comic books – Page 52 – Author Carlo Carrasco

A Look Back at Prototype #0

June 10, 2020June 9, 2020carlocarrasco

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.

If you are looking for a great origin story set within the Ultraverse, you can’t go wrong with Prototype #0. Before we explore the said comic book, let me remind you that during my review of Prototype #1, I stated that it was great and it had a nice balance between spectacle, storytelling and characterization. There were also references to some threads to the past with regards to Bob Campbell (the original Prototype pilot) who could not help but witness his replacement Jimmy Ruiz have the spotlight being the new Prototype.

That being said, we can take a trip to the events that happened in the past with this look back at Prototype #0, published in 1994 by Malibu Comics with a story written by Tom Mason and Len Strazewski with illustrations done by Gordon Purcell and Keith Conroy.

Early story

The story begins some time in the past with an interview with top executive Stanley Leland who recalls how Bob Campbell got involved with his corporation Ultratech. As it turned out, Campbell was working in Hollywood as a stunt performer in science fiction films. Campbell fit in nicely with Hollywood job having previously served as a member of the United States Army’s special forces and has been experienced with tactical weapons and hand-to-hand combat.

The advertising agency of Leland’s company hired Campbell to wear a multipurpose exoskeleton prototype armor for the filming of a promotional project meant for the military. Campbell used what turned out to be the original Prototype armor which was very bulky and had a dome-style metallic head (that reminds of Marvel’s Mysterio). Even though it was bulky, the armor was still loaded with weapons and enhanced the pilot’s physical strength by twenty times complete with artificial intelligence (AI) assisting with the operation.

*Taking care of Bob Campbell, the original Prototype pilot.*

Even though there was a hitch (something went offline) during the filming, Bob Campbell still managed to make great use of the armor and delivered results so spectacular, Leland hired him with a high-paying contract to work officially as Prototype.

Ultratech benefited nicely in terms of sales with Prototype as their key figure and Campbell had that Rambo style which impressed the military. Shortly after, the success started entering Campbell’s head resulting more costs for Ultratech…

Quality

*The original Prototype saved a pretty lady!*

This is one great and very cleverly crafted superhero origin story! When it comes to the presentation, the exploration of past events by means of recollections and memories of different people interviewed is excellent! Having worked before as a reporter for a local community newspaper, I myself interviewed a lot of people to dig for information about the past and as such, this comic book’s approach is something I personally strongly relate with.

Through the words of Leland, Campbell’s ex-wife, Marjorie Fredericks and Hastings the caretaker, the details of what happened with Bob Campbell as the original Prototype are clearly defined. The same goes with the nature of Ultratech as a corporation and owner/developer of the powered suits of armor, not to mention how they affect the public’s perception and how they treat their employees. The last chapter focused on Jimmy Ruiz and how he became the present-day Prototype was handled in a more conventional way.

Along the way, the dialogue is very well written and the characters are nicely defined which is no surprise considering the combined high talents of Tom Mason and Len Strazewski. The art provided Gordon Purcelli and Keith Conroy is very good. Apart from the in-depth writing, the dynamic action and strong visuals, I should say that this comic book is a lot of fun to read and it perfect connects with issue #1.

Conclusion

*Bob Campbell hired full-time as Prototype pilot.*

Prototype #0 is undoubtedly a great comic book to read and easily one of the very best Ultraverse stories I read (apart from being one of the best superhero origin stories of the UV) so far. I was really engaged from start to finish, and I should state that Bob Campbell’s importance is real even as he became the has-been character in the later Prototype issues. This comic book successfully achieved its purpose on telling the origin of Prototype and made sense out of what Roland Mann said: the race has only just started!

If you are seriously planning to buy an existing hard copy of Prototype #0, be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the comic book costs $4.

Overall, Prototype #0 is highly recommended!

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back at Wonder Woman #8 (1987)

June 6, 2020June 4, 2020carlocarrasco

With the combined talents of George Perez, Len Wein, Greg Potter plus others, the reintroduction of Wonder Woman during the early stage of the Post-Crisis era of DC Comics is not only great but an essential read and a true superhero literature classic! When it comes to the presentation, the origin of not only Wonder Woman but also the Amazons was retold with a stronger emphasis on Greek mythology.

To put things in perspective, Wonder Woman #6 saw Ares’ plan on completely ruining man’s world defeated while Wonder Woman #7 saw the revival of Princess Diana as the deities of Olympus bless her and the Amazons. Where could George Perez, Len Wein and the creative team take the post-Crisis Wonder Woman story to?

That we will precisely find out in this look back at Wonder Woman #8, published by DC Comics in 1987 with a story written by George Perez and Len Wein. The art was done by Perez and inked by Bruce D. Patterson.

Early story

The story begins in Boston, specifically at the Harvard University office of academic veteran Julia Kapatelis. She starts typing her recollections about Diana who, by this time, became a celebrated figure with the public thanks in part to Myndi Mayer’s publicity engine. Julia expressed how astonished she was with Wonder Woman’s ability to assimilate a lot of information so quickly (note: when she first arrived in man’s world, she did not even know how to speak English).

She recalled during their time at the United Nations that there were some nations that refused to listen to her and that the delegate from Russia protested Wonder Woman’s star-spangled costume on political grounds.

While Wonder Woman is loved by the public, there still were those who opposed her. Julia recalls the national campaign to outlaw all superheroes launched by the psychologist G. Gordon Godfrey who even won the support of some of America’s political figures. Julia also noticed the effects of Godfrey’s campaign on the minds of some of her students and the division that followed.

Wonder Women went on to interact with other superheroes as she strived to do good and save people. She even got invited to join the newly reformed Justice League with Superman, Batman, the Flash and many others present…

Quality

Before describing the quality of this comic book, I should state that Wonder Woman #8 is not your typical superhero comic book at all. In reality, to reflect the title Time Passages, this one is technically a collection of journals that efficiently showed how much has changed for Wonder Woman and the people around her since after the Ares Affair happened.

When it comes to quality, each journal fictionally authored by Julia Kapatelis, Etta Candy, Vanessa Kapatelis and Myndi Mayer, was well-written by Perez and Wein. Apart from describing what happened and how much had changed with Wonder Woman in their presence, each character’s journal had its own distinct view apart from style of writing. Each journal is important to read and through them you will realize how much impact Wonder Woman had on their society and on themselves.

Still on the writing, there were some pages that provided relief to readers. In between the journals are story pages focused on Dr. Barbara Minerva and her short male companion which served as the build-up leading to the first appearance of the post-Crisis Cheetah.

And there is all the beautiful art provided by Perez. Each page of a fictional journal has artwork that visualize what was told. There are also whole pages highlighting the passage of time and the characters who made each journal. Even with the unusual format used, this is still very good looking comic book to see!

Conclusion

*The test of Wonder Woman with the military as recalled by Etta Candy.*

To describe it bluntly, Wonder Woman #8 is an exposition-heavy, very wordy, time-passing comic book that succeeds in what it was meant to achieve: move Wonder Woman’s post-Crisis development forward efficiently (note: without having to create multiple comic books reflecting the events told) while emphasizing how people look at her, how she connects with other DC Comics superheroes and the like. It was nicely crafted by Perez and the creative team and each page showed that a lot of special care was done. With regards to modernizing Wonder Woman for the 1980s, this comic book is a success.

If you are seriously planning to buy an existing hard copy of Wonder Woman #8 (1987), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $26 while the near-mint copy of the newsstand edition costs $51.

Overall, Wonder Woman #8 (1987) is highly recommended!

A Look Back at Prototype #5 (1993)

June 5, 2020June 4, 2020carlocarrasco

Previously, I took a look back at the two-part Ultraverse crossover story between Hardcase and the Strangers. It was, indeed, an enjoyable reading experience as a whole to see Hardcase and Choice have an adventure together with the Ultras who previously gained powers while riding a cable car in San Francisco that got hit by energy from the sky. The way the crossover was done resulted an entertaining story and even added to the continued development of some of the characters involved.

This time we examine another crossover of heroes within the Ultraverse by taking a look back at Prototype #5, published in 1993 by Malibu Comics with a story written by Tom Mason and Len Strazewski (with Steve Englehart on the plot) and drawn by Roger Robinson.

Early story

The story begins at North California facility where the Strangers – Atom Bob, Grenade, Electrocute, Zip Zap, Yrial, Spectral and Lady Killer – break in and bring down several uniformed personnel. Their purpose is to get into the rocket and make their way to the moon.

Quite conveniently, the Strangers wore space suits, get into the rocket (the JDH-3000) and launch successfully. This upsets the rich and powerful JD Hunt who rejects the idea of destroying the rocket. The next morning at the office, Hunt is very mad over the fact that his rocket has fallen into the hands of ultras. Knowing where exactly the JDH-3000 is heading, he tells one of his staffers to get him Gordon Bell as he plans to send someone up there to bring it back…

Quality

*Visual build-up of the crossover between Prototype and the Strangers.*

To put things in perspective, Prototype #5 is a well-written part of the big Break-Thru crossover of the Ultraverse that happened in late 1993. On its own, it forms the first part of the crossover between Prototype and The Strangers, and it sure is loaded with a lot of build-up (of key elements within the Ultraverse) and exposition.

In terms of writing, this comic book moved at a medium pace with strong emphasis on build-up. What I really found intriguing here is the politics of the fictional corporate world within the Ultraverse. There were these very powerful corporate executives communicating with each other, and there was JD Hunt who intensely joined a meeting blaming Gorden Bell for costing him billions of Dollars. The corporate politics here are actually connected with Prototype and the Strangers.

As this is a build-up comic book, you won’t get to see Prototype (Jimmy Ruiz the pilot to be precise) physically together with the Strangers until very, very late in the story. In fact, there is a lot development and a few character introductions to go through before Prototype (with two foreign companions developed by his corporate handlers) leaves for space.

Conclusion

*The corporate forces behind the Ultraverse.*

Being heavy on exposition and light on spectacle, Prototype #5 is a decent Ultraverse comic book to read. If you were expecting to see Prototype together with the Strangers for the majority of the comic book (note: the cover art is quite suggestive), you will get disappointed. However, this comic book builds up mainly on other elements of the Ultraverse, specifically the corporate forces behind the scenes. By the time you finish reading Prototype #5, you will gain a better view of what causes events to happen and how they affect the ultras. The ending of the story, I should say, is compelling enough to make you anticipate what would happen next in The Strangers #7.

If you are seriously planning to buy an existing hard copy of Prototype #5 (1993), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $4. The near-mint copy of the newsstand edition meanwhile costs $13.

Overall, Prototype #5 (1993) is satisfactory.

A Look Back at X-Men 2099 #34

June 3, 2020June 2, 2020carlocarrasco

Even within the Marvel 2099 universe, the concept of the messiah figure arriving to change people’s destiny has been used. What is notable about this concept, apart from being a cliché, is that it was implemented so close to the end of the X-Men 2099 monthly series in the mid-1990s and the 2099 editor Joey Cavalieri was fired by Marvel Comics at a time of corporate turmoil. The firing led to the resignation of other writers who were sympathetic with Cavalieri. It should be noted that the last time Cavalieri’s name was listed on the credits was in issue #31.

As such, things went downhill for Marvel Comics and the 2099 line as a whole. In retrospect, did the messiah concept result any improvements for the quality of the X-Men 2099 franchise?

This is my retro comic book review of X-Men 2099 #34, published in 1996 by Marvel Comics with a story written by John Francis Moore and drawn by Jan Duursema.

Early story

The story begins with the monstrous-looking Vulcann instantly transforming Joachim (the son of Eddie/Metalhead and Rosa) from infant form into an adult. When asked by the now-grown Joachim who he is, Vulcann lies to him saying: I am your lord and master. My word is absolute as is my love for you. Obey me and I will give you a world that will worship at your feet.

Meanwhile during a stormy day just outside of Halo City, Skullfire, Luna and Krystalin arrive in floating motorcycles. Their new task, which is very daunting, is to help as much as possible as the sea level has risen so much it has flooded the city they are responsible for (as the protectorate).

Shortly after, the X-Men and others meet in Halo City’s tower digitally communicating with Savant who explains that weather patterns around the world are equally aberrant as the storm affecting the city. He also mentions that based on the findings of Alchemax Geotechs, the polar ice caps were melting at an alarming rate…

Quality

First of all, I should say that effort was made to raise the stakes within the story. The introduction of the adult Joachim guided by the evil, over-sized Vulcann was meant to show a twisted take of Christianity’s God and Jesus and turn it into a new anti-hero force against the X-Men.. Then there is the shock on Joachim’s parents, Xi’an’s return to the city and the global weather instability caused by the arrival of another moon orbiting Earth.

The problem here is that the story as a whole was not very compelling, even though the creative team brought heavy spotlight back on the X-Men after spending it on Xi’an and the Lawless. Speaking of X-Men relevance, the creators also brought Shakti back to this monthly series ending her absence (note: she was with the youth team X-Nation which had its own series). Granted, the stakes were raised but the payoff was not too strong specifically for this comic book.

Along the way, Jan Duuersema did what she could to make this story look good.

Conclusion

*The analysis of a moon-sized satellite orbiting earth makes a good build-up for a mission.*

To put it bluntly, X-Men 2099 #34 has the weakest story since before issue #25. In this comic book, I did not care much about the rushed return of Xi’an and Shakti in Halo City. I should also state that having Vulcann and Joachim parallel Christianity’s God and Jesus was done in a very bad taste even though the purpose (apart from giving the X-Men opposition) was to show that the X-Men themselves are no longer worthy to be mutantkind’s standard-bearers right in the city filled with many mutants and other outcasts. The portrayal of the X-Men, meanwhile, felt hollow and not worth caring for which makes the return of the spotlight on them a waste.

If you are seriously planning to buy an existing hard copy of X-Men 2099 #34, be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $6 while the near-mint copy of the newsstand edition costs $21.

Overall, I don’t recommend buying X-Men 2099 #34 above fifty cents. Better save your money.

A Look Back at Wonder Woman #7 (1987)

June 1, 2020May 30, 2020carlocarrasco

Having seen Wonder Woman in cinemas in 2017 and having reviewed the comic book Wonder Woman #6 of 1987 recently, I can say that I enjoyed the two different battles between the Queen of Superheroes and the war deity Ares. Both battles had their respective styles of art and presentation and there were a few similarities between them.

I like both conflicts equally and that’s in relation to very different formats used – cinematic and comic book. Also, the Wonder Woman-Ares battles served as effective story turning points on both the big screen and the comic book. In the case of the Post-Crisis era of DC Comics, the major battle was the climax of the brewing, global military aggression (due to Ares influencing people of man’s world to destroy each other) in which Wonder Woman got involved not only with the Cold War but also with the connections between man’s world, Themyscira and Olympus.

That being said, now is time to move forward with the Post-Crisis Wonder Woman saga with this look back at Wonder Woman #7, published in 1987 by DC Comics with a story co-written by George Perez and Len Wein. Perez drew the story which was inked by Bruce D. Patterson.

Early story

The story begins in Olympus with Hermes spreading the news that the threat by Ares has ended. Zeus declares the news are true and issues a decree of a feast of celebration. The others smiled in reaction. As others make merry to the music of the spheres, Athena reminds Zeus that Prince Diana/Wonder Woman lies at death’s threshold emphasizing the her victory of Ares came at such a high price. Realizing the Amazons’ value, Zeus decides to keep a closer look at them.

Over at Themyscira, the Amazons (under the watch of Queen Hippolyte) perform a ritual of revival for their fallen sister Diana. They noticed no progress has been made. From high above, Zeus and his fellow deities watch…

Quality

Top-notch quality once again achieved by the creative team led by George Perez and Len Wein. While the previous two issues had high fantasy concepts with battles as the highlights, Wonder Woman #7 is much more character-driven showing Wonder Woman’s recovery from the great battle and how the Greek deities’ view of the Amazons changed as a result of Ares’ defeat. Specifically, there is a lot of richness emphasizing Wonder Woman’s continued development as the daughter of Queen Hippolyte and as the continued doer of missions as her people’s representative in man’s world. I also like the way the comic book creators explored the divisions between the deities of Olympus.

Without spoiling all the details, this story resolved the crisis on the part of Vanessa, the young daughter of Julia Kapatelis and it also added to Diana’s evolution as a loving and caring superhero. The academic professional Julia – who has grown into a close friend of Wonder Woman’s – also was developed nicely here. And then there is the introduction of someone who is very savvy with the media.

In stark contrast to issues #4, #5 and #6, Wonder Woman #7 does not have any superhero action as it was much more focused on character development. That’s not to say that it is all just characters talking several lines of dialogue and looking dramatic. This story still has that epic fantasy look as it provides readers a good look at Olympus. This comic book really pushed the narrative far more than the three previous issues.

Conclusion

Another great comic book this truly is. Then again, it should not be a surprise at all considering the great talents of George Perez and Len Wein combined. By the time I finished reviewing Wonder Woman #7, I am convinced that the creative team in-charge of this Post-Crisis version of the Queen of Superheroes not only worked with a high level of confidence but also carefully crafted their plans on reintroducing Wonder Woman with the 1980s in mind and making her much more relevant with the public. Storywise, this comic book marks a turning point in the Wonder Woman monthly series.

Other than being another great Wonder Woman story, Wonder Woman #7 also marks the first-ever appearance of Dr. Barbara Minerva (in civilian form specifically) who would later become the Post-Crisis era’s Cheetah a few issues later. For the newcomers reading this, Barbara Minerva/Cheetah was portrayed by Kristen Wiig in the upcoming superhero movie Wonder Woman 1984. With regards to that movie, reading Wonder Woman #9 is a must!

If you are seriously planning to buy an existing hard copy of Wonder Woman #7 (1987), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $77 while the near-mint copy of the newsstand edition costs $153.

Overall, Wonder Woman #7 (1987) is highly recommended!

A Look Back at Action Comics #545

June 1, 2020May 31, 2020carlocarrasco

Action Comics #544 was, indeed, a very memorable comic book to read. For a comic book about Superman and the celebration of his 45^th anniversary, Action Comics #544 was more about the drastic reform (and improvement) of the super villains Lex Luthor (gaining a powered suit of armor) and Brainiac (becoming fully robotic). That particular issue ended with Superman actually getting defeated and knocked down during his first encounter with the now metallic Brainiac (who also had a huge squid-like space ship of his own).

The story continues with this look back at Action Comics #545, published by DC Comics in 1983 with a story written by Marv Wolfman and illustrated by Gil Kane.

Early story

The story begins with Superman already down on the ground on an alien world in the presence of Brainiac and the strange beings (natives of the planet) standing near him. Braniac explains to him that his red-sun missile brought him down and states: With but the merest thought I can and will destroy you! For only with your death can I be victorious in my battle against he-who-created-us-all! With you dead, this universe and all others will be mine to rule!

After much talking, Brainiac puts the weakened Superman into his small ship and brings into him the main ship (Brainiac’s flyer). Before departing, Brainiac’s flyer fires a powerful blast killing many of the planet’s natives.

Superman is conscious but is too weak to get up. Brainiac then starts analyzing him using his ship’s state-of-the-art equipment…

Quality

*The new Brainiac’s power is felt all over.*

Let me start with the story. Written by the legendary Marv Wolfman (who went on to author Crisis on Infinite Earths), Action Comics #545 is the highly compelling extension of the first encounter between Superman and the highly enhanced Brainiac. Continuing from the events that took place in issue #544, this comic book further emphasizes Brainiac’s new technology and new capabilities complete with revisions in his programming which make him even deadlier than his previous form. While Brainiac is cold and very calculating like a computer, there are still threads of humanity in him, mainly in the form of expressions.

Along the way, Superman is portrayed to be very vulnerable and in more danger than usual. The situation is so bad for him, Superman realizes that attacking Brainiac would be suicidal. Since he could not afford to take the risk to defeat Brainiac, the Man of Steel relied more on his instinct and observations to solve problems.

On the art, Gil Kane delivered pretty good visuals. While his take on Superman makes the icon recognizable, it is his art on Brainiac and the futuristic technologies that really shined. Even by today’s standards of comic book art and sci-fi concepts, Brainiac, his ship and all other forms of technology still look futuristic!

Conclusion

*A very vulnerable Superman being scanned by Brainiac.*

Very entertaining and compelling! That’s how I describe Action Comics #545 and it definitely is a great continuation of the Brainiac story that was featured in issue #544. Lots of action spectacle and intrigue all through the story. While Brainiac’s new abilities and revamped personality were compelling to read, it should be noted that Superman in this comic book thinks more, becomes more strategic and makes decisions knowing he has been weakened. This is a Superman who strives to survive.

As for Brainiac, this comic book shows his rise as one of the premier super villains of DC Comics leading to the events of Crisis on Infinite Earths. The ending here has a very powerful image!

If you are seriously planning to buy an existing hard copy of Action Comics #545, be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $18 while the near-mint copy of the newsstand edition costs $36.

Overall, Action Comics #545 is highly recommended!

A Look Back at The Strangers #3

June 1, 2020May 29, 2020carlocarrasco

Right from the start, I got hooked with The Strangers and kept on anticipating the next stories. When it comes to superhero comic books, I am fond of superhero teams like the X-Men, the Teen Titans, Freex, Justice League and WildC.A.T.s

One of the things I enjoyed most from The Strangers #1, which was one of the launch titles of the Ultraverse, was the characterization. Each member of the Strangers was efficiently introduced and his/her uniqueness (apart from having a special ability) caught my attention. And then there was the plot structure that kept me reading for more.

When it comes to the very good quality of storytelling and characterization in The Strangers #1, it should not be much of a surprise since the author Steve Englehart worked on Marvel’s The Avengers, The Defenders and the West Coast Avengers. Englehart also wrote Justice League of America for DC Comics.

With that short history lesson done, we can now take a look back at The Strangers #3, published in 1993 by Malibu Comics with a story written by Steve Englehart and illustrated by Rick Hoberg.

Early story

The story begins with the Stangers already in battle with a group called TNTNT composed of Tyrannosaur, Naiad, Torso, Neu-Ronnie and Tugun. The heroic ultras find themselves struggling with their opponents. Just as Tyrannosaur punches one of the Strangers, he states: We want our victims to know us! The work we do precludes us from receiving our proper recognition elsewhere! We are the kings of destruction and death!

The fight goes on…

Quality

*Really in-depth characterization in this flashback.*

Let me make it clear to you all that this comic book is mainly a huge battle between the Strangers and TNTNT. However, it is not exactly the overly long, battle royale at all nor is it a brainless story. In fact, at key segments of the comic book, the narrative switches between the battles and flashbacks that not only explain what happened since the end of issue #2 but also showed other events that happened during the Strangers’ free time.

The flashbacks showed the Strangers interacting with each other like normal people. There was this nice scene showing Atom Bob and his teammates visit his parents’ home and have a nice dinner together. It was also during the flashbacks where the character development really got deep and by the time the story ended, I got to know the Strangers even more.

Going back to the long battle, it is clearly a showcase of spectacle in the form of superhero action and the use of their special abilities. Unsurprisingly, Rick Hoberg’s visuals really brought the script to life here. Really good imagery here and there! Also I should say that Hoberg’s designs on the members of TNTNT were really good, even comparable with the Strangers’ designs.

Conclusion

*This is just a taste of the action-heavy battle.*

The Strangers #3 is fun and compelling to read. What makes this different from issues #1 and #2 is that following the narrative (which switches between the present day battle and the character-driven flashbacks) can be challenging at first. As such, this is a comic book that needs to be re-read in order to fully understand the story. It has a lot of action, super powers showcased and enough character development! Finally, I should say that Steve Englehart and Rick Hoberg crafted a pretty powerful build-up leading to the last page.

If you are seriously planning to buy an existing hard copy of The Strangers #3, be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $4 while the near-mint copy of the newsstand edition costs $8.

Overall, The Strangers #3 is recommended!

A Look Back at What If #72 (1995)

May 30, 2020May 28, 2020carlocarrasco

Spider-Man is not just the icon of Marvel Comics co-created by Stan Lee and Steve Ditko. He is an icon of American culture! From comic books to video games, toys, movies, TV shows and merchandise, Spider-Man’s legacy will always be visible to the public. The fandom of the icon is also undeniable. As if that was not enough, a futuristic, sci-fi version of the superhero was realized in 1992 when Marvel Comics launched its 2099 comic book universe with Spider-Man 2099.

Not even Stan Lee himself anticipated how famous Spider-Man would become.

“”It’s so indescribably thrilling to realize that so many people really care about a character I dreamed up and wrote so many years ago. Although it’s probably lucky I didn’t know how big Spidey would become in later years—because, if I suspected that, I’d have been too nervous to write the stories, worrying if they’re good enough for posterity to judge,” Lee stated.

Considering his relevance and attraction to the public, Spider-Man unsurprisingly got featured in issues of the What If monthly series. What I’m about to review is a comic book that explores what would it be had Spider-Man became a murderer.

You read it right!

Anyway, here is a look back at What If #72, published by Marvel Comics in 1995 with a story written by Simon Furman and illustrated by Craig Brasfield.

Early story

The story begins with Peter Parker/Spider-Man alone in a dark prison cell. A flashback begins set inside a particular warehouse showing how he (dressed as Spider-Man) savagely beat up a man whom he believed was responsible for the death of his beloved Uncle Ben. By looking at the man’s face, Spider-Man noticed that the guy he just beat up was the fugitive (a burglar) who ran past him…the one man whom he could have stopped when he had the chance. Spider-Man realizes that he just killed the man and starts regretting it.

Suddenly a loud voice from outside the warehouse startled him. It turns out New York’s police officers are located outside and they know he is in the warehouse. They called Spider-Man to surrender. He thought about doing the right thing to surrender but eventually decides to escape and go home.

The next morning, Peter Parker is at home with Aunt May. The guilt of killing a man is bothering him personally and he knows how much his aunt depends on him. He knows that she is already struggling to make ends meet for them both. Aunt May notices Peter looking bad from a lack of sleep.

Then Peter goes to school feeling very burdened with guilt…

Quality

I can clearly that this is a very well-written story crafted by Simon Furman. Not only did Furman really strongly focused on the very theme of this comic book, he went the extra mile exploring a darker side of Spider-Man brought out by the burden of guilt. I also enjoyed the scenes crafted showing Spider-Man to not only act different but also become more unsure of himself and even becoming afraid to use his super powers. Worth mentioning is how Peter Parker handles his relationship with Aunt May while carrying the guilt deep inside.

The comic book is not a 100% pure character exploration. There is still a good amount of superhero spectacle here and there to keep you entertained. There are also a few other classic Spider-Man characters that fans will enjoy such as Flash Thompson, Dr. Connors/The Lizard and Sandman. Furman cleverly created nice encounters between Spider-Man and the two mentioned villains which also added further to the hero’s development.

Visually, What If #72 is nice to look at thanks to Craig Brasfield’s work. He proved to be good in drawing Spider-Man although I find his art on the Lizard better and more detailed to look at. When it comes to superhero action, Brasfield delivered the goods.

Conclusion

*With the guilt bothering him, Peter Parker is unsure of doing something in a bad situation.*

What If #72 is quite compelling to read. It explores how Spider-Man would act while carrying the guilt of accidentally killing someone. That being said, I should say that this comic book achieved its goal of emphasizing its concept – what if Spider-Man became a murderer? – but it ended on a whimper. Remember how the 2012 James Bond movie Skyfall literally broke rules and traditions of James Bond storytelling only to revert back before the movie ended? That’s how I look at this comic book. It went deep with its concept but not all the way. How exactly did it end? You should read the comic book to find out.

If you are seriously planning to buy an existing hard copy of What If #72, be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $17 while the near-mint copy of the newsstand edition is priced at $51.

Overall, What If #72 (1995) is recommended.

A Look Back at Wonder Woman #6 (1987)

May 28, 2020May 27, 2020carlocarrasco

Remember the final conflict between Wonder Woman and Ares in the 2017 movie? You will see their literary conflict in this old Wonder Woman comic book drawn by the legendary George Perez which I’m about to review.

Before getting to the review, Ares in real life is the Greek deity of war and one of the Twelve Olympians. Within the realm of DC Comics’ superhero universe, the character was very similar to the real-life counterpart and made the first literary appearance in Wonder Woman #1 way back in the early 1940s.

In 1987, when Wonder Woman got rebooted along with the rest of the superhero universe of DC Comics (the Post-Crisis era), George Perez led a revision of the Wonder Woman mythos with a stronger emphasis of Greek mythology in mind. In Wonder Woman #1 of the Post-Crisis era, the deities of Greece were introduced and Ares stood out clearly among them given his nature for conflict. As if that was not enough, Ares appeared in a dark battle armor with a helmet clearly hiding his face (with red-colored eyes) which easily made him the most menacing deity of them all in Olympus.

Having reviewed Wonder Woman #5 (1987) which showed how Ares and his forces influence people of man’s world to engage in war with each other, the stage is set for Wonder Woman and Ares’ featured encounter in Wonder Woman #6 published in 1987 by DC Comics with a story co-written by George Perez and Len Wein. Perez illustrated the story with ink work done by Bruce D. Patterson.

Early story

The story opens with a television news broadcast about the brewing tension that could lead to a war. The public is informed about the sudden takeover of a federal missile base organized by renegade military personnel led by an Air Force general. Over at the Soviet Union, a similar takeover of a missile facility got reported.

The narrative then shifts at the American military base where Wonder Woman, Julia Kapatelis, Steve Trevor, Etta Candy and Matthew Michaelis just witnessed the arrival of Ares whom the traitorous general Samuel Tolliver referred to as master. Tolliver has several renegade soldiers carefully watching the heroes with guns pointed. Michaelis find the situation getting more insane which draws a response from Ares.

Julia (who researched a lot about foreign cultures and deities), Etta and Steve struggle to believe what they just witnessed. The presence of Ares, the deity of war in Olympus, is too much for them. As Diana whispers to Julia, Ares responds referring to her as Queen Hippolyte’s daughter. As soon as Areas disappears into thin air, Tolliver tells everyone that he will launch the doomsday missiles once he reaches the master control room.

Very quietly, Etta Candy opens a pouch behind Steve Trevor and pulls out to handy canisters. She passes one to Michaelis…

Quality

*Follow Wonder Woman’s journey into the unknown!*

I’m pleased to say that the high quality of storytelling, characterization, art and spectacle that started since issue #1 has been well maintained here. Like the previous issue, this one is loaded with spectacle as it is a continuing story about tackling Ares and his influence on people engaging more in conflict instead of being calm and reasonable. When it comes to spectacle, there is a nice mix of fantasy battles and military action.

The highlight here, as already made obvious by the cover of this comic book, is the battle between Wonder Woman and Ares. To make things clear without spoiling the story, I should say that their battle together was executed differently from what was showcased in the 2017 live-action movie. To describe it here, I’d say it has a strong fantasy approach on presentation plus emphasis on Greek mythology. If there were any similarities between the literary Wonder Woman-Ares battle and their cinematic battle, it would be exposition done by Ares explaining details to Wonder Woman why he is doing what he’s pursuing, complete with visuals of how his influence impacts the people of man’s world. Ares’ poison of conflict also has a Cold War flavor here which is not surprising since this comic book was published during the 1980s.

Conclusion

*Wonder Woman acts before the situation grows worse.*

Wonder Woman #6 is a great read! There simply was no slowdown nor a single hiccup with the engagement level of this comic book. With a little over twenty pages of content, this one was loaded with great stuff and its concept was indeed epic. If the battle between Wonder Woman and Ares in the 2017 movie astonished, then their conflict in this comic book will deliver the same impact to you. This one is a true Wonder Woman literary classic and its story even raised the stakes when it comes to Princess Diana’s existence and her mission in man’s world.

If you are seriously planning to buy an existing hard copy of Wonder Woman #6, be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition and the newsstand edition cost $25 and $51 respectively.

Overall, Wonder Woman #6 (1987) is highly recommended! The conflict between Wonder Woman and Ares should encourage you to replay the acclaimed Wonder Woman movie of 2017.

A Look Back at Hardcase #5

May 27, 2020May 25, 2020carlocarrasco

I should say that Hardcase is truly a unique title and it also is one of the more defining titles of the Ultraverse. It features a super human being who has powers but remains constantly disturbed with guilt having survived a tragedy that killed two teammates and incapacitated his loved one. On moving forward, he worked in Hollywood movie productions until evil forces compelled him to get involved.

Previously I reviewed Hardcase’s crossover with the Strangers told in two comic books. Now we can focus more on him and his pretty companion choice in a standalone adventure in Hardcase #5, published in 1993 by Malibu Comics with a story written by James Hudnall and drawn by Scott Benefiel.

Early story

The story begins at a nice home in Dana Point, California, where a man named Jonny Wong is making love with a lady only to be disrupted by a telephone call. Upon answering the phone, Jonny is informed to get out as a killer has been sent to kill him. He does not realize that his bodyguards have been killed. Suddenly a man enters the bedroom and kills him and the lady.

A short time later, Hardcase and Choice arrive to meet with detective Chuck Brown who examines the photograph of the dead Jonny Wong and the woman. With the detective’s assistance, Hardcase and Choice proceed to meet Bob Dixon, the head of the Choice Corporation at its headquarters…

Quality

This is another well written story by James Hudnall. I like the way the mystery got established followed by Hardcase’s search for answers. This story, which was nicely illustrated by Scott Benefiel, further explored the Choice Corporation and its control on Choice. Hardcase was shown to really care for Choice which I enjoyed as part of witnessing how his personality developed. Furthermore, this story nicely reconnects to something particular from Hardcase’s last day with The Squad and it sure was presented with a strong horror flavor. As the corporate world in California is further explored, this comic book introduces Sandra Trent who is about to get involved with the dirty business of eliminating ultras.

Conclusion

*Hardcase and Choice at the Choice Corporation HQ.*

I really like Hardcase #5. Strong mystery element in the story mixed with intrigue and an unrelenting sense of suspense. When it comes to spectacle, this comic book does not have much but that is not a problem at all. This is still an enjoyable read.

If you are seriously planning to buy an existing hard copy of Hardcase #5, be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition and the newsstand edition cost $4 and $8 respectively.

Overall, Hardcase #5 is recommended.

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