Indians – Author Carlo Carrasco

Retro Gaming Ads Blast – Part 37

December 1, 2025November 26, 2025carlocarrasco

Welcome back readers, fellow geeks and electronic gaming fans!

In this edition of the Retro Gaming Ads Blast (RGAB) series, we will take a look at another batch of retro gaming print ads – including arcade flyers – from the 1970s to the 1990s.

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

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

1. Cabal Japanese arcade flyer/poster

*Can you feel the action and intensity here?*

When it was first released in video arcades in Japan in late 1988, Cabal was another game inspired by military action movies of Hollywood which explains the art work done for the arcade flyer and poster shown above. The Vietnam War was still fresh in people’s minds and the concept of having one or two players firing their weapons against enemy soldiers resonated with gamers who saw Hollywood’s military action flicks. That said, it is not surprising that Cabal became a huge hit in Japan before getting released in arcades around the world.

2. Willows Japanese arcade flyer

Remember the 1988 high fantasy adventure film Willow? That film was produced by George Lucas and was a bold new production of Lucasfilm shifting away from Star Wars. Believe it or not, an official arcade game adaptation of Willow was made by Capcom and they promoted it by having images of Val Kilmer and Warwick Davis on the front of the arcade flyer (opposite the illustrated versions of their characters). The game, which was a side-scrolling platform game with run-and-gun elements, went on to be an arcade hit in Japan and eventually pleased gamers worldwide.

3. Super Punch-Out!! North American print ad

Historically, Nintendo’s Punch-Out!! series started in the arcade in 1984 and the first game was the result of the company’s effort to make a new game using arcade cabinets with two screens. The 2^nd game – Mike Tyson’s Punch-Out!! – became a huge critical and commercial hit (over 2 million copies sold in 1988) on console and it made great business sense for Nintendo for release another Punch-Out!! for its console gamers to enjoy in the comfort of home. In 1994, Super Punch-Out!! was released on the Super Nintendo Entertainment System (SNES) in America and to promote it, the company came up with a hilarious 2-page ad that showed fictional high school graduates with boxing-related injuries. The imagery creatively connected with the words “biggest Punch-Out ever” and “Graduating Class of ‘94”.

4. EA Sports 3-in-1 SNES games print ad

In 1994, Electronic Arts (EA) released their sports games NBA Live 95, NHL 95 and Madden NFL 95 for consoles at the time. Even though the Sega Genesis sold better than Super Nintendo Entertainment System (SNES) in America at the time, EA went on to aggressively market their 3 sports video games on Nintendo’s console using a 3-in-1 games print ad. In retrospect, the SNES for the most part had better graphics and sounds than the Genesis which is reflected clearly on EA Sports games of the time. This print ad still looks fun and exciting.

5. Atari Jaguar CD print ad

*Were you able to play any game on the Atari Jaguar with the CD add-on included?*

Apart from the obvious advances of technology that impacted video games, the 1990s is also known for the rise of CD-ROM as a medium for gaming. In an effort to boost sales of the Atari Jaguar console (launched in America in 1993 for around $250) and capitalize on the trust of the fans and console owners, Atari launched a CD-ROM add-on device for about $150 in 1995. To promote it, the company went aggressive with the 2-page ad showing the add-on fully connected on top of the main console, showing off some games and posting a text description emphasizing hardware power and the advantages that come with the CD technology. Even in the captured image, the Atari Jaguar CD still resembled a toilet. This is an aggressive ad campaign that failed as less than 20,000 Atari Jaguar CD units were sold by the time it was discontinued in 1996.

6. 3DO print ad

*While it lacks intensity, this 3DO ad emphasized the games.*

Without showing any hardware, the 3DO Company came up with this 2-page print ad that had a slightly adulterated tone (look at the left page) and aggressively marketed the 3DO console games available at the time. Games like Demolition Man, Shock Wave, Road Rash and Super Street Fighter II Turbo were the standout titles which clearly showed the company made the effort to emphasize gaming more than multimedia features. This 1990s ad tackled the generations with a touch of humor.

7. Lethal Enforcers II: Gun Fighters Sega Genesis print ad

When Lethal Enforcers II: Gun Fighters was released in the arcades in 1994, it became a commercial success for Konami which went on to announce it would port the game to consoles of Nintendo and Sega at the time. While the port for the Super Nintendo Entertainment System (SNES) was never released, Lethal Enforcers II: Gun Fighters made its way to the Sega Genesis and Sega CD. The print ad of the Sega Genesis version (Sega CD mentioned in small text) had an inspired design emphasizing the Old West, shooting and the conflict between cowboys and Indians. The screenshots gave people the clear idea that Old West was the setting (versus modern day in the previous game). This is still fun to look at.

8. Syphon Filter

*Syphon Filter went on to become a surprise hit game in 1999.*

In 1999, Sony’s 989 Studios released Syphon Filter exclusively on the PlayStation console. This single-page print ad showed a few screenshots on the bottom and several action snippets with a night vision touch ultimately emphasizing the stealth aspect within the gameplay. The marketing proved to be effective as the game sold a lot at retail and went on to establish a new game franchise exclusive to PlayStation consoles.

9. Parasite Eve II Japanese print ad

*Were you a big fan of Aya Brea and the Parasite Eve franchise in the late 1990s?*

Following the critical and commercial success of Parasite Eve in 1998, SquareSoft proceeded with Parasite Eve II and the production (note: initially for a spin-off game before becoming a sequel) did not even involve the main creators of the first game. Instead the company had a different team of developers – including those who previously worked on Resident Evil games for Capcom – in Osaka to make the sequel. This explains why Parasite Eve II had stronger survival horror gameplay resembling a Resident Evil game. As major changes were made during the production, it was decided that Aya Brea would become the main protagonist and already the character was already popular with gamers. That being said, the marketing of Parasite Eve II for the Japanese market heavily featured Aya Brea with subtle sexiness, beauty and action in mind. The marketing intensified leading to its eventual December 16, 1999 release in Japan.

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Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco

NBI Arrests 9 in Parañaque Over Car Financing Scam

July 7, 2025July 3, 2025carlocarrasco

Recently in the city of Parañaque, National Bureau of Investigation (NBI) agents arrested a group of nine people – six foreigners and three locals – for their involvement in a car financing scam, according to a Philippine News Agency (PNA) news article.

To put things in perspective, posted below is an excerpt from the news article of the PNA. Some parts in boldface…

The National Bureau of Investigation (NBI) has arrested three Filipinos and six Indian nationals for their alleged involvement in an “assume balance-talon” scheme.

In a statement on Friday, NBI Director Jaime Santiago identified the suspects as Teotima Batutay, Rose Torion and Michael Castulo, and Indian nationals Sajjan Sarkar, Sai Charan, Kulvatnh Thati, Gayatri Sarma, Ray Anand, and Nithin Kamepalli.

They were arrested on June 24 in Parañaque City and charged with carnapping and syndicated estafa.

According to the NBI, the complainant said he failed to pay the monthly amortization of the subject vehicle to a bank and offered it for sale on the “assume balance” process.

The said vehicle was assumed by a car dealer, which passed it to Batutay who allegedly sold the vehicle to Castulo. Castulo together with Sarkar, mortgaged it to Anand for PHP120,000.

The bank chased after the complainant after the amortizations fell due, and sought the recovery of the vehicle through Castulo.

However, Castulo demanded PHP450,000 from the complainant and even threatened to tear the car into parts if the money, which was later reduced to PHP250,000, was not given.

The complainant filed a report with the NBI, leading to the suspects’ arrest and the recovery of the vehicle.

Let me end this post by asking you readers: What do you think about this recent development? If you are a resident of Parañaque, do you think that there are still gangs of both foreigners and locals who are committing scams and have yet to be caught? Do you think there will be more financial scams that will take place in Parañaque over the next six months?

You may answer in the comments below. If you prefer to answer privately, you may do so by sending me a direct message online.

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For more South Metro Manila community news and developments, come back here soon. Also say NO to fake news, NO to irresponsible journalism, NO to misinformation, NO to plagiarists, NO to reckless publishers and NO to sinister propaganda when it comes to news and developments. For South Metro Manila community developments, member engagement, commerce and other relevant updates, join the growing South Metro Manila Facebook group at https://www.facebook.com/groups/342183059992673

Retro Gaming Ads Blast – Part 26

January 13, 2025March 16, 2025carlocarrasco

Welcome back readers, fellow geeks and electronic gaming fans!

In this edition of the Retro Gaming Ads Blast (RGAB) series, we will take a look at another batch of retro gaming print ads – including arcade flyers – from the 1980s and 1990s.

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

1. Asteroids Deluxe arcade flyer

Given the fact that Asteroids was a massive hit for Atari in the arcades, it was not surprising that a sequel was made called Asteroids Deluxe. In preparation for its 1981 release, Atari made this Asteroids Deluxe arcade flyer showing three machine that arcade operators can choose from complete with technical details displayed. They even emphasized the QuadraScan video graphics as a technological advancement with regards to graphics. By today’s standards, this arcade flyer is still sensible with regards to promoting the game to both arcade operators and players.

2. Missile Command arcade flyer

*Engaging art work on display at the front of the arcade flyer.*

Released in the arcades in 1980, Missile Command is a classic game from Atari and its concept of defending cities from incoming enemy missiles proved to be relevant with people living with the fear of a nuclear missile attack during the days of the Cold War. In my experience, I mainly played the Atari 2600 version and it was only recently I finally started playing the arcade classic on my Xbox Series X using the Atari 50 Collection software. As for the arcade flyer itself, Atari simply used highly detailed painted art for the front which clearly emphasized the science fiction portrayal of a military officer using a console inside a base to come up with defensive response to incoming ballistic missiles. The game was a massive hit in the arcades and in my view, Atari’s simply yet direct way of promoting the concept of Missile Command with the arcade flyer remains compelling to look at.

3. Gun.Smoke European arcade flyer

*Nice art on the front of this arcade flyer for the European market.*

Long before they struck gold with Street Fighter II, Japanese company Capcom scored a hit with gamers in the arcades with 1985’s Gun.Smoke. It was a vertically scrolling run-and-gun game with an Old West setting and it was designed by Yoshiko Okamoto (Final Fight and Street Fighter II). To promote the game for European arcades, Capcom simply used hand-drawn artwork for the arcade flyer’s front which emphasized the Wild West setting, and an American Cowboy and bounty hunter named Billie Bob who is the playable character gamers got to play. In my view, the artwork gave the game a strong Wild West image that is also memorable.

4. Sei Senshi Amatelass arcade flyer

Released in Japanese arcades in 1986 by Nichibutsu, Sei Senshi Amatelass is a vertical scrolling run-and-gun game with a science fantasy concept. To promote the game and really sell its concept, Nichibutsu hired a model posing with a sword and a shield in fantasy inspired costume. Using the remaining spaces of the flyer, some screenshots and an image of the arcade machine were displayed. This flyer showed the company exerting effort to sell Sei Senshi Amatelass with a touch of beauty and subtle sexiness.

5. Sweet Gal arcade flyer

*Seriously, are you interested in playing mahjong in digital form?*

Here is another digital mahjong arcade game from Nichibutsu…Sweet Gal. As typical of the company, a model was hired to add subtle sexiness into the promotion of the game and they even added a digital image of a sexy girl. Sweet Gal clearly was promoted to attract men who enjoy playing mahjong in electronic format and there were some arcade spots in Japan that catered to such mahjong enthusiasts.

6. Moon Patrol print ad

*This is a fun-looking, comic book style way of promoting a video game.*

Here is one of those video game print ads I saw while reading comic books back in the early 1980s. Moon Patrol is a sci-fi, side-scrolling game by Atari known for introducing full parallax scrolling in side-scrolling games. Instead of showing screenshots of the console versions of the game, this print ad used nice looking hand-drawn artworks presented with a comic book-inspired style to emphasize the concept. I still remember how captivating this ad and its super short story was the first time I saw it. It was enough to make me interested in the game.

7. Tron Atari 2600 games print ad

*Calling all Tron fans to look at this.*

I was very captivated by the 1982 sci-fi movie Tron which I saw on home video. It had very flashy computer-generated visuals, a very memorable story and the fine performance by Jeff Bridges. Tron was also very reflective about the video game culture of its time. When I first saw this print ad while reading a comic book, I was really excited. If you look closely, it had nice artwork dominating the space and screenshots that each promoted the games Tron: Deadly Discs and Adventures of Tron. Even though the graphics were primitive, I still recognized the Tron-related images which added to my excitement.

8. Q*bert print ad

*This print ad by Parker Brothers really captured the essence of the game.*

The puzzle-oriented 2D action game Q*bert became an arcade hit in America shortly after its 1982 release and even went on to become one of the highest grossing arcade games in 1983. Q*bert is one of those 2D games that cleverly blended puzzle play with 3D-like movement and avoidance of both obstacles and enemies. As expected, the game made its way into gaming console and this particular print ad had artwork that strongly captured the very essence of the game complete with the very catchy line “It’s not easy being Q*bert, but it’s fun.”

9. Masters of the Universe: The Power of He-Man print ad

I saw this print ad of Masters of the Universe: The Power of He-Man (for Atari 2600 and Intellivision) while reading a comic book long ago. Like the Tron games ad, this made me excited as I was fond of watching the He-Man cartoon series of the 1980s. While the selected screenshots caught my attention, it was the hand-drawn art of He-Man facing off with Skeletor and his minions that captivated me simply because it reminded me of the animated series. This is a fine example of promoting a video game that would instantly resonate with fans of He-Man and the Masters of the Universe franchise.

10. UFO Robo Dangar North American arcade flyer

*The giant robot concept of this game gave some viewers the impression that it was based on some giant robot anime series from Japan even though the art work used does not suggest it.*

Here is another arcade game from Nichibutsu but for the North American market and without the use of a model and without the subtle sexiness. UFO Robo Dangar is a 2D vertically scrolling science fiction shooting game and players get to control a giant robot (composed of flying vehicles that merged into one mechanical body) that has to go through countless waves of enemies in order to advance from one level to another. The arcade flyer used nice looking sci-fi art of ships with the game’s title having a robot and several screenshots of the game. The flyer even made a hard pitch towards arcade operators that UFO Robo Danger will transform their games into profits with proven longevity.

11. Aliens Japanese arcade flyer

*The other side of the flyer of the 1990 arcade hit Aliens.*

Quite arguably, Konami’s 1990 arcade hit Aliens is the best video game of any game design to be based on the 1986 film directed by James Cameron. Not only was Aliens a big hit in the arcades, it also won an award from the American Amusement Machine Association (AAMA). Aliens was released in Japanese arcades in February of 1990 and Konami released an arcade flyer that was much more visually striking than its North American arcade flyer. The front had detailed artwork of the Xenomorph while the rear had the instructions and screenshots presented in an orderly manner. The photograph of the Xenomorph alien was added intensity on selling the game. This is still a great looking arcade flyer.

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Retro Gaming Ads Blast – Part 16

August 26, 2024July 9, 2024carlocarrasco

Welcome back readers, fellow geeks and electronic gaming fans!

In this edition of the Retro Gaming Ads Blast (RGAB) series, we will take a look at another batch of retro gaming print ads – including arcade flyers – from the 1980s and 1990s.

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

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

1. A-Jax North American arcade flyer

*Another one of Konami’s arcade flyers showing a pretty fashion model with a touch of militarism.*

A-Jax (also referred to as Ajax) is another one of the many military themed games Konami released for the arcades in the 1980s. It was a 2D vertically scrolling shooter in which players use aircrafts to shoot enemies both in the air and on the ground. The game was a hit in Japanese arcades and Konami came up with the North American arcade flyer showing three screenshots, an archive footage shot of a military helicopter and a sexy lady (with a light military look) with a machine gun. The style of presentation was similar in style with the North American arcade flyers of Contra and M.I.A.: Missing in Action.

2. The Combatribes print ad

*The short comic book approach was used to emphasize the setting and concept of the video game.*

Technos, the Japanese company behind the wildly popular Double Dragon games franchise, proved to be successful with the arcade release of The Combatribes. In an attempt to keep the wave of success moving, Technos released The Combatribes on the Super Nintendo Entertainment System (SNES) in 1992 and someone involved with the North American marketing came up with the idea of creating a comic book-style presentation for the print ad. Creatively speaking, the comic book approach was done to emphasize the story and visual concepts of the game, and entice readers to play it. By today’s standards of video game marketing, this print ad’s approach is both unusual and notable.

3. Dead or Alive 2 Dreamcast port print ad

*This was a wide print ad that appeared on magazines and it sure was eye-catching. It was an effective way to promote the game and inform people of the Sega Dreamcast’s presence in the market.*

When Dead or Alive 2 was released in the arcades in 1999, a lot of gamers were astounded by it as developer Team Ninja (led by Tomonobu Itagaki) made it much bigger and a lot better than its 1996 predecessor. Team Ninja really went all out making the sequel utilizing Sega’s NAOMI arcade technology, inviting martial artists to do motion-capture, and having a very ambitious game design. Since the game was developed with the NAOMI hardware, porting the game for the Sega Dreamcast was reportedly convenient and smooth for the developers who went on to add more gameplay features and modes. Publisher Tecmo came up with this wide print ad (promoting the Dreamcast release) showcasing three characters, six screenshots and text descriptions emphasizing the universal acclaim the game received. The promotional approach was simple yet effective.

4. Jet Moto (PC version) print ad

In November 1996, the futuristic all-terrain hoverbikes racing game Jet Moto was released on the PlayStation which went on to sell well and attract mostly positive reviews. Sony Computer Entertainment eventually released a version of the game for the personal computer (PC) in November 1997. As seen in the above print ad, the network play option and compatibility with Direct3D video accelerators were emphasized as such features resonated with the interests of PC gamers of the era. This print ad showed how willing Sony was to release PlayStation hits on PC back then.

5. Elevator Action Returns Japanese arcade flyer

When Taito released Elevator Action Returns (also titled as Elevator Action II in other nations) in the arcades in 1994, it became a hit as gamers enjoyed its action-packed gameplay, ambitious 2D visual presentation and varied level designs that clearly went beyond its 1983 predecessor. The front of the Japanese arcade flyer has really nice art showing the three playable protagonists on an elevator on their way to do their mission. The back of the flyer shows screenshots (which emphasized the varied level designs), text descriptions explaining how the game played (English version printed), and what the features are. Another text description confirmed that terrorists are the antagonists that players will be dealing with which was reflective of the rise of Islamic terrorism in the 1990s. Oh yes, if you look closely you will the word “item” misspelled as “items”.

6. Sunset Riders print ads

*The Sunset Riders arcade machine, the SNES version, screenshots and a can of pork-and-beans on this ad.*

*This print ad appeared in some comic books I read long ago.*

After enjoying a lot of success in the arcades with their 1991 game Sunset Riders, Konami went on to release ports of it to the Sega Genesis in 1992 and the Super Nintendo Entertainment System (SNES) in 1993. With regards to conversions and procedural/artistic changes between the arcade and console ports, the SNES version had few changes implemented compared to the one released on the Genesis. As seen in one of the print ads of Sunset Riders on SNES, it came with 7 arcade levels, 2-player mode and additional shooter stages. What the print ads did not reveal were notable replacements of specific characters in key parts of the game such as the dynamite-tossing female bandits getting replaced by male bandits, North American Indian villains getting replaced with outlaws, etc.

7. Jackal Japanese arcade flyer

*Whoever was the artist Konami hired truly delivered great-looking art!*

Konami’s military themed game Jackal (Japanese title: Tokushu Butai Jackal) debuted in Japanese arcades in October 1986 and became a hit. The Japanese market arcade flyer had great looking artwork on the front that strongly emphasized the very concept of the game (players move military jeeps to shoot at enemies as they move into enemy territory). One of the characters (the one wearing the red beret) somewhat resembles the late Sean Connery which only shows that someone within Konami’s development team took inspiration from movies. This arcade flyer’s front still looks great.

8. Aliens North American arcade flyer

*A good amount of effort was done to truly capture Aliens’ concept using hired models (as Ripley and Newt), a Xenomorph physical model and a suitable background.*

*The key details presented on the rear of the flyer. The Xenomorph’s presence adds tension.*

In 1990, Konami released their ambitious arcade game Aliens which was loosely based on the 1986 movie that starred Sigourney Weaver and was directed by James Cameron. As Konami’s Aliens license was only temporary and the movie was so highly regarded, the Japanese company’s marketing team really had to exert extra effort to truly capture the film’s sci-fi horror concept in order to make a strong presentation towards arcade operators and their paying customers (the gamers).

Apart from showing screenshots on the front, the creative team hired a blonde model as Ellen Ripley holding a gun and a young girl as the character Newt, and have them pose convincingly in front of a Xenomorph model (darkened in the foreground). On the back of the flyer, the team heavily revealed the details using the text description to emphasize the gaming experience and story concept. The technical details, meanwhile, were presented in simplistic, easy-to-follow fashion. Aliens was a smash hit in the arcades and there are long-time gamers who regard it as one of the best game adaptations of the 1986 movie. This arcade flyer is a strong reminder that the featured game was never ever ported to any game console nor to any personal computer.

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Police officers rescue kidnapped foreigners and apprehend suspects in Las Piñas City

July 16, 2024July 8, 2024carlocarrasco

Recently in the City of Las Piñas, local police officers rescued four foreigners who were kidnapped and illegal detained by their compatriots over a car accident matter that involves money, according to a Manila Bulletin news report. The suspects were arrested as well but two others got away.

To put things in perspective, posted below is an excerpt from the Manila Bulletin news report. Some parts in boldface…

Members of the Las Piñas City police rescued four Indian nationals who were kidnapped and illegally detained by four of their compatriots for non-payment of their P200,000 car accident settlement on July 5.

Las Piñas City police chief Col. Sandro Tafalla reported to the Southern Police District (SPD) the arrest of alias Ramanathan, 22; alias Devesh, 22; alias Sanjay, 22; and alias Venkata, 21, all Indian nationals.

Tafalla said the four suspects were arrested at around 10:30 p.m. at a residential building located at Barangay Pamplona Tres, Las Piñas.

He said two other suspects, identified as alias Lmahen and alias Shivarishi, were able to escape during the rescue operation and are now being hunted by the police.

The city police chief said the rescued victims were identified as alis Ven, 21; alias Vam, 21; alias Sai, 22; and alias Kal, 19.

Tafalla said the victims were allegedly robbed and detained by the suspects for their failure to pay the P200,000 car accident settlement.

He said the victims rented a Nissan Tiera owned by Shivarishi in going to Nasugbu, Batangas last May 24 but they unfortunately had an accident.

The police said suspect, Shavarishi, reportedly demanded the victims to pay the amount of P700,000 after his car suffered damages but the victims reportedly paid only P500,000.

Tafalla said by failing to to pay the remaining P200,000, the victims were kidnapped, robbed, and illegally detained by the suspects on July 5.

He said a friend of the victims reported the incident to the police and a rescue operation was launched.

The city police chief said recovered during the operation were a white Hyundai Accent with license plate DAC 2660, one wooden broomstick, and one metal dustpan, which were reportedly used in the assaults.

Let me end this piece by asking you readers: If you are a resident of Las Piñas City, what is your reaction to this development? Do you think there could be foreigners in your local community who engaged in kidnapping and illegally detaining people secretly?

You may answer in the comments below. If you prefer to answer privately, you may do so by sending me a direct message online.

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A Look Back at Amazing Spider-Man #257 (1984)

June 21, 2024July 3, 2024carlocarrasco

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1984 to examine a small part of the Marvel Comics universe through a tale of the Amazing Spider-Man monthly series.

In my previous retro review, Puma was introduced and quickly made an impact on the plot that connects the Rose with Spider-Man (who foiled the Rose’s criminal operation with the help of Black Cat). Puma is not a one-dimensional villain as he is quite principled. Ultimately, issue #256 served as an entertaining build-up of the conflict between Spider-Man and Puma.

With those details laid down, here is a look back at Amazing Spider-Man #257, published in 1984 by Marvel Comics with a story written by Tom DeFalco and drawn by Ron Frenz.

Early story

The story begins on top of a building in New York City. Puma grabs the head of the helpless Spider-Man (who just suffered the dislocation of his arm and endured the pain of shoving it back into place before eventually succumbing to the intense pain). He does not strike immediately as he finds the act of eliminating the webslinger almost too easy and he remembers the Rose promised him of a worthy foe.

Just as Puma starts his move to kill Spidey, Black Cat suddenly strikes him out of nowhere. Puma quickly recovers his balance and tells Black Cat to go away. Suddenly, Puma notices something in her. Using his heightened senses, he sees Black Cat’s aura then jumps at her. He quickly realizes he miscalculated with his movement and finds himself overshooting her. In a desperate attempt, Puma grabs a pipe but it quickly broke and causes him to slide on the rooftop and hit the edge.

As Puma picks himself up, the roof beneath him gives in and he falls down…

Quality

*Spider-Man’s 2nd encounter with Puma is action-packed and fun to read. Pay close attention to the details.*

There is no doubt that the story of this comic book is pretty much a big pay-off to the build-up of the previous issue. Not only that, the creative team continued to gradually develop Puma not only as a formidable foe of Spider-Man but also as a sensible and believable new addition to the Marvel Comics universe of the time.

Here, you will see Spider-Man in a truly vulnerable state which symbolically shows that wearing the alien costume has its limits when it comes to protecting and enhancing him. As seen in the final pages of issue #256, Spider-Man struggles a lot physically and, for the first time ever, struggles to command the symbiote (not realizing it is organic and has its own intelligence). With Spidey in a serious physical disadvantage, you will see Black Cat getting a nice share of the spotlight. Not only does she bravely face off with Puma, her concern for Spidey (note: she knows he is Peter Parker) intensifies in a very believable way. She still loves him but could not figure out why Peter prefers to live like a normal person when he could dedicate himself on being a hero every day as Spider-Man.

As for Puma, the creative team developed him even further both in his animalistic form and in his civilian identity as the head of Fireheart Enterprises. As the man Thomas Fireheart, he is a really intelligent man who analyzes a lot of details before making his next move. You will see more of his intellectual side as he deals with both his corporate affairs as well as his contracted service for the Rose (who in turn is serving the Kingpin).

The plot in this comic book is deeper and more elaborate. Without spoiling much, you will get to see the Puma-Rose-Kingpin connection and, more notably, you will see how complex and intense the situation becomes for Peter Parker when he encounters Puma for the 2^nd time. The story is very good, you just have to read it.

Conclusion

*Spider-Man, Black Cat and the alien costume.*

Like the previous issue, Amazing Spider-Man #257 (1984) is a great read but in the form of a great pay-off to the build-up that preceded it. The DeFalco-Frenz duo succeeded in developing the newcomer Puma into a significant Marvel Comics universe addition and their portrayal of an injured Spider-Man is very captivating. That being said, I encourage you all to pay close attention to the literary details revealed during the banter between Spidey and Puma which will resonate with you when you read the next issue.

Overall, Amazing Spider-Man #257 (1984) is highly recommended.

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A Look Back at Amazing Spider-Man #256 (1984)

June 14, 2024July 3, 2024carlocarrasco

The era when Spider-Man came back from deep space (refer to Secret Wars) with a new black costume (the symbiote that would later help form Venom) that itself had special abilities was indeed a very notable time in superhero comics history. As if Spidey’s troubled personal life was not enough, he had to deal with new villains that were formidable and tough to deal with.

With those details laid down, here is a look back at Amazing Spider-Man #256, published in 1984 by Marvel Comics with a story written by Tom DeFalco and drawn by Ron Frenz.

Early story

The story begins inside a warehouse when Spider-Man suddenly catches a lot of men by surprise. The men turned out to be doing something illegal with lots of stolen good contained in boxes. Quite fearlessly, the webslinger knocks out many of them while Black Cat takes pictures (assistance for Peter Parker) from a distance above. Black Cat eventually gets involved in the physical struggle and the bad guys all got defeated afterwards.

After the struggle, Spider-Man and Black Cat (who know each other personally) have a short sentimental talk before parting ways. As soon as he arrives home, Peter Parker starts developing the pictures in preparation for much-needed income from the Daily Bugle.

Elsewhere in New York (the next morning), the warehouse raid caused by Spider-Man and Black Cat makes immediate impact on the secret operations of the Rose who in turn wants the hero dead. The Rose (who reports to the Kingpin) then sends a message to New Mexico to contact the one person capable of killing Spider-Man…the Puma.

Quality

*Puma in his animalistic form deep within the harsh wilderness of New Mexico.*

I can state that within the age of Spider-Man wearing the alien costume, this particular tale has a strong debut of a new foe and the plot itself is quite intriguing. Tom DeFalco cleverly paced the introduction of Puma whose civilian personality is that of a very focused business executive. The creative team took the inspired approach of defining Puma with the harshness of the New Mexico wilderness contrasted with that of his civilian identity spending time in the bustling urban environment of New York City.

Not only is Puma very powerful and focused, he also has a high standard when it comes to accomplishing tasks showing no fear nor hesitation with regards to potential obstacles ahead of him. Clearly, Puma is not your typical super villain but a very principled and very capable figure. When compared to Wolverine, Puma shares some common animalistic elements with him but he consistently maintains control of himself. This makes him a dangerous force of opposition towards Spider-Man.

Spider-Man here is usual self. His personal problems and lack of a stable life are taking their toll on him just as he continues to keep doing good (example: fighting crime). It should be said that when Puma first strikes at him, the creative monotony with the webslinger suddenly got snapped causing a new series of unfortunate developments that test him. It is also revealed here that using the alien costume does not spare him from serious physical injury.

Conclusion

*These panels show how vulnerable Peter Parker really is as the alien costume comes to him willingly.*

Amazing Spider-Man #256 (1984) is a great read. The build-up with Puma is very powerful and his presence really made a huge impact on the reading experience. By the time the story ended, I was very convinced to read the next issue.

Overall, Amazing Spider-Man #256 (1984) is highly recommended.

+++++

A Look Back at Turok: Dinosaur Hunter #3 (1993)

January 31, 2024January 23, 2024carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the early 1990s and explore a part of the Valiant Comics shared universe through a tale of the Turok: Dinosaur Hunter series.

Previously, Turok went on exploring Colombia after leaving the village of his romantic interest Serita. The village was decimated by the intelligent dinosaurs (also referred to as bionisaurs) that served Mon-ark, a fierce enemy of Turok’s. Eventually Turok got involved with the Colombian drug lord Comacho who has gang of armed men and lots of resources. Ever the dedicated hunter, Turok makes a deal with the drug lord to pursue dinosaurs.

With those details laid down, here is a look back at Turok: Dinosaur Hunter #3, published in 1993 by Valiant Comics with a story written by David Michelinie and drawn by Bernard Chang.

Early story

The story begins in Colombia in 1987. Turok tries to sell the severed head of a bionisaur to a local buyer (collector of hunt-related trophies) who offers him only three hundred Pesos.

After concluding a disappointing deal, Turok leaves the local joint only to encounter a lady driving a jeep…the scientist Maria Cortez. She tells him that the drug lord Comacho is planning a raid against the dinosaurs very soon and the gang wants Turok to come along. Cortez, who is obsessed with researching dinosaurs, tells him her single condition that one dinosaur should be spared for scientific study. After some thinking, Turok agrees to join…

Quality

Starting first with the plot, I can say that David Michelinie’s script is well-written and never lost focus on the inevitable encounter between Turok and his vicious dinosaur rival Mon-Ark. Right from the start, it is clear that the stakes have been raised higher which is the result of Turok’s successful killing of Mon-ark’s mate. Like in the previous issue, Mon-ark here was portrayed again to be very evil and even abusive to his fellow dinosaurs.

The raid mentioned early in the story is easily the action-packed highlight and it has some notable forms of symbolism. For one thing, the raid was organized by Comacho not because of concern towards Mon-ark nor Turok, but because he wants to stop the disruptions on his illegal drug business caused by the dinosaurs. Cortez meanwhile sees the dinosaurs as animals meant to be studied for the sake of science. And then there is a certain photographer who wants to record everything visually no matter what happens. I can say the raid scenes are entertaining to follow.

As this comic book was not drawn by Bart Sears, I can say that the visual quality and style went way down. I’m not saying that Bernard Chang is a terrible artist at all. It’s just that Chang’s art style does not live up to the gritty, exquisite and intense visuals of the first two issues which clearly defined how Turok stories should look. Along the way, there are several instances wherein Chang’s art style made some characters and facial expressions look somewhat cartoony. The dinosaurs themselves also looked cartoony at times and the heavy loss of visual details on them is very clear.

Conclusion

*The armed raid against the dinosaurs with Turok as a willing participant looking like Rambo.*

Similar to its predecessor, Turok: Dinosaur Hunter #3 (1993) has enough stuff worth following to be entertained even though the visual quality went down several notches. For one thing, the promised battle between Turok and Mon-ark happened and the way it was written was strong on its own. At the same time, the Indian hunter of dinosaurs got more involved Comacho’s gang which raises questions about his ability to differentiate right from wrong, and good from evil. At this stage of the series, Turok’s direction remains clouded.

Overall, Turok: Dinosaur Hunter #3 (1993) is recommended.

+++++

A Look Back at Turok: Dinosaur Hunter #1 (1993)

January 4, 2024December 30, 2023carlocarrasco

I say very notable because Turok, an Indian (North American native), started in comics in the 1950s published by Western Publishing through its licensee Dell Comics. The comic book series Turok: Son of Stone started from 1956 until the early 1980s. In 1989, Valiant Comics was established by former Marvel Comics editor-in-chief Jim Shooter and business partner Steven Massarsky which was the result of a failed 1988 attempt to purchase Marvel Entertainment. In 1991, Valiant published Magnus: Robot Fighter and Solar: Man of the Atom as its early titles which is notable because both characters were licensed properties from Gold Key Comics (which itself was involved in the original Turok series).

Then in 1992, a newer version of Turok was introduced by Valiant Comics in the 12^th issue of Magnus: Robot Fighter and subsequently the character (along with established side-kick Andar) became involved in the Unity storyline which was Valiant’s first major crossover comics event. By the time Unity ended, the road was cleared for Valiant to further emphasize Turok for the modern comic book readers of the time.

With those details laid down, here is a look back at Turok: Dinosaur Hunter #1, published in 1993 by Valiant Comics with a story written by David Michelinie and drawn by Bart Sears.

Early story

The story begins in Colombia (note: written as Columbia in the comic book) in South America in the year 1987. Deep in the forest, Turok performs a ritual believing that his spirit is getting cleansed and purified. He remembers the times when he and Andar discovered a land – filled with dinosaurs and other animals they never encountered previously – where time no longer held much meaning.

He and Andar got involved in an armed conflict with invaders who arrived with advanced technologies. The robot fighter Magnus then got involved and helped Turok and their side turn the tide of battle. Eventually a stunning phenomenon happened as a woman who called herself Mothergod appeared. Turok and Andar foolishly submitted themselves to her and soon, they started operating in her service with violence against those who opposed her.

After encountering Archer and Armstrong, Turok realized the error of his devotion to Mothergod and eventually joined forces with Rai, X-O Manowar and others who waged battle against her.

Back in the present, an intelligent, cybernetically enhance dinosaur attacks Turok…

Quality

*Very intense violence drawn by Bart Sears which reflected the high intensity of Turok’s fight with the dinosaurs.*

To get straight to the point here, when it comes to emphasizing a new version of Turok for comic book readers in the early 1990s, the creative team was quite successful in achieving that goal. By the time I reached the end of this comic book, Turok’s place within the huge shared universe of Valiant got established solidly and the Michelinie-Sears duo dramatized the Indian’s struggle (being lost in time and far away from where he belongs) in South America in the late 1980s.

Being lost in time and having to deal with deadly, intelligent dinosaurs brought not only the warrior within Turok but also the determine survivor in him as well. There is a good amount of character emphasis of Turok which served as an effective balance to all the spectacle (read: uncompromised bloody violence) the creative duo prepared. Instead of using thought balloons, you will read Turok’s thoughts through narration boxes all throughout which made an effective and interesting reading experience.

Considering his great skills in hunting and fighting, Turok is not really a super protagonist. He is as vulnerable as any other person and you will get to see him suffer and become so helpless, he has no choice but to avail of assistance from South American villagers who lived by the land but are themselves very vulnerable to the savagery of the intelligent dinosaurs. The symbolism regarding vulnerability as well as the ramifications of the Unity crossover on this tale is very strong. This is indeed very solid writing by Michelinie.

As for the art, Sears’ work here is very unique and his style on drawing people, monsters and locations made this comic book a visual standout among 1993 comic books. When it comes to the graphic violence, it is clear to me that Sears enjoyed the creative freedom he got and he really emphasized his imagination as to how gruesome violence caused by dinosaurs on human beings would be. That being said, there are lots of violent action scenes and images of physical damage (damage on the flesh specifically) that remain visually disturbing to this day.

Conclusion

*Very foolishly, Turok and Andar submitted themselves to a walking, evil idol. This should remind you that idolatry is both foolish and unholy.*

Turok: Dinosaur Hunter #1 (1993) works nice as modern portrayal of Turok and it succeeds in establishing his place within Valiant’s comic book universe thanks primarily to the Michelinie-Sears duo. Turok himself is not exactly an interesting protagonist to me but I can say it is the creators’ way of portraying him that makes the plot and the comic book work as an entertainment piece. I also liked the way Turok was emphasized as a character who got lost not only in time but also dimensionally lost as he has to live within a whole new world while focusing on survival as well as his desire to kill his rival Mon-Ark (the intelligent dinosaur). If you know your American pop culture history, you will realize that this comic book incidentally paved the way for the Turok video games (starting with 1997’s Turok: Dinosaur Hunter of Nintendo 64) that happened years later.

Overall, Turok: Dinosaur Hunter #1 (1993) is recommended.

+++++

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