to the stronger sci-fi elements as well as Claremont’s strategic handling of the X-Men. At this point, it is clear that something new was being built up with the Brood, space travel and new frontiers. This is a strong sci-fi X-Men tale.
Conclusion
Professor X with his beloved Lilandra.
Uncanny X-Men #156 (1982) is indeed an enjoyable read provided that you pay close attention to the details, the characters and you have read the previous issue. This is the X-Men literally going deeper with science fiction and the Brood here was just about to rise further as a major force of opposition that would impact Marvel’s mutants. I should also state that Professor X and Empress Lilandra being together is a pretty compelling scene to read. As of this writing, I am convinced to keep on exploring further tales from this era of the X-Men.
Overall, Uncanny X-Men #156 (1982) is highly recommended!
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today we go back to the year 1982 to take a close look at one of the many tales of the Marvel Comics shared universe told through the monthly series of Uncanny X-Men.
This review will examine not only the first-ever appearance of the X-Men foes the Brood but also the effects of other developments that made their impact on key members of Marvel’s team of mutants.
With those details laid down, here is a look back at Uncanny X-Men #155 published in 1982 by Marvel Comics with a story written by Chris Claremont and drawn by Dave Cockrum.
The cover.
Early story
The story begins as a jet carrying Cyclops, Storm and Corsair flies. Tensions are already intense as Cyclops is struggling with the shocking truth that his father – Corsair the leader of the Starjammers – is still living and recently returned to Earth seeking help.
Storm tries to emotionally reconnect with her teammate but Cyclops pushes back as he just found out that she knew Corsair was his father for several months already and never bothered to tell him. Tension grew worse as Corsair tried explaining himself to his son only to get a harsh response in return. Cyclops questioned his father if he even tried to learn what happened to him and his brother Alex (Havok) over the previous twenty years.
Suddenly the jet begins to glow. It turns out that a transporter beam hit them. In an instant, jet got transported forty thousand kilometers above the Earth and into the deck of the Shi’ar Dreadnought. Cyclops, Storm and Corsair find themselves surrounded by armed personnel and an audience of several alien beings.
Suddenly, Colossus, Nightcrawler, Kitty Pryde, Wolverine and Professor X appeared out of nowhere and right next to the jet…
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Wolverine takes on one of the Brood. As this marked the Brood’s first appearance in comics, Wolverine’s encounter with one of them here is a prelude of more intense things to come.
Upon close inspection of the storytelling, this comic book is pretty loaded with details related to developments that took place in previous issues. Apart from Cyclops’ personal struggle on accepting the truth about his father’s existence, there are references to what happened recently on the parts of Xavier, Colossus, Nightcrawler, Wolverine and Kitty Pryde. Not only that, this story also reveals details about Professor X’s past interaction with Empress Lilandra and the Shi’ar race.
As it turns out, the Empress was abducted by terrorists and many of her ministers got killed. This previous event incidentally sets the stage for the new tasks for the X-Men to handle in this particular story which also comes with strong science fiction elements.
Adding further to the X-Men’s new mission to follow the trail to Earth and liberate Empress Lilandra if she is still living, Cyclops’ father Corsair was found to be a conspirator (to be punished) and the Shi’ar’s high officials will only follow Xavier’s lawful command (as the imperial consort) to a certain limit. This new conflict is literally loaded with lots of details that became part of the build-up, and to really grasp it all, you should pay close attention to the details here and in the previous comic books. In other words, this is not an easy read.
Apart from the general concept and plot structuring, Chris Claremont pulled off some clever moves with the way he portrayed Charles Xavier’s leadership and cunning. The X-Men leader knows that a lot is at stake in the new mission and he is certain that further Shi’ar presence on Earth would result in catastrophe.
As for the mission itself, the X-Men got someone from the Avengers to aid them. With Storm and Corsair moving and operating apart from the rest of the team. This leads to another series of developments plus twists that you should read for yourselves.
Conclusion
An intense scene that really puts the X-Men into a predicament and a potential conflict between worlds.
Uncanny X-Men #155 (1982) is not an easy read but if you have a strong understanding of the many plot details and related character developments, then you will eventually enjoy this story. The literary debut of the Brood here is not too significant as it preceded the further emphasis of the alien monster race in the succeeding issues. A highlight here is the intriguing portrayal of Professor X as X-Men leader, as Lilandra’s lover and as the bridge between humanity, mutants and the aliens of the Shi’ar empire. There is also a good amount of spectacle to keep you entertained, particularly during the 2nd half of the story. Considering all the build-up and exposition that took place in this comic book, don’t expect the mission to be concluded within.
Overall, Uncanny X-Men #155 (1982) is highly recommended!
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the mid-1990s to explore another notable chapter of Jim Lee’s WildC.A.T.S.: Covert Action Teams during the creator’s time with Image Comics.
For any fan, witnessing a change of creative direction can either be alienating or engaging to follow. As clearly done in the WildC.A.T.S.-Huntsman storyline done by Chris Claremont and Lee, there was a serious change of direction of the team as it involved in-depth redevelopment of Zealot, the introduction of Claremont’s creation (Huntsman), the introduction of new characters and moving certain WildC.A.T.S. members into the background. Read my retro reviews by clicking here, here, here and here.
After the publication of Erik Larsen’s creative handling of WildC.A.T.S.: Covert Action Teams with issue #14, a new creative team came into the picture with several new stories and the further redevelopment of the titular team in mind.
With those details laid down, here is a look back at WildC.A.T.S.: Covert Action Teams #15, published in 1994 by Image Comics with a story written by James Robinson and drawn by Travis Charest.
The cover.
Early story
The story begins at Jacob Marlowe’s high-end place in Aspen, Colorado. In presence of Spartan, Grifter, Void, Zealot, Voodoo, Maul and Warblade, Marlowe tells them he has important matters to attend to as he, along with other heads of corporations, has been asked by the new government to run an energy commission. The said commission is part of the government’s plan to repair the damage that was done by the possessed US Vice President Dan Quayle.
Suddenly a heavily armed helicopter arrives out of nowhere and fires at them causing a lot of damage. During the attack, Voodoo gets hit and suffers a serious injury. Grifter fires a barrage of bullets at the helicopter which causes it to explode and crash. With Voodoo out of commission, the team just lost its advantage to spot Daemonites.
The next day at the headquarters of IO (International Operations), the team Black Razors hold a meeting as their member Ben Santini has been elevated as their new leader. He leads the briefing and informs the members of the assassination attempts on the members of the commission…
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Meet Ben Santini (left), the new leader of the Black Razors. At right are the members.
When I first read this story way back in 1994, I was alienated a bit by the creative team’s approach to emphasize the Black Razors at the expense of the titular team. And yet, I was pleasantly surprised by the Robinson-Charest creative direction as the Black Razors turned out to be a sensible and strong parallel team to the WildC.A.T.S. without becoming another force of evil. While it is clear that the Daemonite threat is strong with several of the aliens hidden among members of human populations, there clearly had to be another force of opposition for the titular team to face-off with and the Black Razors (which serve IO) clearly fit in well with the concept.
Any dedicated fan of this franchise will realize that the Black Razors first appeared in the original 1992 mini-series but it was only in this issue when Ben Santini (who was shot on the knee by Jacob Marlowe) was realized as a character.
Ben Santini’s introduction here was engaging and his motivations to lead the team were made clear while other Black Razor members had their own small slices of the spotlight. Santini is not exactly evil but he has a clearly defined goal in serving his superiors at IO. This means he intends to make an impact as he struggles with the responsibilities of leading the team even as the other members are not so trusting towards him.
While the paramilitary influence within the WildC.A.T.S. series has often been present, it was noticeably revived strongly by the Robinson-Charest duo in this comic book. The story also served as a creative update of IO for readers to absorb complete with elements of espionage and geo-political developments. In some ways, this comic book made the series more grounded with reality while still maintaining some fantasy concepts to keep readers entertained.
Conclusion
Grifter successfully defeated the armed helicopter but Voodoo remained seriously injured from the attack.
I can say out loud that WildC.A.T.S.: Covert Action Teams #15 (1994) is still great to read and the debut of James Robinson and Travis Charest as handlers of the comic book series remains rock solid in terms of quality and creativity. While the titular team and fan-favorite characters had a very limited presence in this comic book, the introduction of Ben Santini and the stronger emphasis on the Black Razors as a group of trained members (as opposed to being faceless during their appearance in the mini-series) more than made up for it. In fact, the build-up of the Black Razors has a lot of variety and nice quality work by Robinson and Charest. Ultimately, I was entertained with this comic book and it proved effective to make me look forward to the next issue.
Overall, WildC.A.T.S.: Covert Action Teams #15 (1994)is highly recommended!
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1970s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1974 to examine a highly significant tale from Marvel Comics’ shared universe – the first appearance of the Punisher and his first-ever encounter with Spider-Man.
To put things in perspective, Punisher’s literary debut was told within the Amazing Spider-Man comic book series and it happened not too long after the legendary tragedy of Gwen Stacey. During the 1970s, Hollywood made and released several action movies and crime thrillers that were violent, gritty and highlighted vigilantes and assassins. Some of that influence somehow made it into Marvel’s shared universe which was symbolized creatively through the Punisher who debuted as an assassin.
With those details laid down, here is a look back at Amazing Spider-Man #129, published in 1974 by Marvel Comics with a story written by Gerry Conway and drawn by Ross Andru (the same creative duo behind Superman vs. The Amazing Spider-Man crossover).
The cover.
Early story
The story begins inside a private facility an assassin wearing black with a huge skull on his upper body heavily damages a solid statue of Spider-Man using a powerful rifle. This impresses the hideous villain called the Jackal who tells him that if he does well with the real Spider-Man, he would have performed a great service for the world. Knowing he impressed the Jackal, the Punisher states that he will only kill those who deserve killing and he expresses his belief that the webslinger deserves to die.
Elsewhere, Spider-Man swings into action and successfully stops an armed robbery from happening. Along the way he managed to capture photographs, changes into his civilian clothes and enters the Daily Bugle’s office ready to submit the roll of film as Peter Parker. Unfortunately, his superior J. Jonah Jameson disregards Parker’s submission and points out that the Punisher made waves with New York’s readers via the Bugle’s competitor The New York Star. For Jameson, the Punisher is only the most newsworthy thing to happen to New York and tells Parker he wants photos of the assassin…
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This is a scene from the first of two encounters between Spider-Man and the Punisher who was introduced as an assassin.
To make things very clear about storytelling without spoiling plot details, this is a tale about intrigue and the darker side of society that involves vigilantes and murdering. The Punisher here did not debut as a crime-busting vigilante but rather an assassin who accepts assignments from clients as long as the jobs fall in line with his personal philosophy that focuses on taking the lives of those who deserved to be killed. That being said, it is clear that Hollywood’s vigilante flicks of the 1970s influenced the presentation and I can say that whenever the story focuses on the Punisher, there definitely is a grim tone which contradicts the tone of Spider-Man’s scenes.
Spider-Man here continues to struggle somewhat with his personal life having recently lost Gwen Stacey while remaining disturbed about the identity of the Green Goblin. The webslinger also has to live with the heavy situation in which a lot of people in New York were convinced that he killed Norman Osborne which was the result of his own boss’ handling of the Daily Bugle. These elements along with his civilian involvement with his newspaper creatively added to the build-up of Spider-Man’s eventual encounters with the Punisher. The build-up was structured nicely and the pay-off was worth it.
There was also the introduction of Jackal. While he has a hideous appearance, his participation was more about scheming than action which contrasted him with the Punisher. For the newcomers reading this, Jackal is actually Miles Warren in a more monstrous form. From this comic book, it was clear that Jackal was created to be a recurring for of Spider-Man and this was strongly executed in the controversial Clone Saga of the 1990s.
Going back to the Punisher, he symbolically uses guns with designs that were more grounded in reality (inspired by real-life guns in looks) instead of taking influence from science fiction. As an assassin living with a strong code, the Punisher is truly determined to eliminate Spider-Man whom he even referred to as a murderer. The perception of Spider-Man as a criminal on the part of the Punisher clearly reflected the defamation caused by the Daily Bugle on the webslinger. Gerry Conway established the assassin to be a strong believer in fighting evil by using violence and killing.
The build-up of the Punisher is very solid and the pay-off in the form of battles with Spider-Man is tremendous and very satisfying to read. There is a lot of action to enjoy here and most notably Gerry Conway maintained a strong narrative throughout.
Conclusion
Have you ever worked in a newspaper before?
I can say out loud that Amazing Spider-Man #129 (1974) is truly a great read and a true illustrated literary classic of Marvel Comics. This tale alone added a touch of darkness and grit (in the form of vigilante and assassins cultures) into the Spider-Man legacy. Apart from its status as a comic book classic, this one paved the way for the rise of the Punisher in terms of more comic book appearances and the publishing of new comic book series featuring him. While the Punisher’s legacy as a killer is obviously not something worth believing in, Marvel Comics took the risk of having him as one of their primary characters in the decades that followed. This particular story is so significant, Marvel Comics revisited it with What If #58 (1994). Check out my other Punisher-related retro reviews by clicking here, here, here, here and here.
Overall, Amazing Spider-Man #129 (1974) is highly recommended!
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 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.
The cover.
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)…
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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.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the late 1980s to examine an alternate universe portrayal of Wolverine and S.H.I.E.L.D. told through an issue of the 2ndWhat If comic book series.
While Wolverine has always been identified with the X-Men, the famous mutant spent time with the Canadian team Alpha Flight and his early encounter with the Hulk remains a highly significant chapter of Marvel Comics’ superhero universe.
With those details laid down, here is a look back at What If #7 published in 1989 by Marvel Comics with a story written by Joe Valentino and drawn by Rob Liefeld.
The cover.
Early story
The story begins with the Watcher looking back at Wolverine’s encounter with not only the Hulk but also the Wendigo (as recorded in Incredible Hulk #180 and #181). A short time later, Wolverine is alone in the forest and gets visited by Nick Fury (S.H.I.E.L.D.) and Hudson (Alpha Flight) who arrived by helicopter.
Hudson tells Logan that an agreement has been made to loan him to the United States which prompts a response – Wolverine claims he is nobody’s property and tells Fury to reveal the details.
As it turns out, Wolverine joined Fury at the helicarrier of S.H.I.E.L.D. for a briefing. Fury reveals to him that the internal security of S.H.I.E.L.D. has been breached by an advanced model of Hydra LMDs (life model decoys) and their sensors cannot even detect them. An agent with top security clearance was recently caught trying to transmit classified data. The said agent blew up…
Quality
Wolverine, Nick Fury, Black Widow and some S.H.I.E.L.D. personnel take on Hydra!
I can say that I am very impressed and entertained with what Valentino and Liefeld came up with in this comic book. The story has a pretty strong structure designed to engage readers, pull off some surprises here and there, while also emphasizing the legacy of conflict between S.H.I.E.L.D. and Hydra with efficiency.
With regards to this comic book’s subject matter, Valentino succeeded in exploring the concept of Wolverine becoming an agent of S.H.I.E.L.D. complete with great interactions between the characters. While Wolverine has his ideological differences with Nick Fury, the story went on to show great chemistry between them when S.H.I.E.L.D. operates (with the clawed mutant involved). Wolverine and Black Widow make a solid duo in action and the writer managed to dramatize the conflict between Fury and Baron Strucker (Hydra). For the newcomers reading this, Baron Strucker is Marvel’s super villain with a Nazi heritage and he first appeared in the 1964 comic book Sgt. Fury and his Howling Commandos #5. Strucker here is very intimidating and powerful and Hydra’s use of LMDs symbolically reflect his ruthlessness.
When it comes to the visuals, Rob Liefeld’s art here is really great to look at and it truly is one of the best looking Marvel comics I have read with his artwork as well as the most distinctive looking What If story. Great not only because of his stylized take on the established characters (note: the Hulk and Wendigo looked very visceral) but also because Liefeld truly brought Valentino’s solid script into life from start to finish. The action scenes drawn were excellent, the facial expressions were lively and detailed to look at (note: Wolverine’s got some very visceral faces here) and most of all, Liefeld managed to make the established characters look recognizable.
Conclusion
Really nice action of Wolverine and Black Widow against many drawn by Rob Liefeld.
Thanks to Jim Valentino and Rob Liefeld’s combined works, What If #7 (1989) is a great comic book and easily one of the best tales of the 2nd volume of What If that I have ever read. The way it emphasized Wolverine as an agent of S.H.I.E.L.D. was highly imaginative, compelling and fun to read from start to finish. There is so much enjoyable stuff here that should appeal strongly to fans Wolverine, Nick Fury and S.H.I.E.L.D. In retrospect, this comic book was published just a few years before Valentino and Liefeld left Marvel Comics to establish Image Comics and right here you will see the great creativity from their younger days. Lastly, I can say that this What If tale has a strong conclusion which should compel you to read specific Marvel comic books to realize the connections
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 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.
The cover.
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 adaptationis satisfactory.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1996 and explore a part of the Marvel 2099 comics universe through a tale of the Spider-Man 2099 monthly series.
In my previous retro review, Miguel O’Hara learns how challenging it could be for him to direct the path of Alchemax which is symbolize with himself being surrounded by the managers. He recently stopped his father Tyler Stone from taking control of his office. As his office needs a secretary, someone very exceptional came in.
With those details laid down, here is a look back at Spider-Man 2099 #43, published in 1996 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman and Ron Lim.
The cover.
Early story
The story begins when one of the undersea bases of Alchemax explodes to the surface in heavily damaged form. Something terrible happened to it deep below and there is only one man (wearing a protective suit) still living floating on the sea. Just as he notices sharks coming his way, Spider-Man comes down to save him with the use of one of Alchemax’s floating vehicles. As Spider-Man pulls the helpless man up with his web, one of the sharks leaped high at them. The web breaks and both the man and Spidey fall into the sea.
Meanwhile at Alchemax, Gabriel O’Hara confronts his mother Conchata who very recently started working as the office secretary of Miguel. Gabriel asks how could she be working for Miguel as part of Alchemax which is the very corporation she hated. The mother answered back stating that she resolved her accumulated anger related to Miguel and has realized that he needs her…
Quality
The rise of the mutate rebel Roman and Miguel O’Hara’s corporate interactions dramatized efficiently in this single page.
Moving further away from what was dramatized in issues #40 and #41, Peter David crafted this tale focusing on a new threat that endangers not only Spider-Man but the people and their local society as a whole. To put things in perspective, it is recommend you revisit issue #8 and focus on Alchemax’s aquatic division called Atlantis which had been working on a major reclamation project under the sea with the objective of becoming a tourist attraction in the years to come. Right there, Tyler Stone mentioned Miguel’s involvement with the project which includes bio-engineered workers.
The key elements of Atlantis mentioned in issue #8 literally resurfaced in this comic book and Peter David heavily emphasized the related details and integrated it all in the plot which essentially justified the existence of the new opposition led by Roman who is the charismatic leader of the mutates (genetically designed sentient beings) who had long been working hard and long outside of the undersea bases which had humans living comfortably inside. Roman here is not related in any way to Marvel’s aquatic hero Namor the Sub-Mariner but he is an imitation of him (note: his name is Namor in reverse).
The conflict of Atlantis revives the business-laborers conflict but was twisted to show the conflict between humans and mutates, as well as Atlantis being symbolized as a physical project of Alchemax to exploit the aquatic life and resources deep under the sea. The build-up of the human-mutates conflict in this particular comic book is surprisingly beefy and was efficiently done.
As for Spider-Man himself, you will get to see him more involved with Alchemax just as he successfully keeps his civilian identity secret. Along the way, you will see more of Miguel O’Hara doing more corporate work and negotiations. As expected, his drive to lead Alchemax with his own perception of being compassionate encounters hurdles from the established order – both within and outside his company. His mother was portrayed to be more sympathetic than before and she shows lots of signs of having mellowed. The development on Miguel and Conchata here were deep and they made a lot of sense with the plot itself.
Conclusion
The futuristic Spidey interacts with a huge shark!
Spider-Man 2099 #43 (1996) is another tale that has aged well as its foundations and elements proved to be very solid until now. With regards to the big event that took place near the end of this comic book, it seems that Peter David took inspiration from what was portrayed in Fantastic Four #4 (1962) as well as from Namor the Sub-Mariner himself. I really enjoyed how this story became a huge pay-off to the minor build-up in issue #8.
Overall, Spider-Man 2099 #43 (1996) is highly recommended!
Author Carlo Carrasco 