A Look Back at X-Men 2099: Oasis

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.

According to the online edition of Merriam-Webster Dictionary, an oasis is something that provides refuge, relief, or pleasant contrast. In the case of X-Men 2099, the open areas of the southwestern region of the United States is a dangerous place to be in even though they are free from oppressive systems of control that dominate cities. As such, it is the southwestern region in 2099 can be compared to the Old West in history where there are lots of desolate places as well as lots outcasts and outlaws. Unlike their mainstream counterparts, the X-Men of the far future are nomads and they don’t have a long-term place of residence they could call home. Considering how dangerous the region is for the mutants, a haven of peace, security and prosperity is always ideal to them but only if it is indeed real.

That is what we will explore in the one-shot comic book X-Men 2099: Oasis here.

But before proceeding with the review, it has to be emphasized first that the one-shot comic book which was made special with the painted art of the Hilderbrandt brothers Greg and Tim. For long-time X-Men 2099 scribe John Francis Moore, Oasis was like a big dream come true. When asked during an online interview about his recollections on making X-Men 2099: Oasis and working with the Hildebrandt Brothers, Moore stated:

I was a fan of the Hildebrandt’s fantasy illustration, and I was blown away when Joey told me that they wanted to do an X-men 2099 project. I met with them in Joey’s office and they were both really great guys. I think they said they really liked Bloodhawk, so I knew he’d be a major player in whatever story we developed. They didn’t enter the project with a lot of conditions. They seemed genuinely happy to get to play in this corner of the Marvel universe.

I can’t remember ever writing a full script for any of my Marvel work. I gave them a plot and sometime later received Xeroxes of pencil art (Hildebrant art!) to dialogue. Then it went back for them to paint, and they did a phenomenal job. I only wish that it could’ve been published before the 2099 line was axed. It was a beautiful book that I think was sadly under promoted.

To find out if it is any good, here is a look back at X-Men 2099: Oasis published in 1996 by Marvel Comics with a story written by John Francis Moore and painted art done by Greg and Tim Hildebrandt.

Cover
The cover.

Early story

The comic book begins with a flashback set in Hong Kong in the year 2090. A much younger Shakti/Cerebra is on the loose trying to reach a ferry to Kowloon with a plan to hide in the back alleys of Tsimshatsui. Suddenly Lokjaw intercepts her and grabs her. They had a short history together and Lokjaw insists that Shakti should be grateful to her father who raised her to run his bio-shops. After a brief chase, something hits Lokjaw who fell into the water. It turns out Ryu Kobolt helped Shakti, and he has been instructed by his boss to offer her asylum.

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Luna and Skullfire explore a place.

In the present day of 2099 in New Mexico, Bloodhawk flies to his desert home not knowing he is being monitored. Two people, an old man with white hair and a lady, work together to stun the X-Men member and take him with them. A short time later, inside a high-tech facility, Bloodhawk wakes up finding himself restrained and being watched over by the lady and the old man. They tell him he is in the Promised Land, a place where the sins of the old world will be washed away. Using her powers, she touches Bloodhawk’s head and slowly turns him into his normal human form.

Meanwhile outside a deserted town near the border between Colorado and Kansas, Shakti, Tim/Skullfire and Luna arrive riding motorcycles. They are checking the potential presence of a mutant nearby…

Quality

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Really great visuals by the Hildebrandt brothers!

It is very safe to say that this is one very ambitious X-Men 2099 story ever told by John Francis Moore. It sure has an epic concept showing that Oasis in the open region not only exists, but also serves as the closest thing humanity in America has to imitating Heaven built on top of the land. Oasis is the indoor paradise where mutants and humans gather together, live in peace and work together in tremendous ways that the X-Men could only hope to achieve in Halo City (note: this story is set some time after X-Men 2099 #25).

The titular place is clearly the centerpiece of the story backed with characters and threads from the past that explain how it got established. Part of the creation of Oasis is connected with Ryu Kobolt whom Shakti got close with many years back. Of course, someone else got involved with Ryu which directly connects with the creation of Oasis.

While it is also clear that the story took some inspiration from Christianity, I should say that the approach was done by rehashing old storytelling concepts like emphasizing a charismatic person who looks godly or messianic, people getting converted with ways that are not holy, false prophets misleading those seeking salvation, etc. With the ages-old concept of the mad scientists added, then there is conflict here for the X-Men to engage with. The story touches on themes like destiny, conversion, having the power to judge people and committing genocide.

As for the characters, John Francis Moore made the right move to utilize Shakti, Bloodhawk, Skullfire and Luna of the X-Men, however the other new characters such as Memphis, Pandora and Ryu pale in comparison with regards to importance (even though Memphis and Ryu each had a good amount of the spotlight and even some character development).

When it comes to the artwork, this is one great looking superhero, sci-fi story in painted form thanks to the Hildebrandt brothers! Not only is their painted art beautiful to look at, there are also eye-catching shots of scenery, very detailed facial expressions and a very lively presentation of the action scenes and explosions! Each and every character painted – specifically Shakti, Skullfire, Bloodhawk, Luna, Memphis, Pandora and Ryu – has that touch of visual realism (note: not photo realism) that make them look more human to the eyes (especially the X-Men members when compared to how they were drawn by Ron Lim and Jan Duursema in the monthly series). This is one great looking comic book and easily one of the very best of the X-Men of 2099!

Conclusion

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The Oasis!

X-Men 2099: Oasis is a one-shot comic book that did not match its high ambition. While it has some of the best painted superhero art of the 1990s ever, the storytelling just did not engage me that much. For one thing, its approach on taking inspiration from Christianity is very flawed not only due to rehashing storytelling concepts but also due to the fact that everything – including the titular Oasis – had to be concluded already. Even though there was a build-up leading to a final conflict, the payoff was not that great and ultimately there was a sense of rush in the 2nd half of the story.

What is also disappointing is the fact that the events told here did not really impact Shakti, Skullfire, Luna and Bloodhawk at all, nor was there anything added to the narrative of the X-Men 2099 monthly series. This is too bad because the existence of a haven where people can live in and be protected from the prejudice and violence in the region fits nicely with the concept of X-Men 2099 in the first place. Even though there was a reference to issue #25 during the first half, this comic book ended up looking like a dream story or a parallel universe tale with a $5.95 cover price! It seems to me like this was more like a cash-grab attempt to exploit comic collectors and the fans of X-Men 2099.

If you are seriously planning to buy an existing hard copy of X-Men 2099: Oasis, be aware that as of this writing, MileHighComics.com shows that the near-mint copy costs $14.

Overall, X-Men 2099: Oasis is a serviceable one-shot comic book. That being said, if you really intend to buy it, you should not pay more than $5 for it.


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 Spider-Man 2099 #35 (1995)

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.

When Marvel Comics first launched the 2099 imprint of comic books showcasing many futuristic versions of their present-day characters – like Spider-Man, Ravage and Dr. Doom – it was inevitable that the same treatment will be applied to their popular supervillains.

In 1993, the 2099 version of Vulture was introduced and he sure proved to be one tough opponent for Spider-Man 2099. Even back then, there already was clamor for a futuristic version of Venom which at the time was riding high with readers being the featured anti-hero in several limited series (starting with Lethal Protector) of comic books.

Then in 1995, after doing a creative teaser in issue #34, Marvel formally introduced Venom 2099 by releasing Spider-Man 2099 #35. This is my review of the comic book written by Peter David and drawn by Andrew Wildman (X-Men Adventures).

Cover
The cover drawn by Rick Leonardi.

Early story

Picking up from the events of issue #34, the story begins in Washington, DC with Dana freeing herself only to find out that Alchemax’s CEO Tyler Stone was down suffering from a gun shot and losing blood. Minutes later, emergency personnel take Stone’s body for immediate treatment.

Meanwhile, Spider-Man 2099 (Miguel O’Hara) encounters the SHIELD flyboys in New York. After almost getting into trouble together, Spidey gets informed that US President Doom 2099 ordered them to leave him alone for a period of seventy-two hours while he considers a cabinet offer. Back in Washington, Dana gets interrogated by one of the authorities. President Doom enters the scene telling Dana that she will join Tyler Stone immediately in the medical center.

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Andrew Wildman’s take on Spider-Man 2099 and the future was really nice to look at.

In New York, two guys sitting on the sidewalk witness a moving black liquid coming out of the sewer. The thing turns out to be a living symbiote (or alien costume) forming into a human-like shape – Venom 2099!

Quality

As with other comic books of this particular series, the writing by Peter David is pretty deep and engaging. The usual balance between dramatization, character development, plotting and spectacle is here once again but with a slight touch of horror in relation to the introduction of Venom of 2099. Speaking of dramatization, the portrayal of Venom 2099 as a vicious villain is similar to the 20th century Venom (Eddie Brock) but with a very powerful obsession to kill Miguel O’Hara and Tyler Stone.

Here’s an excerpt from the dialogue of Venom of 2099: Miguel O’Hara…and Tyler Stone…together again. We…I get to kill you…at the same time…how awfully…awfully…considerate. To show my appreciation…I’ll kill you slowly.

What makes this comic book unique is the artwork by Andrew Wildman who temporarily replaced regular illustrator Rick Leonardi. For comparison, I find Wildman’s art style a welcome thing in this comic book mainly because he draws with a lot more detail per panel and per page than Leonardi ever could. Instead of seeing the usual sketch-like art style of Leonardi, Wildman’s style is livelier and more expressive to look at. I also enjoyed Wildman’s visual take on Spider-Man 2099/Miguel O’Hara, Lyla, Tyle Stone, and the other established characters. Their facial expressions are also livelier to see.

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Venom 2099 appears! Take note of the “liquid” at the edges of the page.

More on visuals, Wildman’s take on Venom 2099 is unforgettable. Like 20th century Venom, he has a dark suit, elongated jaw with rows of sharp teeth and an elongated tongue but with green acid dripping all the time. There are also those tentacles-like things that stretch from his body until the arms. Also his white-colored mask with large eyes make him look horrific.

Conclusion

Despite being shorter than the usual 22-pages, Spider-Man 2099 #35 is still a very engaging and fun old comic book to read. Its purpose was to build-up anticipation leading to the introduction of Venom 2099 was achieved nicely and the respective qualities of the writing and visuals are very good even by today’s standards. More on the presentation of Venom of 2099, it seems like Peter David took inspiration from movie director James Cameron on building-up tension and suspense before showing the villain. That’s a move I enjoyed in this comic book.

Overall, Spider-Man 2099 #35 is highly recommended. If you plan to acquire an existing and legitimate hard copy, be aware that the near-mint copy of it is over $100 for the newsstand version while the Rich Leonardi-drawn “Venom 2099 AD” cover version is priced at over $80 at MileHighComics.com as of this writing.


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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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 Batman vs. The Incredible Hulk

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.

I love reading a crossover comic book that was made by very talented creators to be a whole lot of fun from start to finish. Back in the early 1980s, rivals Marvel Comics and DC Comics collaborated temporarily with inter-company crossover comic books that were made to be entertaining to fans of their respective properties.

What I’m going to review here is the 3rd superhero crossover comic book between Marvel and DC titled Batman vs. The Incredible Hulk.

Cover
The cover.

Background

Before I start, let me clarify that this particular comic book was specifically published as issue number 27 of the DC Special Series which was a series of one-shot comic books. By comparison, the 1981 crossover comic book Superman and Spider-Man (which I reviewed previously) was published under the Marvel Treasury Edition line of Marvel Comics as issue number 28.

Going back to Batman vs. The Incredible Hulk, the comic book was the final issue of the DC Special Series line and it carried a cover price of $2.50 which was quite high for its time.

The people at DC Comics made sure that the crossover was handled by the best talents they had back then. The late Len Wein (best know for creating Wolverine) was assigned to write the script (and ensure that elements from both the Hulk and Batman would mix nicely) while José Luis García-López was hired to illustrate. Dick Giordano was the embellisher and editor while Allen Milgrom and then Marvel editor-in-chief Jim Shooter were the consulting editors. In return for their assistance, Marv Wolfman and Mike DeCarlo were acknowledged with thanks.

Now we can begin with this retro review of Batman vs. The Incredible Hulk.

The early story

The story begins when a few persons in Gotham City witness their dreams turning real beyond logic. A man dreamed he was in the arctic hunting and wakes up to discover his room was filled with snow. In a cinema where a horror movie was shown, a couple kissing each other discover, to their shock, that monsters of different sizes surrounded them out of thin air.

At the waterfront of the city, the Joker (accompanied by his gang members) talks to an unseen being (Shaper of Worlds). He gives his assurance to the being that he and his gang will acquire a specific item (needed by the being). For the Joker, what was discussed was a simple business arrangement.

A short time later inside a high-tech facility of Wayne Research, Bruce Banner (the Hulk) secretly works under the false identity as David Banks. He works along with the scientists but not on the scientific projects. Rather, he works odd tasks such as lifting hardware and putting them into places that need them. Of course, Banner did not get hired for a salary but for something much essential to him and his condition with Gamma Rays.

“I had to get a job here somehow so I could get close to the experimental Gamma-gun they’re working on,” he thought to himself.

Suddenly the facility gets filled with laughing gas incapacitating all the people inside. Banner fortunately manages to wear a radiation suit for protection. Moments later, the Joker and his gang enter searching for the Gamma-gun. From this point on, Banner decides to act.

Quality

When it comes to the selection of characters from Marvel and DC, having the mismatch of Batman and the Hulk was a very splendid idea. Not only was having the large green brute and the world’s greatest detective together as temporary rivals a fascinating concept, having them work together as a duo turned out to be a really great move. When it comes to the selected villains of the Joker and the Shaper of Worlds as the anti-hero figures of the story, the two looked like an odd pair but if you focus on the details of the story, you will realize that it made a lot of sense having them two together. The Shaper needs something which requires him to depend on the Joker who in turn brings his gang with him to cause chaos to acquire what the alien needs

All of the above details would not have worked had it not been for the excellent writing by Len Wein. Clearly Wein knew a whole lot about the defining elements of the Hulk and Batman (and the same with the Joker and Shaper), and he carefully blended those elements together to make a story that is thrilling, intriguing, engaging and at the same time still made sense. More on crossing over, there are other characters connected to Batman and the Hulk that made appearances and a few of them fit in nicely into the story.

As this was released in 1981, it was typical of the time for writers to use thought balloons to help readers understand what the characters were thinking. The use of thought balloons in this comic book truly defined Batman who not only had to fight the bad guys but also manage his way with the Hulk and do a lot of detective work.

Going back to the Hulk and Batman, this comic book has a lot of fun stuff. More than once did the two superheroes engage in action-packed encounters and their exchange of words was very nicely done. Their match-up (or mismatch) really works.

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A perfectly crafted action scene between the Hulk and Batman, complete with accurate depictions of each character! 

When it comes to the common complaint by some readers out there that the comic book was more of a Batman story and made the Hulk less prominent, I should say that the slight imbalance is not a problem at all. In fact, for me it makes perfect sense that Batman has more spotlight than the Hulk. Why? Because Batman is a detective and he performed a lot of researching, information gathering and other moves to solve problems. His detective work in the story made perfect sense for the narrative. As for the Hulk, his character really has very limited options other than causing destruction and disturbing the public. Since early on, the Hulk was best known for attracting the attention of the American military (led by General Ross) and huge destruction defined the encounters. For this crossover, the creators did not show the Hulk engaging with the military (save for the phonies) but rather he struggled to figure things out whenever he encountered Batman or the Joker. There is no way the Hulk could do detective work like Batman and having him fight the military would have weakened this comic book’s presentation. Clearly, having the story slightly slanted towards Batman is still the right move.

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Very highly imaginative and dynamic artwork by José Luis García-López.

The artwork done by José Luis García-López is excellent! He really captured the looks and details of each and every character Marvel and DC that appeared in this comic book. Back in the early 1980s, I got to read several comic books that showed Batman, the Hulk, the Joker and others and the way they appeared in this comic book was indeed accurate of the time. José Luis García-López also knew how to balance spectacle with character development and expository dialogue in terms of visual pacing and framing shots. Also his work becomes even more imaginative during the final conflict. Undoubtedly this is still a great looking comic book!

Conclusion

Overall, Batman vs. The Incredible Hulk is a great comic book and easily it is one of the greatest intercompany superhero crossover comic books ever published! From start to finish, this comic book proved to be highly engaging and there never was a single boring moment. The creators led by Len Wein (he is sorely missed) made the best possible story anyone can make involving Batman and the Hulk.

You can read a hard copy of this comic book by getting Volume 1 of Crossover Classics or, if you can afford to, hunt for a copy of this in its DC Special Series form which now sells for $280 for a very fine copy to as much as $400 for a near mint copy as of this writing according to MileHighComics.com

In ending this, I declare that Batman vs. The Incredible Hulk 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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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 Superman and Spider-Man

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.

I miss the old times when big rivals Marvel and DC Comics would set aside competition temporarily to team up and rely on their respective comic creators to make superhero crossover comic books that the fans can enjoy.

Back in the 1970s, key developments related to the comic book adaptation of The Wizard of Oz brought the two rivals together as partners. In 1976, Marvel and DC’s first superhero crossover Superman vs. The Amazing Spider-Man got published and to this day many comic book collectors and geeks I encountered still enjoy it. A few of them even called it a classic.

The collaboration between Marvel and DC continued in 1981 with Superman and Spider-Man which was published as issue number 28 of the Marvel Treasury Edition series.

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The cover.

This is my look back at Superman and Spider-Man.

The comic book

Scripted by then Marvel Comic editor-in-chief Jim Shooter (with Marv Wolfman mentioned for plot suggestions) with art drawn by John Buscema and inkwork done by Terry Austin, Al Milgrom, Steva Leialoha, Walt Simonson, Bob Layton, Joe Rubinstein and Bob Wiacek, the comic book begins when Spider-Man swings into a construction site where he encounters several armed men and stops them singlehandedly.

Even though he stopped the bad guys, Spider-Man’s spider sense bothers him making him speculate that, because there’s no clear danger around him, the construction site seemed to be a threat.

After Spider-Man swings away from the police who just arrived, classic Marvel supervillain Doctor Doom watches via surveillance video and he was bother by the way things turned out.

“I did not like the way Spider-Man paused and look around after subduing the thieves – – as if he sensed something unusual about the excavation! Those accursed spider instincts of his,” Doom said before proceeding with his master plan.

A day later, the Hulk arrives in Metropolis causing lots of damage. Separately Superman and Spider-Man arrive to contain the green guy. However, things are not what they seem. This is where the story description ends.

Quality

What this comic book lacked compared to the 1976 Superman-Spider-Man crossover is visual impact. Clearly John Buscema had to follow closely the script which called for multiple panels per page and that left him little room to draw scenes dynamically. That’s not to see the art is weak. In fact, Buscema’s art is pretty good and he has deep knowledge about how the characters (including those many supporting characters and other minor characters from both Marvel and DC Comics) really looked from the size of Hulk’s body, the details on Wonder Woman’s costume, the distinctive look of J. Jonah Jameson, Perry White, etc. In short, I recognized the characters very easily.

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This remains fun to read.
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Peter Parker in Metropolis along with the Superman supporting characters. This is one great element that made this comic book worth reading.

While the high number of panels per page limited him, Buscema managed to come up with some action shots that packed some impact.

When it comes to writing and storytelling, this comic book exceeds that of the 1976 Superman-Spider-Man crossover big time! To start with, the plot is much more elaborate, more detailed and yet consistently remained easy to follow.

While the 1976 crossover had the most popular villains of Superman and Spider-Man as the representation of evil, this one instead had Dr. Doom and Parasite. The great news is that these two super villains complement each other nicely and that itself adds good depth into the plot. Dr. Doom is a major schemer and Parasite fitted nicely within his master plan for global chaos.

Regarding dialogue, the script had a lot of strength and was also specific in capturing the personalities of the superheroes, the super villains and the supporting cast. I can easily identify J. Jonah Jameson, Perry White, Lois Lane and others through the dialogue.

Not to be outdone is the deeper approach to the crossover aspect of the story. Right from the start, the comic book creators expected us readers to suspend disbelief and start believing that while the story is non-canon, the respective universes of Marvel and DC Comics co-existed. Because there were TV shows of Wonder Woman and the Hulk playing, the two characters were included in the comic book adding depth to the crossover.

Speaking of crossovers, this comic book was not limited to Superman and Spider-Man. The encounter between the Hulk and Superman was a short but sweet spectacle to read. The encounter between Wonder Woman and Spider-Man meanwhile was short yet fun.

Adding more to the fun in this comic book was how Clark Kent interacted with the Spider-Man supporting characters while Peter Parker interacted with the Superman supporting characters. I enjoyed every moment of these scenes.

As far as narrative is concerned, this comic book is slightly slanted towards Superman. One factor behind this was the implementation of how local authorities interact with Superman and Spider-Man. Whenever he solves crime, Superman is highly respected by the public and the police. This is not the case with Spider-Man who is often perceived to be a social menace even though he helps solve crimes. Another factor was that Superman did more detective-type work (including a visit to Latveria) while Spidey hardly contributed anything to the plot’s development.

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Nothing can be more frustrating than getting attacked by police officers when you try to help them solve their problems.

Regardless, the two icons got a fair share of the spotlight during the final stages of the story and there was enough spectacle to enjoy.

If there is any complaint I have, it would be the comic book creators’ reluctance on fully connecting itself to the 1976 crossover. In the scene wherein Peter Parker was guided into the film editing room by Jimmy Olsen, he recognized Lois Lane and remembered meeting her in the 1976 crossover (which ended with socializing). And yet when Spider-Man and Superman get together in this comic book, there was a noticeable lack of friendliness and personal cooperation between them even though they bonded nicely in the 1976 story.

Conclusion

Overall, Superman and Spider-Man is indeed a highly engaging, fun-filled superhero crossover comic book. For me, it is a true literary classic and definitely worth searching for out there. I read this crossover many times from start to finish and even though I knew the plot and the dialogue, I still had a lot of fun reading along the way. With the combined talents of Shooter, Buscema and many others, this superhero crossover was indeed one of the very best stories ever told by Marvel and DC Comics.

Given the current corporate climate Marvel and DC Comics are now in, it is very unlikely we will see another creatively fun superhero crossover collaboration between them happening soon. For the newcomers reading this, Marvel is owned by the Walt Disney Company while DC Comics is owned by Warner Bros.

Whether you search for the original comic book or its inclusion in a volume of The Marvel/DC Collection: Crossover Classics Volume 1, Superman and Spider-Man 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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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