Jim Lee – Page 2 – Author Carlo Carrasco

Retro Gaming Ads Blast – Part 18 (Fighting Games Special)

September 23, 2024September 23, 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 – specifically about fighting games that were released in the 1990s. The said decade marked the time when Street Fighter II became a massive hit in the video arcades (and on game consoles) which sparked a wave of new fighting games from business competitors. In that same decade, 3D polygonal fighting games were also released which added greater choices of fighting games at the arcades and on game consoles that players could choose from.

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. Dead or Alive Japanese arcade flyer

*Dead or Alive was the start of new success that impacted the direction of Tecmo in the gaming industry.*

The above arcade flyer of Dead or Alive gave Japanese arcade operators and gamers a taste of what to expect with the game. While the screenshots showed some resemblance with what gamers saw in Virtua Fighter 2, the character designs Tecmo and its developers came up with were unique.

Before Dead or Alive was released in Japanese arcades in 1996, company Tecmo was in financial trouble and they asked Tomonobu Itagaki to make a fighting game similar to Sega’s polygonal blockbuster Virtua Fighter. A breakthrough for Tecmo happened when Sega announced they were licensing their Model 2 arcade to third-party companies which paved the way for Itagaki’s team to make Dead or Alive with it. The game became a big hit and it paved the way for Tecmo to release it on Sega Saturn and PlayStation, and the sequels that followed years later.

2. North American Soulcalibur Dreamcast version print ad

*Namco came up with a creative approach to emphasize heart-and-soul promoting their game and the Dreamcast.*

On September 9, 1999, Sega launched their Dreamcast console in America. With a gap of around ten months between the Japanese launch (November 1998) and the American launch, Sega had time to prepare Dreamcast’s release to American gamers with a huge lineup of games (both Sega’s games and from other publishers). Fortunately for Sega, they had Namco (their rival on arcade games) supporting their console.

Behind the scenes, Namco’s developers worked hard to not only port their arcade hit Soulcalibur to the Dreamcast, but to enhance the graphics using the console’s more advanced technology. The visual enhancements include rendering all of the games stages (and backgrounds) into full 3D polygonal environments. Namco also implemented different game modes and added even more content to ensure satisfaction to Dreamcast gamers.

The above 3-page print ad of Soulcalibur on Dreamcast was undeniably strategic and captivating to look at. The ad described the console as the heart, showed Soulcalibur character Mitsurugi (one of the game’s most popular characters) in the middle and then described the game (with 3 screenshots of game rendered with Dreamcast graphics) as the soul. It was a strong way to promote both the game and the console. In the years that followed, Soulcalibur grew into a popular fighting game franchise and the Dreamcast version will always be remembered as the crucial turning point.

3. X-Men: Children of the Atom arcade flyer

*Anyone who read lots of X-Men comic books in the 1990s should be able to tell which character was drawn by which artist.*

When Capcom first released X-Men: Children of the Atom in the arcades in the mid-1990s, I was surprised because I did not anticipate the day would come when the company behind Street Fighter II would actually make a 2D fighting game showcasing the Marvel’s mutants. Even more intriguing was the X-Men art Capcom used for the arcade flyer to promote the game. I recognize Jim Lee’s artworks of Magneto, Cyclops and Colossus. The art of Wolverine shown was drawn by Andy Kubert. It was a wise move for Capcom (with Marvel as a business partner) to use established X-Men comic book artworks instead of having their internal illustrator draw the characters. That being said, this arcade flyer still looks great and captivating to look at.

4. North American Ranma ½: Hard Battle print ad

*A print ad promoting the game while saving some space to promote the anime and comic books.*

By 1993, Street Fighter II and its upgraded follow-ups were wildly popular both in the arcades and on game consoles around the world. At the same time, there were many other 2D fighting games released to compete with and cash-in on Street Fighter II’s success. Believe it or not, the established anime franchise Ranma ½ saw a video game adaptation in the form of a 2D fighting game – Ranma ½: Hard Battle.

The North American print ad above published by DTMC (in cooperation with Viz Communications) promoted the game (one screenshot, the SNES game box and images of the characters as they appeared in the game) as well as Ranma ½ on anime videos and comic books. The way it was presented, the print ad promoted Ranma ½: Hard Battle without much heart nor passion.

5. Fatal Fury: King of Fighters arcade flyer

*An intriguing visual presentation on the front.*

*You get to know the characters and what the game features are.*

There is no doubt that Fatal Fury: King of Fighters is the most significant game that SNK made. Apart from being the company’s first fighting game for the Neo Geo system, it established the fictional “king of fighters” tournament that became the core concept for The King of Fighters series of games in the years that followed. Fatal Fury itself is notable for being designed by Takashi Nishiyama, a former Capcom employee who created the original Street Fighter game. What Nishiyama could not do with Street Fighter, he accomplished while making SNK’s fighting game. Compared with the combo-oriented approach of Street Fighter II, Fatal Fury was designed to emphasize the timing of special moves, confrontational play, cooperative play and the 3D-like spacing between characters (background row and foreground row in each stage) while telling a story in a solid way.

The above arcade flyer of Fatal Fury has this unique looking artwork on the front showing stylized rectangular shots of the major characters Terry Bogard, Andy Bogard and Joe Higashi. On the other side of the flyer are the details that emphasized the creative concept of the game, who the characters are and what they could expect with regards to gameplay features. This flyer is still captivating to look at and it could entice you to try playing the original Fatal Fury game before trying out the sequels and spin-offs.

6. Marvel vs. Capcom: Clash of Super Heroes arcade flyer

If there is anything that truly emphasizes the essence of a fictional crossover in terms of visuals, it’s the art that Capcom and Marvel agreed to for Marvel vs. Capcom: Clash of Superheroes which is evident on the front of the above arcade flyer. By looking at how the Marvel characters were drawn, it looks like someone at Capcom illustrated the artwork as the Capcom characters still maintained that particular art style seen in the artworks of the Japanese company’s other games like Street Fighter, Darkstalkers, Mega Man and Strider. Regardless, the artwork still is amusing to look at.

7. Art of Fighting arcade flyer

*The cast of characters showcased on the other side of the flyer.*

Following the success of Fatal Fury, SNK went on to release Art of Fighting in arcades in 1992 and it became successful enough for the company to make sequels. With regards to the realm of fantasy, Art of Fighting was part of the same fictional universe as Fatal Fury and The King of Fighters, and there were times when its own characters appeared in other SNK games.

Art of Fighting’s arcade flyer had an energetic visual concept on the front with a rectangular lightning portion on the left balanced with five screenshots of the game itself. Once you get to the other side of the flyer, you will see really nice art of the characters with Ryo Sakazaki and Robert Garcia as the most dominating figures. Sakazaki and Garcia are the major characters of the Art of Fighting series. This flyer confidently introduced the characters and succeeded in making them look interesting.

8. Fighter’s History arcade flyer and print ad

*Great looking front artwork showing the game’s characters, posing and some action.*

*If you look closely at the controls, you will see the six-button layout and functions which are the same with those used in Street Fighter II.*

*Data East offered two ways for gamers to enjoy Fighter’s History – pay a high price for the SNES version or gamers can go play the game in the arcade by dropping a few coins.*

In 1993, Data East released their fighting game Fighter’s History in the arcades around the world. Along the way, the company released their arcade flyer which had a very captivating art work on the front featuring their characters and some action. The other side of the flyer showed the technical details on how to play, how the control works and who the characters are. Fighter’s History was nicely received in the arcades and the success led Data East into porting the game for the Super Nintendo Entertainment System (SNES). If you look at the print ad above, you can see how clever Data East was promoting the SNES version of the game while keeping an image of the arcade machine which serves like a subtle reminder that the same game is still available in video arcades.

Shortly after the release of Fighter’s History in the arcades, there were gamers who noticed that it had certain visual and gameplay elements that made it so familiar with what Street Fighter II had. When Capcom became aware of the similarities, they sued Data East claiming that Fighter’s History was too similar to their game and that copyright infringement was committed. Capcom lost the case ultimately and Data East went on to release two more Fighter’s History games.

9. Virtua Fighter 3 arcade flyer

*Virtua Fighter 3 truly raised the standards for arcade game graphics back in 1996.*

When it comes to gaming innovation and standing out among the rest, Sega did exactly those when they released Virtua Fighter 3 in arcades in 1996 and it had the best-looking and really mind-blowing graphics at the time. Developed by AM2 (led by Yu Suzuki) on the very expensive Model 3 arcade hardware, Virtua Fighter 3 broke new ground on graphics as it moved over 1 million polygons per second, had highly detailed visuals on the characters and surroundings, realistic reflection effects, detailed shining, parallel lighting and high-specular Gouraud shading to name some. Even the characters’ eyes followed the opponent’s position.

The Virtua Fighter 3 arcade flyer showcased their reflective, metallic character Dural who in turn was part of the graphical showcase (emphasizing reflections, smooth animation and liquid metal effects) when the game was previewed in the 1996 AOU event in Japan. The words “The New Standard” written on the lower-left corner of the front of the flyer was justified and truthful.

10. Teenage Mutant Ninja Turtles: Tournament Fighters print ad

*This print ad had a nice visual presentation and was easily recognizable to the many TMNT fans.*

In 1989, the Teenage Mutant Ninja Turtles (TMNT) franchise made quite a splash on video games which is not surprising as the multimedia franchise was already a popular in the West. More video game adaptation of TMNT were released in the early 1990s providing fans and gamers a lot of fun gameplay at the arcades (click here) and on consoles. Konami had the video game rights of TMNT and in a clear response to the sudden popularity of fighting games, they released Teenage Mutant Ninja Turtles: Tournament Fighters on the most popular game consoles of the time achieving varying levels of success critically and commercially (note: the SNES version stood out as the best). This print ad of the fighting game was effective in visually promoting the three console versions and the displayed text contained enough information to lure the attention of both fans and gamers.

+++++

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

A Look Back at Wolverine #87 (1994)

June 28, 2024August 12, 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 Wolverine monthly series.

This particular tale shows were Wolverine went and what he has been doing since he decided to leave the X-Men in Wolverine #75 (1993). Since Magneto removed the Adamantium out of him in X-Men #25 (1993) and Wolverine discovered that his claws were made of pure bones (part of him all along), he has been very determine to search for answers and the truth about himself.

With those details laid down, here is a look back at Wolverine #87, published in 1994 by Marvel Comics with a story written by Larry Hama and drawn by Adam Kubert.

Early story

The story begins in the Southeast Asian city of Madripoor (fictional) where Wolverine and his former teammate Gambit are reunited. As they walk, Gambit tells him that Sabretooth (Wolverine’s long-time rival) is staying in Charles Xavier’s mansion (refer to X-Men #28 and #29). As they talk, Wolverine notices something odd at the Princess Bar which he previously visited and there seems to be something wrong. The two decided to break in, causing damage and expecting the worst. It turns out, a lot of people are inside (including those who became friends of Logan) who prepared a surprise celebration for Wolverine.

As the celebration goes on, ninjas at the top of the building watch Wolverine carefully as they prepare to go down and kill him…

Quality

*Amazingly, Wolverine managed to slash the two falling guys with his bone claws and impressed Gambit.*

If you are familiar with Team X (revealed in flashbacks in X-Men #5 and X-Men #6) composed of Wolverine, Sabretooth and Maverick as black ops operatives, then the story of this comic book will really become relevant with you. In fact, reading the mentioned comic books is a must.

Without spoiling the plot, I can say that creative duo of Hama and Kubert came up with their own contribution to the Team X mythos (with flashbacks visualized in similar style to those in the above-mentioned X-Men comic books of 1992) while emphasizing how the past affects Wolverine, Sabretooth and Maverick in the present day.

What Hama-Kubert came up with was not the typical good-versus-evil superhero tale but rather a believable expansion of the Team X legacy, what the three former members have in common, and what uncertainties are they dealing with as surviving mutants. In the case of Wolverine, this tale adds depth to his solo exploits since leaving his team behind in search for answers.

Conclusion

*Wolverine dancing with a pretty lady while two guys above watch them.*

Wolverine #87 (1994) is a fine character exploration and also a nice revelation about Team X. Considering how good the contributions from Hama and Kubert are, they would not be so relevant if you have never read Team X’s flashbacks in the two specific X-Men comic books published in 1992 and that alone makes this one a tricky read.

Overall, Wolverine #87 (1994) is recommended.

+++++

A Look Back at Uncanny X-Men #273 (1991)

April 17, 2024April 17, 2024carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1991 to explore a chapter of the Uncanny X-Men series that took place between X-Tinction Agenda and Mutant Genesis (the modernization point of Marvel’s mutants for the 1990s).

For the newcomers reading this, X-Tinction Agenda was a very notable part of the history of the X-Men comic book franchise as it marked the first time that the X-Men, X-Factor and the New Mutants were combined and also reunited several X-Men members who were scattered around the world. That being said, the state of mutants within Marvel Comics’ shared universe created a sense of uncertainty towards Charles Xavier’s grand dream of establishing a peaceful co-existence between humans and mutants.

With those details laid down, here is a look back at Uncanny X-Men #273, published in 1991 by Marvel Comics with a story written by Chris Claremont and drawn by Whilce Portacio, Klaus Janson, Jim Lee, John Byrne, Rick Leonardi, Marc Silvestri, Michael Golden and Larry Stroman.

Early story

The story begins in the control center within the complex located deep under the ruins of Charles Xavier’s mansion. Storm (X-Men), Jean Grey (X-Factor), Cyclops (X-Factor) and Cable (New Mutants) carefully examine the worldly forces that oppose them. After Storm asked about what they could do about the opposing forces located in different parts of the world, Cable says that they should hit them hard and fast as they have the power to do so.

Storm asked Cable if violence is his only solution. Even though violence got things done for Cable, Cyclops rejects it and states that his fellow mutants (pertaining to the X-Men and X-Factor) are not like him.

As the conversation intensifies, Jean Grey tells Cable that they are not warriors and the school was not founded by Professor X to have mutants to fight wars. Cable replied that war is what they got and reminded them of the two mutants they lost and another one who ended up as a genetically engineered slave. Cable asked them if they want to see more of their fellow mutants end up badly…

Quality

*In the absence of Professor X, Jean Grey (then a member of X-Factor) revisits Cerebro and recalls what she learned long ago.*

In relation to the mentioned fact that this particular story took place between X-Tinction Agenda and Mutant Genesis, this is a tale that reflects a period of transition leading to the latter. That being said, Chris Claremont took the opportunity to emphasize the current state of the X-Men and the other mutants, as well as the uncertainty ahead of them all. To be clear, this story does not have Marvel’s mutants going up against another super villain nor a group that opposes them.

The story opened very strongly with the leading figures of the X-Men (Storm), X-Factor (Cyclops and Jean Grey) and the New Mutants (Cable) being together analyzing the global situation and the forces that oppose them.

For Cable, violence is necessary for their survival and progress because he sees war against mutants already happening and there is simply no room left for error nor compromise. Very symbolically, Storm, Cyclops and Jean Grey – who all were nurtured by Professor X with his pacifist dream of bridging the gap between mutants and humans – reject Cable’s beliefs as they don’t see themselves as warriors and they do not dream of conquering their enemies at all. All the dialogue that took place in the argument are very richly written and there are layers of meanings which long-time X-Men fans will able to relate with.

Along the way, Claremont and the other creators made good use of available comic book space to develop the other characters which resulted in the gradual developments within each team of mutants. Gambit here is a brand new member of the X-Men and his talk with Storm is very sensible to read. There was also this notable Danger Room training session between Archangel and Cannonball in which the former (who is already very experienced as one of the original X-Men and a current member of X-Factor) shares wisdom to the very young mutant (who later went on to lead X-Force some time later). The creative team also inserted a few moments of humor on the other character development scenes.

Conclusion

*Truly this is one of the most symbolic and most engaging arguments between the leading figures of the X-Men, X-Factor and New Mutants (which later became X-Force).*

Even though it was mainly focused on character development and has no battle with any enemy, Uncanny X-Men #273 (1991) remained a very engaging read as it tackles not only the current state of the three mutant teams of the time but also realigned their direction creatively and the results were fully realized through the eventual Muir Island saga as well as Mutant Genesis and even in further tales (including Fatal Attractions). In many ways, this comic book served as a solid foundation of things to come and this partially explains the eventual reform of the X-Men into a much larger group that had to be composed of two teams shortly after the return of Professor X (as seen in X-Men #1 and Uncanny X-Men #281 in 1991).

Overall, Uncanny X-Men #273 (1991) is highly recommended.

+++++

A Look Back at Wetworks #1 (1994)

November 29, 2023November 26, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, and comic book collectors! Today we go back to the mid-1990s to explore the comic book launch of a notable fictional team co-created by the Whilce Portacio and Brandon Choi…Wetworks.

For the newcomers reading this, Whilce Portacio was one of the highly talented illustrators who left Marvel Comics and co-founded Image Comics in the early 1990s. While his fellow co-founders Todd McFarlane, Jim Lee, Rob Liefeld, Marc Silvestri, Jim Valentino and Erik Larsen were able to launch their respective dream projects (creator-owned properties) during Image’s first year of publishing, the launch of Wetworks was delayed by two years due to a death in Portacio’s family.

As a very young comic book reader in those days, I remember hearing rumors about Wetworks inside comic book stores I visited. There were rumors of business negotiations, solicitations and scheduled launches (ranging from October 1993 to January 1994). I also noticed some comic book enthusiasts who bought old copies of X-Factor and Uncanny X-Men that Portacio illustrated while waiting for Wetworks to debut.

In the middle of 1994, Wetworks was finally launched under the Image Comics label and I still remember the day when I saw lots of copies of issue #1 displayed on the shelves and windows of comic book stores.

With those details laid down, here is a look back at Wetworks #1, published in 1994 by Image Comics with a story written by Whilce Portacio and Brandon Choi. The art was done by Portacio with ink work by Scott Williams.

Early story

The story begins when a covert operations team working under International Operations (IO) travels to eastern Europe to infiltrate and destroy the base of operations of a certain warring faction and retrieve a biological agent (highly contagious) no matter what the cost. As it turns out, this new mission for the team (led by Colonel Jackson Dane, one of the pioneers of Team 7) started less than twenty four houses after their previous mission and their female member Pilgrim (reconnaissance specialist) pointed out that the demolition charges they are carrying are strong enough to wipe out an entire city block. Another teammate called Grail (the Filipino named Salvador Joel Alonday) stated that they are supposed to be a hostage rescue team.

Meanwhile deep inside the command center of IO in Washington, D.C., Admiral Halsey tells Miles Craven that Team 7 (the team led by Dane) are under his command and states that his sources tell him that there is more to the mission than just a group of ethnic nationalists obsessed on a biological terror campaign. It turns out, Craven sent the team to eastern Europe without fully informing them of what they are going up against. Craven insists that Team 7 are paid to put their lives on the line and to die if necessary just to get the job done. Craven then reveals to Halsey the true nature of the mission. The admiral then realizes Craven is right and certain sacrifices must be made for the greater good.

Craven and his team arrived at the location in Transylvania. They started seeing signs that someone else arrived ahead of them…

Quality

*One of the team members looks at a symbiote.*

I’ll start first with the fantasy concept and the storytelling. Whilce Portacio and Brandon Choi’s joint creation of Wetworks is indeed an inspired move with connections to real-life military influences the creators had. The Wetworks team – initially referred to as Team 7 – started looking and acting like typical military squad in the world of fiction but the major twist that happened drastically redefined and refined them into the most unique military team in the world of superhero comics. It’s the closest thing to seeing G.I. Joe fused with living symbiotes (another inspired move most likely influenced by a certain Marvel murderer with a symbiote whose origin is linked with one of the most iconic superheroes ever) there is and I can say Wetworks remains relevant and stands out nicely among superhero comic book teams to this day.

With regards to the plot, it looks cliched on face value. I’m talking about the trope in which a team is sent by their powerful superiors on a mission without knowing all the crucial details needed (because the superiors hid it from them) and they eventually encounter immense danger. As mentioned earlier, the major twist in the plot not only completed a major transformation of Dane and his teammates but also ramped up the fantasy aspect of the tale to much higher levels.

Still on the plot, Portacio and Choi came up with a solid structure for the narrative. The build-up of details and tension was very good and the pay-offs (lots of spectacle plus twists) were great. As the story moved on, the suspense grew stronger and the narrative succeeded in making me care about the team led by Dane.

*Meet the team members who would later become Wetworks.*

When it comes to the art, Portacio’s work here (with ink by Scott Williams) still looks great and, more notably, it is a fine departure from the superhero visuals he worked in years prior. As with his past works, you will see the artist’s stylized approach on visualizing the narrative related to how he implements the panels per page.

Portacio did a very good job with the military look of Wetworks and he drew their guns with a high amount of detail that should be seen (you should try using a magnifying glass on this comic book). Not only that, his art on military hardware such as the gunships, the interiors plus equipment all have that detailed appearance. When it comes to action, I believe that Portacio took a lot inspiration from Hollywood action flicks (most notably Predator) on portraying Wetworks members using their guns and positioning during battle.

Of course, the spectacle is not totally limited to military stuff. There is a touch of fantasy and horror visuals involved which is directly related to what was set-up for Wetworks to encounter in the near future. To realize what I am saying here, you must read this comic book until the intense end.

Conclusion

*Wetworks #1 from 1994 is still great to read!*

I can say without a doubt that Wetworks #1 (1994) remains as gripping and as entertaining as when I first read it decades ago. In short, it has aged well and reading it all over again today is compelling and a lot of fun to do. If you ask me, this is one of the finest works ever by Whilce Portacio in terms of art and storytelling. As one of the many comic books Image published during its first few years in the industry, Wetworks #1 (1994) clearly stands out with its military theme and fantasy concept. Lastly, Wetworks is set within the WildStorm universe as dramatically symbolized with the presence of International Operations (the team’s superiors).

Overall, Wetworks #1 (1994) is highly recommended!

+++++

A Look Back at WildC.A.T.S.: Covert Action Teams #15 (1994)

October 24, 2023October 21, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the mid-1990s to explore another notable chapter of Jim Lee’s WildC.A.T.S.: Covert Action Teams during the creator’s time with Image Comics.

For any fan, witnessing a change of creative direction can either be alienating or engaging to follow. As clearly done in the WildC.A.T.S.-Huntsman storyline done by Chris Claremont and Lee, there was a serious change of direction of the team as it involved in-depth redevelopment of Zealot, the introduction of Claremont’s creation (Huntsman), the introduction of new characters and moving certain WildC.A.T.S. members into the background. Read my retro reviews by clicking here, here, here and here.

After the publication of Erik Larsen’s creative handling of WildC.A.T.S.: Covert Action Teams with issue #14, a new creative team came into the picture with several new stories and the further redevelopment of the titular team in mind.

With those details laid down, here is a look back at WildC.A.T.S.: Covert Action Teams #15, published in 1994 by Image Comics with a story written by James Robinson and drawn by Travis Charest.

Early story

The story begins at Jacob Marlowe’s high-end place in Aspen, Colorado. In presence of Spartan, Grifter, Void, Zealot, Voodoo, Maul and Warblade, Marlowe tells them he has important matters to attend to as he, along with other heads of corporations, has been asked by the new government to run an energy commission. The said commission is part of the government’s plan to repair the damage that was done by the possessed US Vice President Dan Quayle.

Suddenly a heavily armed helicopter arrives out of nowhere and fires at them causing a lot of damage. During the attack, Voodoo gets hit and suffers a serious injury. Grifter fires a barrage of bullets at the helicopter which causes it to explode and crash. With Voodoo out of commission, the team just lost its advantage to spot Daemonites.

The next day at the headquarters of IO (International Operations), the team Black Razors hold a meeting as their member Ben Santini has been elevated as their new leader. He leads the briefing and informs the members of the assassination attempts on the members of the commission…

Quality

*Meet Ben Santini (left), the new leader of the Black Razors. At right are the members.*

When I first read this story way back in 1994, I was alienated a bit by the creative team’s approach to emphasize the Black Razors at the expense of the titular team. And yet, I was pleasantly surprised by the Robinson-Charest creative direction as the Black Razors turned out to be a sensible and strong parallel team to the WildC.A.T.S. without becoming another force of evil. While it is clear that the Daemonite threat is strong with several of the aliens hidden among members of human populations, there clearly had to be another force of opposition for the titular team to face-off with and the Black Razors (which serve IO) clearly fit in well with the concept.

Any dedicated fan of this franchise will realize that the Black Razors first appeared in the original 1992 mini-series but it was only in this issue when Ben Santini (who was shot on the knee by Jacob Marlowe) was realized as a character.

Ben Santini’s introduction here was engaging and his motivations to lead the team were made clear while other Black Razor members had their own small slices of the spotlight. Santini is not exactly evil but he has a clearly defined goal in serving his superiors at IO. This means he intends to make an impact as he struggles with the responsibilities of leading the team even as the other members are not so trusting towards him.

While the paramilitary influence within the WildC.A.T.S. series has often been present, it was noticeably revived strongly by the Robinson-Charest duo in this comic book. The story also served as a creative update of IO for readers to absorb complete with elements of espionage and geo-political developments. In some ways, this comic book made the series more grounded with reality while still maintaining some fantasy concepts to keep readers entertained.

Conclusion

*Grifter successfully defeated the armed helicopter but Voodoo remained seriously injured from the attack.*

I can say out loud that WildC.A.T.S.: Covert Action Teams #15 (1994) is still great to read and the debut of James Robinson and Travis Charest as handlers of the comic book series remains rock solid in terms of quality and creativity. While the titular team and fan-favorite characters had a very limited presence in this comic book, the introduction of Ben Santini and the stronger emphasis on the Black Razors as a group of trained members (as opposed to being faceless during their appearance in the mini-series) more than made up for it. In fact, the build-up of the Black Razors has a lot of variety and nice quality work by Robinson and Charest. Ultimately, I was entertained with this comic book and it proved effective to make me look forward to the next issue.

Overall, WildC.A.T.S.: Covert Action Teams #15 (1994) is highly recommended!

+++++

A Look Back at Backlash #2 (1994)

February 2, 2023January 28, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Image Comics fans and comic book collectors! Today we go back to the wild 1990s and explore a part of the WildStorm universe through a tale of Backlash!

Backlash #1 was indeed a fun and engaging read with the creative direction spearheaded by Brett Booth who was a co-writer and the illustrator. It built-up Backlash as a major WildStorm figure while also emphasized the concepts from his previous appearances in the Kindred limited series which paired him with Grifter. As seen in issue #1, he freed Taboo and it was clear that she was designed to be a key part of the Backlash series.

With those details laid down, here is a look back at Backlash #2, published in 1994 by Image Comics with a story written by Sean Ruffner, Jeff Mariotte and Booth. Booth was the artist.

Early story

The story begins with a meeting inside the high-tech headquarters of the W.O.R. (Wildlife Organized Research), a front covering the outpost for the criminal organization called the Cabal. During the meeting, the fall of Helspont was discussed and talk about running the Cabal intensified. Just as it was made clear that a new beginning and new leadership were needed to manage the Cabal, a warlord called S’ryn arrives with the deadly Pike behind him. After briefly overwhelming opposition from a Coda warrior and H’tarh, S’ryn performs a ritual and gets the pledge of loyalty from those who recognized him as the new leader of the Cabal. The stage is set for further escalation between the Daemonites and the Kherubim.

In the city of Chicago, Backlash and Taboo spend time together in an apartment that looks worn down and not so clean. It turns out, both of them are fugitives and they are waiting for Cyberjack to complete his surveillance of the security of a hotel where a celebrity ball is set to happen…

Quality

*In the middle of a special event, Backlash and Taboo spring into action as WildCATS’ Jacob Marlowe gets into trouble.*

Compared to what happened in issue #1, this story moved at a moderate pace in relation to the new mission which involved espionage and suspense. It’s not the action showcase the previous issue was but rather more moderated as the creators took a new approach to not only tell a new story but also do its own build-up of the Kherubim-Daemonite war and other WildStorm universe concepts. The story is well-written and while there is a lot of expository dialogue and creative explanations implemented, it never felt forced. Along the way, the creative team started implementing crossover elements by having Jacob Marlowe of WildC.A.T.S.: Covert Action Teams as well as established Image Comics figure Savage Dragon (from Erik Larsen) included in the story and even getting involved with the operations that took place.

As for Backlash himself, you will see a little less of him in this tale (compared to issue #1) which is not surprising as the creative team focused more on the plot and had to handle the crossover elements. Backlash did not become a supporting character here and you will see some superhero spectacle from him, particularly in his rematch with a certain villain.

Conclusion

*S’ryn gets challenged before he becomes the new leader of the forces of evil.*

Backlash #2 (1994) is a fun ride that cleverly combined crossover elements with its own approach on building up the WildStorm concepts, notably the war between the Kherubim and Daemonites. It also shows the consequences of what happened in the 4^th issue of the WildC.A.T.S. mini-series particularly within the side of the opposition. As such, this comic book is pretty much a sequel to the said mini-series. At this stage, there was clearly something prepared to entertain readers while maintaining focus on establishing Backlash (note: Marc Slayton was one of the Team 7 members) as a major WildStorm character.

Overall, Backlash #2 (1994) is recommended.

+++++

A Look Back at X-Men Adventures Season II #4 (1994)

June 24, 2022June 23, 2022carlocarrasco

Note: Since this retro review mentions both Russia and Ukraine, I encourage you all to help the people of Ukraine (whose lives have been disrupted by Russian forces) by donating to the Ukraine Appeal project of Hillsong Church. Donate now at https://hillsong.com/appeal/

Welcome back, superhero enthusiasts, 1990s culture enthusiasts, X-Men fans and comic book collectors! Today we revisit the X-Men Adventures monthly series which was a literary adaptation of the famous X-Men animated series of the 1990s.

To be more specific, we examine a tale of the major X-Men villain Omega Red within the monthly series adaptation of the 2^nd season of the animated series. Take note that I previously reviewed X-Men #4 (1991), X-Men #5 (1992) and X-Men #6 (1992) which told the first tale of Omega Red who turned out to have a history of conflict with Wolverine decades prior.

With those details laid down, here is a look back at X-Men Adventures Season II #4, published by Marvel Comics in 1994 with a story by Ralph Macchio and drawn by John Herbert.

Early story

The story begins in the Caucasus located between Ukraine and Georgia. Inside, a group of people work on a scientific operation resulting a power surge. The surge then causes a stasis chamber’s glass to crack. Moments later, Omega Red emerges and he has clear knowledge about who restrained him, who the government leaders and what happened to the Russian empire. He declares that the Russian empire shall live again. In Moscow, three high ranking military officers discuss their secret plan on restoring the Soviet Union. It turns out, the return of Omega Red is the first step for their ambitious plan.

In America, Jubilee encounters a group of activists who hate mutants inside a convenience store. Peter Rasputin/Colossus, the Russian mutant who encountered the X-Men sometime prior, comes into the store to help Jubilee. Afterwards, Jubilee and Colossus travel to Charles Xavier’s mansion – Xavier’s School for Gifted Children – and discuss important matters. He tells her that Omega Red has emerged in Russia and he need to speak to Professor X. It turns out, Xavier disappeared some weeks prior.

As the situation is so desperate for Colossus, he asks Jubilee if she would help him in his struggle to save his nation. Jubilee makes a hasty decision to do so and leaves a handwritten note telling her teammates that she is off to Russia…

Quality

While this comic book’s cover art easily reminds me of the Wolverine-Omega Red confrontation on the cover of X-Men #5 (1992), the story here is more varied than that mentioned comic book drawn by Jim Lee. As this is an adaptation of the X-Men animated series episode titled “Red Dawn”, it is not surprising to see the spotlight being divided by many characters.

Omega Red, who has been declared as one of the greatest X-Men villains ever, has a somewhat strong presence serving as the main figure of opposition against Charles Xavier’s team as well as the surviving elite remnant of the Soviet Union. Quite amusingly, Omega Red is totally loyal to the Russian empire similar to how James Bond is very loyal to England and the queen. In comparison to issues #4 to #6 of the X-Men monthly series, the history of conflict between Omega Red and Wolverine was very lightly portrayed.

As mentioned earlier, the spotlight is shared a lot by many characters which results a lack of a true protagonist among the X-Men. This is not necessarily a problem as Omega Red’s presence had enough strength. The other Russian Colossus, who at the start of the story has not yet joined the X-Men, got a good share of the spotlight among the good guys and that results some quick and efficient exposition to get readers oriented with him, his family and how he became an outcast in his nation because of his mutation.

The plot itself is light on details which is not surprising due to the high amount of exposition which includes a geopolitical look at the remaining loyalists of the Soviet Union living in Russia which saw some of its regions transformed into republics. With regards to superhero spectacle, this one has a good amount of action and I can easily say the biggest attraction is the fight between Wolverine and Omega Red. Just don’t expect it to be as extensive nor as detailed as the ones Jim Lee drew in the adjective-less X-Men series.

Conclusion

*John Herbert’s take on Omega Red was carefully crafted.*

X-Men Adventures Season II #4 (1994) is a fun superhero story to read and I find its portrayal of the Wolverine-Omega Red conflict to be interesting knowing it was not part of comic book canon of the time. Apart from the mentioned conflict, there is something for X-Men fans to enjoy here such as Colossus’ return and his new interactions with the X-Men, how Omega Red’s presence causes danger in Russia, and the current whereabouts of Charles Xavier. Lastly, I should state that John Herbert’s art style is engaging to look at and he made Omega Red look intimidating.

Overall, X-Men Adventures Season II #4 (1994) is recommended!

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me 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/

George Perez (1954-2022)

May 10, 2022September 14, 2022carlocarrasco

George Perez, the incredible comic book artist who made major contributions to illustrated literature (especially the superhero comic book genre), sadly passed away due to complications related to pancreatic cancer. He was 67-years-old and I can say that superhero comic book art and dynamic expressions will not be the same without him.

*George Perez with the two Wonder Woman plastic models. (photo source – DC Comics Facebook page)*

Already there were comic book industry figures who reacted to the death of the legendary Perez. DC Comics co-publisher and legendary creator Jim Lee paid tribute stating, “We creators may all have access to the same tools of the trade: pen, paper and imagination, but what George could do with his prodigious talents was off the charts.”

For his part, Rob Liefeld stated, “I’ll remember George for his innovative and prolific storytelling. Thank you for all the great memories. Rest In Peace, George Perez.”

For the newcomers reading this as well as those who are simply unaware of Perez’s legacy, he was responsible for visualizing DC Comics’ 1985 epic maxi-series Crisis on Infinite Earths (note: he drew countless characters complete with varied settings or environments in high detail) and redefining Wonder Woman (note: he also wrote the stories) which made her a more essential pop culture icon. George Perez also worked for Marvel Comics over many projects and was chosen to illustrate the memorable 2003 JLA/Avengers crossover series of Marvel and DC. Perez also worked with other publishers such as Malibu Comics for several Ultraverse comic books and Image Comics for Crimson Plague and Witchblade. In recent years, he was responsible for Sirens published by BOOM! Studios.

*For me, Wonder Woman was best defined during the post-Crisis era of DC Comics which involved George Perez and Len Wein who wrote the early issues of the Wonder Woman monthly series in the late 1980s.*

In his decades-long career in comics, Perez unsurprisingly earned varied awards and honors (references here, here, here and here to name a few).

I should say that George Perez is a long-time favorite comic book illustrator of mine. I enjoyed reading the superhero comic books he illustrated and I love his art style on the characters, the environments and crowds. If there is anything I love about Perez’s art, it is his distinct style along with his implementation of high levels of details on the characters, objects, creatures and surroundings. Perez is also known to capture the distinct visual elements of superhero characters such as Spider-Man’s costume and his spaghetti-like web, Superman’s physique and distinct letter S, Prime’s overly muscular body and more. Every time Perez is involved as artist, the result is almost always a visual feast that often adds punch to the script prepared.

When I was still actively collecting comic books back in the 1990s, I often get excited whenever I learned that George Perez illustrated upcoming comic books. In 1992, he drew Incredible Hulk: Future Imperfect (2 books) which was mind-blowing and intriguing for me! In 1993, I became a fan of the newly launched Ultraverse of Malibu Comics and I got very excited to learn that Perez was hired for their major UV crossover Break-Thru (2 issues). Perez also drew one issue of Prime and most of the early issues of the UV team UltraForce (issues #0, #1, #3, #4, #5 and #6). If you want to see Perez draw ALL the characters of the Ultraverse, you should read the 2-issue Break-Thru storyline.

*A page from Break-Thru #2 showing just some of the many Ultraverse characters Perez illustrated. This was published before the release of UltraForce.*

Speaking of UltraForce, check out this video by Crypto Comics (with observations on Perez’s art works)…

Going back to George Perez’s amazing run on Wonder Woman, I urge you to watch the video below…

For me, the most defining stories of Wonder Woman ever told in any art form are still the comics that Perez wrote (note: he co-wrote stories with Greg Potter and Len Wein respectively on the early issues) and illustrated during the post-Crisis era of DC Comics. Check out my retro reviews of Wonder Woman 1980s comics on this website.

Truly, George Perez will be missed by a lot of people and his countless pieces of works will be revisited in the foreseeable future. In closing this piece, posted below are varied works (comic book covers and interior art) done by the late creator through the decades for your viewing pleasure and learning. This is a tribute to Perez and may he rest in peace!

+++++

Note: All images shown are properties of their respective companies.

A Look Back at Backlash #1 (1994)

April 29, 2022April 27, 2022carlocarrasco

Welcome back superhero fans, 1990s arts and culture enthusiasts and comic book collectors! Today we continue revisiting the Wildstorm universe as it was under the Image Comics banner back in the 1990s. Recently, I reviewed back-to-back issues of Jim Lee’s WildC.A.T.S: Covert Action Teams that involved Chris Claremont and his creation Huntsman (click here, here, here and here) which ultimately expanded the lore of the team within the Wildstorm universe of the time while developing Zealot tremendously.

Still within the Wildstorm universe of the 1990s, it’s time to shift to another key figure – Backlash (civilian identity: Marc Slayton) co-created by Jim Lee and Brett Booth (follow him at Twitter and visit his blog). To put things in perspective, Backlash and WildC.A.T.S’ popular Grifter (Cole Cash) have something in common other than being highly capable fighters – they were teammates within Team 7 long before StormWatch (note: Backlash first appeared in StormWatch #3 in 1993) and WildC.A.T.S were formed. In fact, Team 7 also had Michael Cray (Deathblow), Jackson Dane (Wetworks) and John Lynch (who appeared in early WildC.A.T.S issues and went on to be the mentor in Gen13) who went on to become important Wildstorm figures in the present day.

In 1994, a 4-issue mini-series titled The Kindred was published featuring Backlash and Grifter with a story written by Jim Lee, Brandon Choi, Brett Booth (who illustrated) and Sean Ruffner. Months after that mini-series ended, a regular series focused on Backlash was launched.

With those details laid down, here is a look back at Backlash #1, published by Image Comics in 1994 with a story written by Ruffner, Jeff Mariotte and Booth. Booth was the artist.

Early story

The story begins with Backlash quietly infiltrating the Edward H. Levi Federal Penitentiary, a facility designed to control the growing population of criminal super-powered beings (SPBs). Eventually two armored guards pass by and as soon as one of them notices signs of the break-in, Backlash takes them down using his psionic whip and hard action.

After subduing two more pairs of guards, Backlash enters a large place that has prisoners contained in what he refers to as “aquariums”. Two of the prisoners recognize him. He finally reaches the cell of a red-headed lady named Amanda Reed – also known as Taboo – who has been imprisoned for murder. Backlash makes an offer – if she helps him, he will get her out of the prison…

Quality

*Backlash struggling on the way of getting out with Taboo.*

Let me start with the story. This comic book has an unusual approach on its plot in which the flashbacks are more prominent than the present-day tale of Backlash freeing Taboo and getting out of the prison. The good news here is that the flashbacks are pretty engaging to read and they solidly fulfilled the writers’ goals of immersing the readers with useful story details and building up the tension while also emphasizing Backlash’s personality and what motivates him deep from within. To put it short, the flashbacks are the most important features of the storytelling and they also have the most interesting scenes (including an encounter with Pike who previously appeared in the early issues of WildC.A.T.S). The present-day view of the plot lack engagement compared to the flashbacks but the creative team succeeded in emphasizing Taboo, what she is capable off and why she is feared.

The characterization of Marc Slayton is pretty good in my view. By the time I reached the end of this comic book, I found him to be a really intriguing protagonist. Backlash is definitely not inspiring but the irony is that his personality and purpose within the Wildstorm universe of the time were compelling enough to follow.

When it comes to the art, Brett Booth’s work here is still good to look at as I follow the story. Be mindful that this was his work when he was very young and as seen in this comic book, he definitely proved his talent, his art style was clearly distinct and he was capable of coming up with really good action scenes that really made Backlash a notable Wildstorm action hero. It should be noted that Booth illustrated this comic book with dynamism in mind.

Conclusion

*A key scene from the past of Marc Slayton/Backlash nicely drawn by Brett Booth.*

Backlash #1 (1994) is fun and compelling to read. The flashbacks are strangely the most engaging parts of the plot and they succeeded in getting me oriented with the protagonist, what has been going on and what the stakes are right at the start of this particular series. Combined with the still-good-to-view art by a very young Brett Booth, this comic book has a lot of fun stuff to enjoy especially for those who are obsessed or simply wanting to discover more about the Wildstorm universe of the 1990s.

Backlash #1 (1994) is recommended.

+++++

A Look Back at WildC.A.T.S: Covert Action Teams #13 (1994)

April 22, 2022April 20, 2022carlocarrasco

Welcome back superhero fans, 1990s arts and culture enthusiasts and comic book collectors! Today we continue revisiting Jim Lee’s flagship title under the Image Comics label – WildC.A.T.S: Covert Action Teams!

For the newcomers reading this, I’ve been doing retro reviews of WildC.A.T.S that had Chris Claremont and Jim Lee collaborating together during the early Image Comics years following their previous works together on X-Men comic books while they were at Marvel. Issue #10 of WildC.A.T.S saw the debut of Claremont’s very own Huntsman while Zealot became the major character among her teammates (note: Voodoo had the 2^nd most amount of page presence while the rest made very short appearances). In issue #11, the stakes were raised as most of the WildC.A.T.S got captured by the new super villainess Tapestry and Voodoo remained possessed, leaving Zealot as the only free team member who – out of fear – had to reach out for reinforcements (note: brand new characters who happened to have history with Zealot). In issue #12, Zealot and Huntsman really struggled clashing with the Troika while the reinforcements were on their way. What happened saw new revelations about Zealot and the plot expectedly built up the anticipation of the next big conflict.

The issue I am about to review is the conclusion of the current storyline Claremont wrote and Lee illustrated which, so far, expanded the lore of the WildC.A.T.S within the WildStorm universe of the time. So far, I’ve been enjoying re-reading WildC.A.T.S issues #10 to #12, seeing what kind of creative stuff Claremont and Lee could make while being free from the restrictions and limitations of Marvel Comics.

With those details laid down, here is a look back at WildC.A.T.S: Covert Action Teams #13, published by Image Comics in 1994 with a story written by Chris Claremont and drawn by Jim Lee.

Early story

The story begins with the possessed Voodoo – now looking frail and ugly as a result of Raksha’s hunger for flesh – attacking Jacob Marlowe’s two trusted assistants who arrived to help her. Deep inside her body struggling with Raksha’s possession, Pris manages to stop her attack – Voodoo’s face restored to normal – and warns Jules and Stansfield that Jacob and her teammates have been turned into evil by Tapestry and that Zealot may still be free.

Meanwhile, Grifter, Hunstman, Zealot, Savant, Soldier and Mr. Majestic fight the mind-controlled WildC.A.T.S – Spartan, Maul, Jacob Marlowe and Warblade – and Alabaster Wu who are acting under Tapestry’s evil. As Grifter shoots Maul and kicks Jacob Marlowe’s head, Huntsman reveals to him that Tapestry and Zealot have a history together while Alabaster Wu was trying to save his people…

Quality

*Chris Claremont’s Huntsman contributes solidly into the story even though he is not protagonist.*

As expected, this storyline-concluding issue delivers the natural progression of what started in issue #10 laced with lots of solidly fun action, key character interactions and more notably the further development of Zealot supported by Huntsman. To put it short, if you enjoyed the previous works of the Claremont-Lee creative team and you enjoy the early, bombastic ways of WildC.A.T.S, then this comic book should delight you.

Without spoiling the entire plot, this comic book concludes the storyline that started in issue #10 and it also marked the end of Claremont-Lee’s collaboration on this particular volume of the WildC.A.T.S comic book series. What is very notable in my view is the way Claremont emphasized the evolution of Zealot not only as a WildC.A.T.S member but also her very own personality as well as her very own spot within the WildStorm universe.

It is in this storyline where you will see Zealot being much more than just a fearless, hard-fighting warrior who lives by the strict standards of the Coda. In this particular comic book, her greater purpose is realized (and you will realize that in a particular scene with Savant late in the story) and the interactions she has with the Huntsman, her sister Savant and others really brought out more of her personality. This is clearly Zealot redefined just as Claremont expanded the lore of the WildC.A.T.S.

Fans of Grifter should be happy to learn that their favorite character (who returned at the end of issue #11) joined the big battle and Claremont’s prepared dialogue of him made him more livelier than his usual portrayal in this comic book series. Huntsman, meanwhile, is his usual honorable self but gets to define his place among the WildC.A.T.S through action. His companion Miranda (now wearing armor thanks to Zealot) plays a short yet notable key role in the story.

The reinforcements composed of Mr. Majestic, Savant and Soldier each have a stronger presence in this story which is expected and they don’t just talk and do some action…they also contributed to the plot and what Savant knew emphasized the essence of the conflict between Zealot and Tapestry.

As for the super villainess herself, Tapestry is very convincingly evil and this comic book shows exactly why the fearless Zealot deeply fears her and why she is a danger to everyone. While she has a very sinister agenda, Tapestry’s confirmation of her origin (in the form of dialogue) and what her place is between the Daemonites and Kherubim will intrigue readers, most especially WildC.A.T.S fans. As for her conflict with Zealot, this comic book will show you how they are connected with each other and what elements connect them together. Their spectacle-filled duel here is a must-see and you will enjoy it a lot when you pay attention to the details (read Savant’s expository dialogue) as the action happens.

When it comes to artwork, fans of Jim Lee should know that this comic book has some of very best pieces of art the famed creator ever made during his time with Image Comics. Very clearly, Lee took his time designing the shots and when to really go out with great visual detail as the story went on.

Conclusion

*In the heat of a battle against the other WildC.A.T.S, Grifter and Huntsman still managed to talk.*

I can say that WildC.A.T.S: Covert Action Teams #13 (1994) is still a great comic book as it solidly and satisfyingly concluded the 4-part storyline that Chris Claremont came up with in this collaboration with Jim Lee. More on the storyline itself, Claremont took a really daring approach on presenting the titular team by having Zealot in the lead (with his creation Huntsman as the 2^nd major player) and then putting most of the other team members on the background which effectively emphasizes the presence of the very wicked Tapestry (truly the definitive parallel to Zealot) along with the Troika (note: this is their best and most action-packed portrayal).

While this WildStorm universe-building story concept could put off some Claremont-Lee team fans who expected to see a WildC.A.T.S story fashioned like what was seen in the creators’ past X-Men works, this particular storyline for me is still a great read and its concept is commendable.

I should also state that the themes of omnipotence, legacy and destiny are all well defined in this comic book which made the 4-part storyline make more sense to read and analyze. More on Zealot, the way Claremont developed her will make you think deeply about how you should perceive her, how you think her place within the WildC.A.T.S will affect her teammates, etc. This comic book and its three immediate predecessors all have very solid writing by Claremont!

Overall, WildC.A.T.S: Covert Action Teams #13 (1994) is highly recommended!

+++++

	Instapundit »… on Venezuela To Turn Over 30 Mill…
	Instapundit »… on Venezuela’s Dictator Maduro Ca…
	Instapundit »… on Japanese Prime Minister Takaic…
	Luke on Japanese Language Proficiency…
	Instapundit »… on Japanese Language Proficiency…

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: