To put things in perspective, posted below is an excerpt from the official update from Konami. Some parts in boldface…
Regarding the planned release of Suikoden I & II HD Remaster: Gate Rune and Dunan Unification Wars, we have reached the conclusion that despite the very best efforts of our dedicated development staff to release the Remasters in 2023, additional time is needed to ensure the quality performance and gameplay experience our users deserve.
The entire Suikoden team is renewing our efforts to bring Suikoden I & II HD Remaster to release as soon as is possible. We will share further release information as soon as it becomes available, on our official social media accounts and official homepage.
There you have it! Konami is struggling to keep its promise of a 2023 release of the remastered Suikoden and Suikoden II (read my retro review). If a delay does happen, there is no telling if the release will still happen within this year or in 2024 (the worst case scenario). Konami made clear it wants to release Suikoden I & II HD Remaster: Gate Rune and Dunan Unification Wars as soon as possible and they know very well that there are many Suikoden fans within the Xbox community, the PlayStation community, Nintendo community and PC gamers who play via Steam. Konami also knows that there is a huge market of gamers worldwide who enjoy Japanese RPGs but never got to play the early Suikoden games.
I played the original Suikoden on PlayStation way back in 1996 and I would love replay it on my Xbox Series X console.
Suikoden II is one of the best Japanese RPGs not made by Square Enix that I have ever played. This I really look forward to replaying on my Xbox Series X.
While the uncertainty of a 2023 release of Suikoden I & II HD Remaster: Gate Rune and Dunan Unification Wars is suggestive of a delay just waiting to happen, in my experience the wait won’t be too painful as Starfield and Forza Motorsport (2023) will be released soon and those Xbox-exclusives will keep many gamers occupied. Take note that Sea of Stars has just been released and already it gathered many positive reviews and more people on the Xbox ecosystem (including those subscribing on Xbox Game Pass) are playing it. Right now, we can only hope that Konami and its team can ensure that the remastered Suikoden and Suikoden II will come out with top-notch quality and with a lot fun whether a delay is happening or note.
Let me end this piece by asking you readers: What is your reaction to this recent development? Do you think Konami will delay Suikoden I & II HD Remaster: Gate Rune and Dunan Unification Wars for release in 2024?
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, the futuristic webslinger encountered Goblin 2099 (note: the futuristic take on Green Goblin) who proved to be very dangerous not with weapons nor physical attacks but with influence members of the local society to rebel against him believing that he is a corporate asset. How much influence Goblin had on the people at the expense of Spider-Man is just waiting to be discovered.
With those details laid down, here is a look back at Spider-Man 2099 #41, published in 1996 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman
The cover.
Early story
The story begins with Miguel O’Hara visiting a ruined place with armed personnel escorting him. It turns out the site was the White House and Doom 2099 has already fallen as President of the United States. Miguel seeks closure as he spends time at the ruins and eventually finds the name plate from the office of Tyler Stone (Miguel’s biological father).
Meanwhile at Alchemax, corporate personnel got surprised to see Tyler Stone return confined to a hovechair due to his fragile and weakened state. This turned out to be his first time to be at work since he got shot.
Inside the laboratory, Tyler sees his deranged son Kron (Venom 2099) contained behind solid glass like a mere scientific specimen for study. After learning key details about the symbiote and how it affected his son, Tyler gives the order to have Kron executed…
Quality
Even though Goblin 2099 was not present, this scene shows how much the said villain poisoned the minds of people to harm Spider-Man.
Let me start with the writing by Peter David. It is clear to me that David confidently wrote this story to maintain the flow of intrigue, emphasize how local society’s changing, how the external events affect others and, most notably, managing to push Spider-Man 2099 to the edge complete with a brewing conflict with the very powerful Tyler Stone.
At this stage of the monthly series of the 1990s, Miguel O’Hara’s rise within the corporate structure of Alchemax got emphasized again and Peter David inserted growing tensions for the protagonist effectively blurring the boundary that separates personal life from the corporate career. That being said, the futuristic Spider-Man in his civilian identity literally entered a gray area which will compel readers to speculate if he was still in control of matters or if he was slowly becoming evil as he gains power (this makes him comparable with the tycoon Tyler).
Still on the character development aspect of this comic book, Miguel here still showed his fragile side as the death of Dana left him with a lot of pain deep inside (which was dramatically emphasized by Andrew Wildman through his art in one very particular page). This furthers adds to questions about the sanity and mental stability of the protagonist who already wields so much power as Spider-Man and as an Alchemax executive.
Speaking of Alchemax, Tyler Stone here appeared more sinister than before and being unable to stand did not hinder him at all. His cold-hearted move to have his own biological son Kron (the futuristic Venom and the same guy responsible for the deaths of Punisher 2099’s family) executed clearly shows not only his sadistic nature but also the fact that he is living with pure worldly beliefs. His believes are so worldly, he does not really care about his own offspring. Ironically, this suggests that Tyler could be as twisted and evil as his murderous son Kron. Lastly, the connections between the late Dana and Tyler and Miguel is indeed morally disturbing.
While the cover art showed Goblin 2099, the new antagonist is nowhere to be found in this comic book. However in a very symbolic fashion, Goblin’s influence remained lively through a number of people who condemned Spider-Man 2099 so much, they went as far as actually hurting an idolater of the webslinger. This part of the story is a strong reminder that idolatry is unholy and foolish, that religion is corrupted and will never lead believers to salvation, and that socialism attacking capitalism remained a social disease in the far future.
Conclusion
Tyler Stone and his son Kron (Venom 2099) are both very evil. They have different ways of being evil.
Spider-Man 2099 #41 (1996) is indeed a great comic book to read from start to finish. Not only will you get to see the futuristic Spidey struggle with the tension both personally and professionally, you will see the big impact of Dana’s death on him too. The portrayal of negative changes in the local society (at least the society Spider-Man is part of) is pretty dramatic and what Peter David imagined about Marvel 2099 still remains socially relevant to this day. Lastly, this comic book ended very powerfully and was enough to convince me to see what happens next.
Overall, Spider-Man 2099 #41 (1996) 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 1980 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 review, Dazzler was formally introduced as the X-Men encountered her. Along the way, the other newbie Kitty Pryde (Shadowcat) got involved with X-Men members Storm, Wolverine and Colossus and danger got to them. Brewing within the background were plot elements regarding the Hellfire Club and the Dark Phoenix.
With those details laid down, here is a look back at Uncanny X-Men #131 published in 1980 by Marvel Comics with a story written by Chris Claremont and drawn by John Byrne.
The cover.
Early story
The story begins on the streets of Chicago as the 13-year-old Kitty Pryde desperately runs away from a car that has been chasing her. Just as she trips, the Jean Grey (in her form as the Phoenix) suddenly appears right in front of the car (driven by two armed personnel of the Hellfire Club) and uses her immense power to stop and damage it. This spared Kitty Pryde’s life and made her more confused. Nightcrawler suddenly appears in front of Kitty, grabs her and leap off to a higher place to be safe.
Cyclops and Dazzler arrive to see Phoenix still observing the damaged car and the two Hellfire Club personnel knocked out cold. As Dazzler is amazed by what Phoenix did, Cyclops tells Jean that his instructions were to stop the car but not turning it into scrap. Jean responds by stating that he did not feel Kitty’s stark terror nor did he sense the thoughts of the men who were in the car.
After being called from above by Nightcrawler, Cyclops, Phoenix and Dazzler make their way up to the top of the building. Nightcrawler reveals that Kitty broke away from him and dove right through the roof…
Quality
Kitty Pryde took the risk to help the X-Men free Wolverine.
Upon close inspection, this is a richly layered tale that nicely paid off some of the build-up in the previous issue while consistently building up the plot elements for the events to follow (the eventual Hellfire Club encounter and the Dark Phoenix Saga). In this issue, you will get to see the X-Men in action with Dazzler (who just joined in to help them without fully committing to joining their team) on a series of events that involve encountering Miranda Frost and finding their captured teammates.
As this was written by Chris Claremont, you will see a lot of character development (aided a lot with the use of thought balloons) and key observations emphasized (clever exposition of details) as the plot moved forward. This tale has the classic elements of good-versus-evil backed with action and some twists that will definitely keep readers entertained. It is through the dramatization and observations of the characters that made the narrative deep and by the end of it, you will most likely get to know the characters a lot more.
Apart from witnessing Dazzler’s first unofficial mission (note: misadventure) with the X-Men, you will see Kitty Pryde shine as the fragile yet capable teenager do something heroic which symbolically justified her entry into the X-Men. This story also touches on the theme of immense power which was dramatized nicely through Jean Grey and Cyclops. Cyclops here was written to be very concerned about Jean Grey having god-like powers as the Phoenix which he sees as too risky and he hopes that she will maintain self-control. Even Storm expressed the same concern about the Phoenix. All of these dramatics combined with the superhero spectacle and steady way of presenting exposition were nicely pulled off by the Claremont-Byrne team.
Finally, I want to say that Emma Frost was portrayed as a ruthless, cold-hearted and elitist super villain who happens to be one of the central figures of the Hellfire Club (which itself was being built up by Claremont-Byrne as a dangerous force of opposition for the X-Men to face). Emma Frost is not just another evil figure…she is a telepath capable of overwhelming others and she has a very high ambition of accumulating power socially, economically and politically. Clearly she was created to be a recurring evil figure within Marvel’s shared comic book universe.
Conclusion
A scene showing a few X-Men members with Dazzler and Kitty Pryde as the clear newcomers.
Even if you see Uncanny X-Men #131 (1980) as simply a build-up tale for the inevitable Dark Phoenix Saga, it is clear that the comic book still stands out on its own as it strongly paid-off what was built up in the previous issue and the high quality on storytelling was successfully maintained. This is an entertaining read and, quite notably, it develops specific characters in very believable ways. So much so, you will get to know the characters better by the time you reach the end. As for the fans of Dazzler, there are things to enjoy in this X-Men tale and it definitely is a must-read before reading Dazzler #1 (1981).
Overall, Uncanny X-Men #131 (1980) is highly recommended!
If you are an Xbox gamer who loves playing Japanese role-playing games (JRPGs) who missed the news, better brace yourselves for enduring another long wait as the release of Eiyuden Chronicle: Hundred Heroes (bound for Xbox Game Pass) has officially been delayed to 2024. The game being made by Rabbit & Bear was previously announced for a 2023 release. The video below ended with “Coming 2023.”
To put things into perspective about the delay, posted below is the excerpt from the game developer’s recent update at Kickstarter.com. Some parts in boldface…
In order to deliver a game that many fans have supported, we announce a revised release date of Eiyuden Chronicle: Hundred Heroes, with the game now due during Calendar Year Q2 of 2024. The decision was made in order to ensure the best possible story, and to reward the legion of backer with the best game experience possible.
Ever since Eiyuden Chronicle: Hundred Heroes was first announced, I got excited for it knowing it was the spiritual successor to Suikoden RPGs and its development team Rabbit & Bear had Suikoden creators involved. The JRPG (along with the spin-off 2D adventure game Eiyuden Chronicle: Rising) was the most pleasant surprise I saw during the 2021 Xbox Bethesda Games Showcase and the confirmation of it coming to Xbox Game Pass added to my excitement. Take a look at the 2021 video below.
While it is a little discouraging to wait until the 2nd quarter of 2024 to play Eiyuden Chronicle: Hundred Heroes, I say let’s just leave it up to the game developers to finish their work and make it the best possible JRPG it could be. Besides, there is the massive sci-fi Bethesda RPG Starfieldand Turn 10’s Forza Motorsport (2023) to enjoy before the year ends and those two are the hottest Xbox-exclusive games to look forward to. Antstream Arcade is already entertaining Xbox fans with over a thousand retro games made available and for more future releases, watch out for announcements at Gamescom 2023 where Team Xbox will have a huge presence. By mid-2024, the number of Xbox Game Pass subscribers worldwide should get higher. That being said, the delay of Eiyuden Chronicle: Hundred Heroes is not too painful in my view.
Let’s hope that developer Rabbit & Bear will ensure Eiyuden Chronicle: Hundred Heroes to be a great JRPG to play once its 2024 release happens.
In ending this piece, posted below are recent Xbox-related videos for your enjoyment.
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 1995 and explore a part of the Marvel 2099 comics universe through a tale of the Spider-Man 2099 franchise.
In my previous retro review, Spider-Man worked together with Strange 2099 on an abrupt mission dealing with a grave digger who is obsessed with his long dead sibling just as the undead in Mexico start walking again.
With those details laid down, here is a look back at Spider-Man 2099 #34, published in 1995 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman.
The cover.
Early story
The story begins with Miguel O’Hara and Xina returning from Mexico speeding on a lonely road by car. O’Hara suddenly got scanned from a distance. Just as Xina shares to Miguel her newest observations and opinion about Spider-Man, the man suddenly got snatched from the car by uniformed authorities riding a floating vehicle. Miguel tells his abductors to let him go and one of them replies stating that he is being taken to the White House at the request of his Alchemax superior Tyler Stone.
Meanwhile inside an apartment located near the White House in Washington, DC, Dana converses with Tyler Stone by holographic call complaining that without him, the city is getting lonely for her. As soon as her communication ends, someone knocks her out cold…
Quality
For the newcomers reading this, this page shows the first time ever that Doom 2099 sees Miguel O’Hara in person (Spider-Man 2099 without the mask and costume). Spidey and Doom encountered each other previously in The Fall of the Hammer storyline.
I will start what is very obvious about this comic book…its story is totally intriguing as it reflects a very dramatic turn of events within the 2099 realm at the time of publication. I’m talking about the rise of Doom 2099 as the new President of the United States and this comic book dramatizes in detail how the new leader impacts Miguel O’Hara’s career which adds tension to his already hectic 2nd life as the webslinger. This is all about the storyline of One Nation Under Doom and for context, you must read Doom 2099 #26 to #30.
As I just mentioned, life for Miguel became more complicated as he has to deal with the federal government under the control Doom who himself is connected with the powerful tycoon Tyler Stone (Miguel’s own boss at Alchemax). For the newcomers reading this, this is not the first time Doom and Spider-Man of 2099 encountered each other as they were together in the Fall of the Hammer storyline (read my past reviews by clicking here, here, here, here and here).
In relation to the dramatic turn of events that changed the direction of the 2099 comics franchise, I can confirm that the writing by Peter David in this comic book is indeed very strong and highly engaging to follow. You will not see a good-versus-evil superhero tale here but the impact of Doom as US President on Spider-Man and local society. Along the way, this tale has a theme about gaining absolute power, how it affects the one who gains it and how the more powerful person affects many others. You will see the mentioned theme reflected on Spider-Man who himself already has super powers and even a following of idolaters.
Compared to the previous two issues, the dialogue by Peter David here is very rich and I also enjoyed the way how he presented the exposition of details to help Spider-Man 2099 readers understand how Doom’s rise as US President impacts the titular hero and many others. Speaking of Doom, I enjoyed the way how David portrayed him here.
Conclusion
Gabriel O’Hara, Kasey and the Spider-Man 2099 idolaters doing the old fashioned way of protesting against US President Doom.
Spider-Man 2099 #34 (1995) is indeed a great comic book and one of the best tales of the original Spider-Man 2099 monthly series. As Doom’s takeover of the US Presidency really changed the direction of the entire 2099 franchise of comics in the 1990s, it was inevitable that the repercussions would be reflected in a Spider-Man 2099 tale. The result here is a fascinating tale of the futuristic webslinger that does not even have the usual good-versus-evil conflict. What you will see here is how the stakes got raised for Miguel O’Hara not only as a superhero but also as a civilian who has a strong record within Alchemax. Not only that, this is the tale that took place just before the very memorable first encounters between Spider-Man and Venom 2099 (click here, here, here and here).
Overall, Spider-Man 2099 #34 (1995) 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 culture enthusiasts and comic book collectors! Today we go back to the year 1993 to take a close look at one of the many tales published through the Superman monthly series.
For the newcomers reading this, DC Comics published the Funeral for a Friend storyline set after Superman’s death (Superman #75). Funeral for a Friend explored the impact Superman’s death had on local society, the civil and political stakeholders, as well as DC’s many superheroes who were connected with the icon (read my retro reviews here, here, here and here). Of course, DC brought the Man of Steel back to life which led to the Reign of the Supermen storyline. This obviously meant concluding the Funeral for a Friend storyline.
With those details laid down, here is a look back at Superman #83, published in 1993 by DC Comics with a story written and drawn by Dan Jurgens with ink work by Joe Rubinstein. This is the epilogue of Funeral for a Friend.
The cover.
Early story
The story begins with Superman meeting an arriving Batman (note: Azrael playing the role as Bruce Wayne had been paralyzed by Bane) in the presence of Commissioner Gordon in Gotham City. He tells Batman that it was time for them to go to a certain ceremony which catches Azrael knowing nothing about it all forcing him to just play along. Batman resorts to making an excuse and turns Superman down, even though he learns that the entire Justice League will be involved to take care of the Engine City problem. Not wanting to spark Superman’s suspicion, Batman leaves Superman and Gordon behind. Superman then flies away.
Meanwhile, Lex Luthor, Supergirl and personnel fly towards Engine City. Luthor is obsessed with accumulating Kyptonite at the site…
Quality
Superman, Wonder Woman, Green Lantern and the Flash with Lex Luthor and Supergirl (in the background).
As the conclusion of the Funeral for a Friend storyline, this is a mixed bag of creative concepts. It has scenes that developed established supporting characters such as Lois Lane, Jimmy Olsen, Cat Grant and Superman’s parents Jonathan and Martha Kent. The main story of this comic book has a lot more to do with the Justice League than Superman himself as a result of a huge crisis in which an actual coastal city could collapse, fall into the sea and potentially poison the aquatic life.
That’s not to say that Superman does not have sufficient presence in this comic book. In fact, the Man of Steel has scenes that highlight his humanity, his leadership role among the Justice League and how he is still adjusting to life after getting killed by Doomsday. What Superman fans won’t find here is superhero action versus an enemy.
Still on the Superman relevance of this comic book, Lex Luthor’s obsession with accumulating as much Kryptonite as he could reflects his diabolic nature as well as his cunning moves with distorting people’s perception. Even though he does not commit any acts of violence, Luthor’s manipulative tactics even in the presence of many superheroes showed that he simply won’t stop at anything to get what he wants and what benefits him.
Speaking of more characters, Green Lantern (Hal Jordan) here got a good piece of the spotlight as he emphasized why Engine City should fall into the Pacific Ocean which he relates to the destruction of Coast City. Through his dialogue, you can feel his bitterness and the impact that the Coast City tragedy had on his worldview. You will also see Aquaman, Wonder Woman, Guy Gardner and others participate in the talks.
Conclusion
Pay close attention to the details, Superman fans.
Superman #83 (1993) is a nicely crafted story that happens to be more about the Justice League dealing with a big problem with Superman present. As the epilogue to the Funeral for a Friend storyline, this comic book tied up certain loose ends but ultimately focused more on building up details and tension for future events. As this story took place a short time after Superman physically returned from the dead, readers will see a still-adjusting Man of Steel here and this clearly shows that the funeral is indeed over.
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 1995 and explore a part of the Marvel 2099 comics universe through a tale of the Spider-Man 2099 franchise.
In my previous retro review, Miguel O’Hara arrives in Mexico with Xina and they shared a room together. It turns out his brother Gabriel was also there even occupying the next room. Elsewhere, a lady practicing sorcery (Strange 2099) is told that Spider-Man will be her ally and they will work together to fulfill a mission. Elsewhere, a grave digger performs rituals over the skeletal remains of his beloved sister. Issue #32 had a dark and totally different tone as the sci-fi element of the monthly series got pushed aside.
With those details laid down, here is a look back at Spider-Man 2099 #33, published in 1995 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman.
The cover.
Early story
The story begins when Spider-Man 2099 and his new ally Strange 2099 crash into a room on a mission they must complete. They see the grave digger clinging to a magical item that he believes should resurrect his dead sister.
In an attempt to find a solution, Strange touches the item and suddenly becomes a hideous looking monster.
Meanwhile, the streets of Mexico City suddenly gets filled with several undead people walking. On the street, Xina (walking with Kasey and Gabriel) begins to worry about Miiguel. Soon enough, some of the undead move towards them…
Quality
Spider-Man helps to ensure safety.
As this story is the continuation to the events of issue #32, this one keeps on building up on sorcery and evil forms of the supernatural as the key elements of the narrative as well as the setting. That being said, the usual science fiction element remains completely absent and this opened the opportunity for the creative team to show Spider-Man in action within a supernatural atmosphere complete with the unfortunate event of a demonic possession.
Spider-Man’s team-up with Strange (obviously the futuristic take of Dr. Strange) inevitably led to a conflict with evil and the ironic thing is that the grave digger himself is not even the villain but someone obsessed with bringing his sister back to life by means of resorting to magic and tapping the demonic force he could not even see. The Spidey-Strange team-up clearly dominated the narrative but I should say that the sorceress is not too interesting as a character and she barely has any chemistry with the futuristic web-slinger. It seems to me that Strange 2099 was created to emphasize racial diversity and rabid feminism than to really add any depth to the 2099 universe and its lineup of supporting characters.
As for the concept of the undead walking along many people who happen to be commemorating the day of the dead on the city streets, it really heightened the horror and supernatural aspects of the story while escalating the sense of danger.
Conclusion
Spidey, Strange 2099 and the grave digger.
In line with the concept of the previous issue, Spider-Man 2099 #33 (1995) is a supernatural tale of Spider-Man on a misadventure teamed up with a futuristic take on Dr. Strange. Its pay-off to the build-up in issue #32 was barely felt and I could not help but feel the presentation was rushed. Strange 2099 was simply not interesting and the grave digger’s personal pursuit over his dead sister did not have much of an impact. That being said, the concept of this 2-part story felt more like a diversion than a meaningful story. If there is anything worth focusing on in this comic book, it is Spidey himself struggling in the very nation where he previously got his costume.
Overall, Spider-Man 2099 #33 (1995) is satisfactory.
Disclaimer: This is my original work with details sourced from watching the movie 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 fellow geeks, pop culture enthusiasts and comic book collectors! Way back in 1982, the horror comedy anthology film Creepshow was released in cinemas featuring the combined talents of author Stephen King and the late director George Romero who were clearly inspired by the 1950s horror comic books published by EC Comics. That being said, Creepshow was a comic book movie that was not even based on a comic book.
To make things clear, the movie was first shown on the big screen in France during the Cannes Film Festival in May 1982. The comic book adaptation of Creepshow (note: read my retro comic book review) was released in July 1982 and the art it contained is not the same as the in-movie comic book (also titled Creepshow) that appeared in transition scenes. The movie’s general release in America happened on November 10, 1982 and it was successful commercially and critically. In recent times, Creepshow was released on 4K Blu-ray with lots of extra stuff for fans and moviegoers to enjoy. The said 4K Blu-ray release can be ordered online now.
Some of you might be wondering if the Creepshow movie has aged well and what exactly does it offer for younger moviegoers and movie collectors to enjoy. Some of you might be wondering if King and Romero were ever a special creative duo for cinema.
Prologue – A father very angrily berates and hits his young son after discovering the horror comic book titled Creepshow was with him. The father called the comic book’s content crap.
Father’s Day – Sylvia Grantham, her nephew Richard, niece Cass and Hank (husband of Cass) enjoy time together at the Grantham estate anticipating the arrival of Bedelia for the annual family dinner. There is a dark secret regarding Bedelia and her late father…
The Lonesome Death of Jordy Verril – A lonely farmer named Jordy witnesses the unexpected arrival of a meteorite from out space which landed violently on his farm. After realizing what it is, he touches it without any protection and gets his fingers burned…
Something to Tide You Over – a prominent man named Richard visits Harry at his home. It turns out, Harry has been having an affair with Richard’s wife Becky. Even so, Richard maintains his cool and made clear his uncompromising determination of always keeping what is his. Richard plays an audio recording of Becky’s voice which even includes a call for Harry to help her….
The Crate – In the basement level of Amberson Hall (science building of Horlicks University), a janitor accidentally finds a very old wooden crate located right under the staircase. The writings “Ship to Horlicks University via Julia Carpenter – Arctic Expedition – June 19, 1834” were marked on the crate…
They’re Creeping Up on You – A cruel businessman named Upson Pratt is alone in his well-lighted apartment. He has been suffering from mysophobia and has been living in isolation and only communicates with others using the telephone and other electronic methods. Slowly but surely, cockroaches begin to multiply in his apartment…
Quality
Two couples from different short stories of the movie: At left were Hal Holbrook and Adrienne Barbeau. At right were Elizabeth Regan and Ed Harris.
To begin with, I’d like to focus on the combined creativity of Stephen King and director George Romero. While all five short stories, the prologue and epilogue each have varying levels of quality, engagement and entertainment value, it is safe to say that Creepshow as a whole remains entertaining and intriguing to watch. This is a cinematic horror-comedy anthology that is still fun to watch from start to finish.
Very clearly, the King-Romero team were heavily inspired by the EC Comics-published horror comics of the 1950s and along the way, they added their own creative touches to make each short story not only unique but also memorable. Given the fact that Romero remains remembered for his zombie movie works, two of the five short stories can be viewed as shorter zombie tales by the director but with notable differences – the comic book-inspired visuals used (note: moody lighting, stylish backgrounds and comic-inspired frames) and the fine performances from the actors involved. As for the three other short stories that have nothing to do with zombies, I felt they reflected more of Stephen King’s concepts (note: King himself acted as Jordy) which Romero apparently directed to be reflective of the author’s works while still injecting EC Comics-inspired visuals. Speaking of comic books, the filmmakers used traditional animation (note: hand-drawn) specifically in the transition scenes when the movie moved from one segment to the next. Within the context of the movie was the comic book Creepshow which made the father mad at his son.
With moody lighting combined with Leslie Nielsen’s convincing terrified expression, this image captures the look and feel of similar moments in the horror comic books of EC Comics.
As it is clear that each short story has different concepts and varying levels of quality, entertainment and engagement, I can describe them in short results as follows: Father’s Day really looks and feels like it was written for EC Comics in the 1950s; The Lonesome Death of Jordy Verril is a clever mix of dark humor, science fiction and horror; Something to Tide You Over is very intriguing to watch and Leslie Nielsen pulled off a very unique portrayal of a villain; The Crate is a fine combination of monster horror and struggling characters with a university setting; and They’re Creeping Up on You is symbolically a socialist mobbing against someone powerful in the most unusual fashion, and it definitely is the weakest of all the five short stories as it was made to disgust viewers who are afraid of bugs. Creepshow’s prologue and epilogue meanwhile carried an anti-family theme that supposedly reflects the moral outrage against EC Comics in the 1950s made to resonate with people who love comic books at the expense of morality and family. I personally dislike the anti-family theme because I truly believe that minors should never read adulterated comic books and they should never become rebellious.
As each short story, the prologue and epilogue were strongly presented to be entertaining and engaging in varying ways, there is one aspect of the creativity that made Creepshow stand the test of time – the respective performances of the actors.
Leslie Nielsen’s portrayal of the villain Richard is the performance highlight of the entire film. Here’s a powerful man dealing with pain as a result of being betrayed by his wife by being in full control of his emotions and he keep moving on with uncompromised determination to proceed with his diabolical plans patiently and orderly. He is a very angry man who happens to be very calm. He is definitely evil who happens to be very principled. You will even see little traits of comedy in Richard and this should remind you of Nielsen’s eventual move into comedy in his later years. In the same short story, Ted Danson is believable as the man who had the affair with Richard’s wife.
In another short story, Adrienne Barbeau really stands out as the obnoxious and unhinged Wilma (AKA Billie) who is the complete opposite of her mild-mannered husband Henry (played by Hal Holbrook). She is so wild, she easily embarrasses her husband and the others who were present in the faculty social gathering. Quite symbolically, Barbeau’s act as Wilma is easily the most lively thing to watch in the said gathering. Without spoiling the plot of The Crate short story, I can say that Hal Holbrook has a nice range of displaying emotions within Henry as the story progressed. Even the guy who played the professor Dexter Stanley (Fritz Weaver) had his own share of the spotlight and displayed a good acting range as well.
Even author Stephen King himself acted in a leading role in another short story as Jordy. King is surprisingly good in being comedic and he really knows his character in and out. In the first short story Father’s Day, you will see a very young Ed Harris as part of a family waiting for the arrival of Bedelia (Viveca Lindfors). The waiting family members were nicely played by Elizabeth Regan, Warner Shook and the late Carrie Nye. They were convincing as relatives. In the final short story, the late E.G. Marshall played Upson Pratt to be so ruthless, he will irritate you.
Conclusion
Comic book-style visuals implemented cleverly in the movie.
It is clear that Creepshow (1982) remains fun and engaging to watch thanks to the combined creative efforts of the King-Romero team as well as the fine performances of the actors involved. Although the final short story starring E.G. Marshall is the least interesting tale to watch, this horror-comedy anthology has lots of good stuff to entertain viewers. By today’s standards, Creepshow (1982) is very unique and also fun to watch. If you want to see this movie with the best visuals possible today, I urge you to buy the 4K Blu-ray release.
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 1993 to take a close look at the second issue of the second Venom comic book mini-series Venom: Funeral Pyre.
In my previous review, the gang-driven violence intensifies as the Punisher makes his move armed with lots of resources (including a van loaded with weapons and computerized functions). Venom struggles to free himself from the temporary prison the Punisher placed him in. As the violence escalated, Gray Russell finds himself in much deeper trouble as the anticipated rescue does not happen.
With those details laid down, here is a look back at Venom: Funeral Pyre #3, published in 1993 by Marvel Comics with a story written by Carl Potts and drawn by the late Tom Lyle. This if the final issue of the mini-series.
The cover.
Early story
The story begins inside a building with high-tech equipment from HYDRA. Gray Russel is no longer himself but as the red-skinned, highly radiated figure Pyre. He fires a microwave blast at Venom which hurts him so much. In response to Venom’s claim that he came to rescue him, Pyre reacts with rage telling the murderous man with the symbiote that he arrived too late which resulted in the forced killing of people during the gang violence on the streets of Oakland.
Being filled with pure rage, Pyre intends to burn Venom alive. Thinking that Pyre is distracted, the Punisher leaps to get a gun on the floor which causes the radiated person to fire a microwave blast at him. The Punisher takes cover behind a machine but notices the microwaves sparking off the metal.
Venom then takes advantage of situation…
Quality
This page shows Venom at a disadvantageous state with Pyre whose microwave blasts are more than enough to kill him.
As the conclusion of the mini-series, this comic book went all-out portraying what turned out to be the final conflict involving the murderous Venom, the vigilante Punisher and the energy-filled Pyre. As a result, the narrative strongly focused on the final conflict (note: stretched out to last several pages) and never bothered to look back at the people and activities on the city street.
That being said, you will get to see more of the two established Marvel figures struggling hard against an unexpected force of opposition who was previously an undercover news reporter who infiltrated a certain gang and sent a message (delivered by a young boy) that caught Eddie Brock’s attention. At this point, it is clear that Venom’s effort to rescue Gray (who became Pyre after using a super soldier chamber left behind by HYDRA) ended in total failure and finds himself facing someone who could kill him and his alien costume together.
If there is anything notable about this issue, it is the portrayal of Venom being highly disadvantaged and even vulnerable. There are no armed men with sonic weapons and high-tech equipment to bring Venom down but Pyre whose microwave blasts are deadlier than flame and sonic. In connection to the situation, Venom is not his aggressive self but a struggling figure who strives to survive and somehow find solutions during the heat of danger.
The Punisher, meanwhile, also struggled to survive but would simply not run away even though his chances of escape are much better. Instead, he focuses on actually eliminating Pyre without hesitation and Venom’s attempt to rescue Gray meant absolutely nothing to him.
More on Pyre, he is not really interesting nor was he ever engaging as the one powerful force of opposition that Venom and the Punisher must face. His being consumed by unrestrained rage and wielding so much power did not really raise the tension of the story. Had he eliminated the two Marvel figures who got in his way, what would Pyre do afterwards? Devastate the entire city of Oakland because he lost his identity as Gray and could not get over his involvement of taking other people’s lives while in the middle of gang activities? Would he proceed to San Francisco’s underground community and eliminate the people only because he blames Venom (note: Eddie Brock got involved with the underground people of San Francisco as seen in the Lethal Protector mini-series) for his failure of rescuing him? Pyre is nothing more than a throwaway comic book force of opposition.
From a visual standpoint, Tom Lyle once again pushed his creativity hard and showed some dynamic shots of spectacle here and there. At this stage, he proved to be very capable of visualizing Venom and the Punisher.
Conclusion
The Punisher refuses to give up and gets Microchip to assist him.
While issue #2 was a notable improvement over the first issue, Venom: Funeral Pyre #3 (1993) does not have much to offer in terms of engagement and entertainment. This is because it was crafted as a strict Venom-Punisher-Pyre conflict that provided spectacle and intrigue but ultimately ended up hollow. To see Venom at a huge disadvantage is interesting but did not add much weight to the plot. The Punisher was his usual self and in some ways overshadowed Venom for a while. Too bad there was not much space left for Venom and Punisher to fight each other again.
As the final issue of this mini-series, the story concluded with a whimper. Ultimately the Funeral Pyre storyline ended up as a diversion within the Marvel Comics shared universe that happened to attract Punisher, Venom and the gangsters of Oakland.
Overall, Venom: Funeral Pyre #3 (1993) is satisfactory.
As far as Team Xbox is concerned, the road ahead is crucial and they announced that they will have a huge presence at Gamescom (also referred to as gamescom) this month in Germany. A huge presence in the sense that they will showcase first-party games as well as games from their strategic partners. The two major Xbox-exclusive games Starfieldand Forza Motorsport (2023) will each have theatrical showcases there in Germany.
To find out more, posted below are selected excerpts from the Xbox.com announcement. Some parts in boldface…
Xbox Booth – We’ll have over 30 titles in the booth awaiting eager players, spread across over 150 gaming stations, amazing photo ops and experiences, and a specially constructed 300-seater theatre.
Attendees will be able to check out exclusive theatre presentations from Bethesda Game Studios’ highly anticipated Starfield, as well as upcoming Xbox Game Studios releases Forza Motorsport from the developers at Turn 10 Studios, and Ara: History Untold from the team at Oxide Games. Towerborne, the newest adventure from the developers at Stoic and unveiled at the Xbox Showcase, will be hands-on for the first time and we’ll have the latest content coming to The Elder Scrolls Online and Microsoft Flight Simulator.
Over 25 titles from our third-party partners and ID@Xbox friends will be playable on the booth. This includes the world debuts of GSC Game World’s S.T.A.L.K.E.R 2, Overkill Software and Starbreeze Studios’ Payday 3, DontNod’s recently announced Jusant, FromSoftware’s ARMORED CORE VI: Fires of Rubicon, Recreate Games’ Party Animals, CD PROJEKT RED’s Cyberpunk 2077: Phantom Liberty, Spotlight by Quantic Dream’s Under the Waves, Sega Atlus‘ Persona 5 Tactica and many more.
Attendees can also come and help us celebrate 10 years of ID@Xbox and experience a diverse range of ID@Xbox titles for hands-on, including Paradox’s Lamplighter’s League, Thunderful’s SteamWorld Build, Amplifier’s Lightyear Frontier, and lots more. Whatever you’re into, the Xbox booth will have something for you. For the full list of titles playable on the Xbox booth visit here.
And make sure you don’t miss out on the PC Game Pass Challenge! This adventure offers participants a fun opportunity to win thousands of exciting prizes including PC Game Pass memberships, OMEN gaming laptops, HyperX headsets, and NVIDIA GeForce NOW Ultimate memberships. Get ready to discover your next favorite PC games with PC Game Pass and reach new possibilities to game however, wherever you want.
Xbox remains committed to the belief that gaming should be safe, inclusive, and accessible for all. We’re ensuring that all areas of the booth are wheelchair accessible and Xbox Adaptive Controllers will be available on request, as well as select demo stations with adjustable height desks. We will also have multiple American Sign Language (ASL) and German Sign Language (DGS) interpreters and “Here to Help” staff to assist players of all abilities. Additionally, we’ll have sensory aids and a quiet room for anyone who needs them.
You will be able to find us at Hall 8 of the Koelnmesse, North entrance. See below for the consumer show opening times:
Thursday, August 24 – 10:00am – 8:00pm CEST
Friday, August 25 – 10:00am – 8:00pm CEST
Saturday, August 26 – 9:00am – 8:00 pm CEST
Sunday, August 27 – 9:00am – 8:00pm CEST
Xbox @ gamescom 2023: Live From The Showfloor – No matter where you are in the world, we will bring gamescom 2023 to you, with three days of approx. 3 hour live streams direct from the Xbox booth.
On Wednesday, Thursday and Friday, join Team Xbox and friends for a series of streams taking a deeper dive into some of the highly-anticipated games at gamescom 2023, with gameplay, developer chats and community segments to give you a flavour of the show.
Whether you join us for every stream, or just dip in for the latest on your most anticipated titles, we’re looking forward to connecting with fans across the globe and showing off some of the amazing games coming to Xbox.
Keep an eye on Xbox Social channels for the full content schedule in the days leading up to gamescom.
The live English-language broadcast from Xbox’s gamescom booth will be available in German, Castilian Spanish, Brazilian Portuguese, French, Italian, Japanese, Korean, Polish and Latin America Spanish along with ASL and English Audio Descriptions. You can catch the Xbox Booth @gamescom Live Stream on regional Xbox channels on YouTube, Twitch, Facebook, and elsewhere.
Xbox Social Media Coverage – For all the latest updates on Xbox at gamescom this year, stay tuned to the @Xbox X (Twitter), Facebook, Instagram and YouTube social channels, and the @XboxDACH Twitter, Facebook, Instagram,TikTok and YouTube social channels. We’re using #Xboxgamescom as our event hashtag.
To those who have been anticipating Starfield‘s worldwide release on September 6, 2023, expect to see a wave of videos and promos for the sci-fi epic RPG happen immediately with Gamescom no matter how the theatrical showcase of it will turn out. While Forza Motorsport (2023) will have its own increase of pre-release promotions and gameplay emphasis heading towards its October 10 launch, the Gamescom theatrical presentations could create new and exciting buzz for Xbox-exclusive games Ara: History Untold and Towerborne.
Xbox-exclusive Starfield is set for September 6, 2023 worlwide release.
Forza Motorsport (2023) will be released on October 10 exclusively on Xbox Series X, Xbox Series S and Windows PC.
As for the other games part of Xbox at the convention, S.T.A.L.K.E.R. 2: Heart of Chornobyl could surprise and delight gamers with its latest updates and, hopefully, a release date. The game is bound for Xbox Game Pass (XGP) and here is hoping it will deliver the exciting stuff for gamers who have been anticipating it.
ARMORED CORE VI: Fires of Rubicon, Jusant and Persona 5 Tactica could each attract their own audiences at the convention.
Watch out for Xbox at Gamescom this month.
In concluding this post, posted below are Xbox-related videos for your enjoyment.
Author Carlo Carrasco 