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, 20th century pop culture enthusiasts and comic book collectors! Today we go back to the mid-1990s to take a close look at the launch issue of the comic book series that was an adaptation of the WildC.A.T.S: Covert Action Teams animated series.
To put things into perspective, Jim Lee and several creators left Marvel Comics to establish Image Comics. In 1992, Lee launched his creator-owned project WildC.A.T.s: Covert Action Teams #1 which also was a part of the creative foundation of the WildStorm universe. Just a little over two years later, an animated series of WildC.A.T.S. was launched on TV. Similar to what Marvel Comics did in relation to adapting stories of the X-Men animated series, Image Comics launched a comic book series based on the WildC.A.T.S. animated series.
With those details laid down, here is a look back at WildC.A.T.s Adventures #1, published in 1994 by Image Comics with a story written by Jeff Mariotte (adapting the animated story by David Wise) and drawn by Ty Templeton.
The cover.
Early story
The story begins one night inside an office where Reno Bryce (Warblade) works obsessively on a circuit board. He is surrounded by the technology he knows and loves. As he works, three armed men wearing coats and hats enter his office and ask him for his identity. One of the men grabs a circuit board and destroys it, which triggers Reno to react with violence.
Knowing he is outnumbered, he quickly runs out of the office for safety. He heard one of the men referred to him as a crossbreed whelp. As soon as he finally leaves the building, Reno sees the WildCATS team composed of Grifter, Spartan, Zealot, Voodoo and Maul. Thinking that the WildCATS are out to kill him like the armed men, Reno keeps on running away.
Suddenly, a group of people are rushing towards the WildCATs. Powered with the Sight, Voodoo realizes that the mob is composed of Daemonites disguised as humans. The WildCATs and the mob engage in battle.
From high above, Reno see the battle happening. Suddenly, the three armed men appeared behind him telling him that he has no escape from them…
Quality
Reno Bryce still adjusting to his new form as Warblade.
Having seen the first episode myself, I can say that this comic book is actually a faithful adaptation and the creative team did their jobs well.
As an alternate introductory story of the WildCATs, this one obviously has the violence and visceral essence of the comic book series toned down due to the fact that the animated series was made with a younger audience in mind. There is still plenty of action here and the creative team’s focus on telling the story was consistently strong.
Within one story, the creative teams of both the animated episode and this comic book succeeded in gradually emphasizing the lore of WildCATS which had strong sci-fi elements (example: the long conflict between the Kherubim and the Daemonites), introducing the characters and the super villain, showcase the capabilities of the characters, emphasizing the purposes of each side, and having Reno Bryce as the newcomer who is about to discover his real role in the conflict (which reminds me of Jubilee in the opening episode of the X-Men animated series).
Conclusion
Ty Templeton’s art is nice to look at and he captured the essence of the animated episode. The WildCATS themselves are easily recognizable.
Like its animated source, WildC.A.T.s Adventures #1 (1994) is enjoyable and the creators did a very good job translating the story and essence from animation into literary format. Having read the Jim Lee-drawn issue #1 of 1992, this one worked well as an alternate introduction of the WildCATS and their conflict with the Daemonites. Like the animated TV episode, the presentation was done in a wholesome manner without ever becoming childish. I can say that there is still enough good stuff of WildCATS to enjoy here, and the characters are recognizable (both in looks and portrayals). Right now, I’m looking forward to reading the next issue.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Image Comics fans and comic book collectors! Today we go back to the year 1995 to take a close look at one of the many tales of the original WildStorm universe through one of the comic books of the Backlash series.
For the newcomers reading this, Backlash is one of the major characters of the WildStorm universe which started in the early 1990s when the famous Jim Lee was one of the founding fathers of Image Comics. Backlash, Deathblow, Wetworks, Gen13 and WildCATS: Covert Action Teams were all connected with each other and many of the major characters were linked together in the Team 7 series of prequel stories.
With those details laid down, here is a look back at Backlash #6, published in 1995 by Image Comics with a story written by Brett Booth, Jeff Mariotte and Sean Ruffner. Booth and Dan Norton were the illustrators.
The cover.
Early story
The story begins inside the Wildlife Organization Research institute in northern Montana. After Dane and Grail (the Filipino soldier Salvador Joel Alonday) of Wetworks easily took out two guards, a third one suddenly tried to attack them only to be killed by Backlash. While the three of them are on a stealth mission, Backlash tells Dane that it’s not too late for Wetworks to pull out as it is not their fight. Dane dismisses the remark and insists on pursuing their objective.
Over at a medical institute in Detroit, Taboo and Cyberjack are operating on their own mission which is directly linked with that of Backlash and Wetworks.
Quality
Backlash and the WildC.A.T.S. at the team’s headquarters.
As the sixth issue of its series, this tale has a lot at stake and the writers took their time to balance the build-up with pay-offs and twists. Without spoiling the plot, I can say that a lot is at stake for Backlash as there is something really personal about the missions and the final scene. I can also say that this is a well-crafted comic book that was clearly made with Backlash fans in mind even as the creative team did their parts in expanding the lore of the original WildStorm universe using a clever mix of science fiction and paramilitary action.
I really enjoy reading this comic book and it also has some fine moments that defined Backlash’s personality. The added crossovers with WildC.A.T.S. and Wetworks added not only to the spectacle but also to the depth of the plot. This Backlash comic book is clearly not another adventure but an actual turning point for the former Team 7 member and the series as a whole. That being said, I am looking forward to reading the next issue.
Conclusion
Backlash with Dane and Grail of Wetworks during the mission.
Backlash #6 (1995) is a very solid read. Not only was it an improvement over the previous issue, it raised the stakes high and managed to live up to the expectations. The build-up is really powerful and the way the story ended justified it. I can say that anyone who managed to start reading each of the first five issues of Backlash will experience the power of the ending of this comic book. That being said, you better read all the previous issues before reading this one.
Overall, Backlash #6 (1995) is highly recommended.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Image Comics fans and comic book collectors! Today we go back to the year 1995 to take a close look at one of the many tales of the original WildStorm universe through one of the comic books of the first mini-series of Team 7.
For the newcomers reading this, Team 7 is set in the past within the original WildStorm universe. This is the one special forces team that had major WildStorm heroes – Grifter (WildCATS: Covert Action Teams), Backlash, Jackson Dane (Wetworks), John Lynch (Gen13) and Deathblow – who were younger, were proficient with combat and were destined to gain special abilities that later defined them. Issue #1 reviewed last time worked well by efficiently introducing the characters while also building up the plot and there were some nice pay-offs here and there.
With those details laid down, here is a look back at Team 7 #2, published in 1994 by Image Comics with a story written by Chuck Dixon and drawn by Aron Wiesenfeld. This is the 2nd chapter of the 4-issue mini-series.
The cover.
Early story
Set in the 1970s, a team of armed escorts and some personnel wearing protective gear isolate and examine a battlefield full of dead bodies. Miles Craven and Gabriel Newman analyze the evidence around them. Craven states that what they have is too important an operation to be left to underlings and he wants Gabriel to stay with the project which could use his special talents. Shortly after, the bodies of the Team 7 members were retrieved barely alive.
Seven days later, John Lynch wakes up in a hospital bed feeling traumatized over what happened to his team during the last mission. He was told that they were exposed to a chemical agent and he had been in a deep coma for a week.
Craven then enters the room to provide Lynch crucial updates…
Quality
Do you recognize Deathblow and Dane on this page?
As expected, the gritty and dark storytelling from the previous issue continued in this story. Without spoiling the plot, I can say that this issue has some handsome pay-offs to what was built-up in issue #1 and there were new build-ups established along the way. Because the script was crafted to build-up the plot and sub-plot, the military action scenes are lessened which is not surprising. I can assure you that Chuck Dixon’s writing here remains pretty strong.
While the previous issue served as an efficient introduction of the younger versions of WildStorm’s heroes who are in the middle of a world full of violence and espionage, this issue shed some light as to how the heroes dealt with their new abilities (in connection with the climax of issue #1) and how International Operations is handling matters behind closed doors. The suspense kept on building up and this made the narrative more intriguing to follow. Expect to see elements of high-level espionage, unethical science and war throughout.
When it comes to the characters, Lynch (being the captain of Team 7) has a huge share of the spotlight followed by Cole Cash (Grifter). The two have different views about their special forces duty – Lynch follows the superiors while Cole realizes something is wrong about their leadership and the intelligence fed to them.
Conclusion
This scene showing Cole Cash (Grifter) emerging from dark with a defiant tone is a very defining moment of this comic book.
Team 7 #2 (1994) is clearly a very engaging read. It has the fine mix of war (with uncompromising violence drawn by Wiesenfeld), intrigue and the dark side of global espionage. The science fiction element here worked well in explaining the powers Team 7 members got after what happened in issue #1. This comic book also marks the beginning of showing Lynch and Cole Cash as the co-leads among the teammates. Die-hard fans of Deathblow, Dane and Backlash will have to wait a bit before their favorites get their share of the spotlight. Regardless, this is a very powerful read and a fine example of doing a prequel within the original WildStorm universe.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Image Comics fans and comic book collectors! Today we go back to the year 1994 to take a close look at one of the many tales of the original WildStorm universe through one of the comic books of the first mini-series of Team 7.
For the newcomers reading this, Team 7 is set in the past within the original WildStorm universe. This is the one special forces team that had major WildStorm heroes – Grifter (WildCATS: Covert Action Teams), Backlash, Jackson Dane (Wetworks), John Lynch (Gen13) and Deathblow – who were younger, were proficient with combat and were destined to gain special abilities that later defined them.
With those details laid down, here is a look back at Team 7 #1, published in 1994 by Image Comics with a story written by Chuck Dixon and drawn by Aron Wiesenfeld. This is the first chapter of a 4-issue mini-series. Also this year marks the 30th anniversary of this very comic book.
The cover.
Early story
Set in the 1970s, the story begins when the United States Special Forces Team 7 arrives in Iran with the objective of rescuing hostages. Led by John Lynch, the team encounters several Iranian terrorists along the way and eliminates them as they proceed with their mission. A lot of killings and a few explosions happened as they made their way into the facility.
Eventually, Team 7 discovers that the hostages are gone as they only found stuffed dummies made to look like hostages. As they are so deep within the facility, going outside to survive an incoming powerful bombing was out of the question. They decide to go deeper knowing that the facility has a hardened sub-basement that was designed to absorb a shockwave…
Quality
See if you could recognize the WildStorm heroes among them.
I can say out loud that this WildStorm prequel tale by the Dixon-Wiesenfield is a very inspired work of fiction that captures (intentionally or not) the vibe of R-rated Hollywood action and war movies of the 1980s. In my view, the tone and style of this comic book reminds me a lot about Predator (1987), Rambo: First Blood Part II (1985) and Full Metal Jacket (1987). Of course, this is a tale about a band of brothers who risk their lives working overseas for their country taking orders from their superiors at International Operations (IO).
As a WildStorm tale, this one efficiently puts up the building blocks needed to define the key characters who would later become major WildStorm figures in what was back then the present day stories (set in the 1990s) told through WildCATS: Covert Action Teams, Kindred, Gen13, Backlash, StormWatch and more. At the same time, readers will get a close look at the developments behind closed doors at IO which itself appeared in WildStorm comic books with a much older Lynch as director. Of course, as this is the first issue the build-up would obviously continue in the succeeding issues of the mini-series.
The team led by John Lynch fought the Iranian terrorists as they make their way through.
War imagery here is intense.
The story itself has themes of espionage, political intrigue, Islamic terrorism and military conflict. It was made clear here that IO has a wicked director called Craven and the young John Lynch (the protagonist and future IO director) could do nothing but receive intelligence (no matter how limited) and execute orders that put him and his teammates in grave danger.
Along the way, you will see younger versions of WildStorm heroes Grifter (Cole Cash), Jackson Dane, Backlash (Marc Slayton), Deathblow (Michael Cray) as well as a few minor characters whose legacies will be felt in the present day stories (example: Gen13’s Grunge is the son of member Philip Chang). Oh yes, the banter and interactions between Team 7 members were very much inspired by what was portrayed in Predator (1987) and Full Metal Jacket (1987). While Lynch is the protagonist struggling with following orders and leading the team, the young Deathblow here clearly their most natural and aggressive eliminator.
When it comes to the visuals, Aron Wiesenfeld came up with a consistently dark and gritty look backed with uncompromising violence that strongly emphasizes the horror of war. He also has this exquisite approach on displaying the characters and the action portrayed was more of shooting, explosions and hard action. This comic book was released years before Steven Spielberg’s Saving Private Ryan (1998) hit the cinemas and caused some controversy with its display of graphical violence. In short, this is a comic book visualized with adults in mind.
Conclusion
The cover of the variant edition of Team 7 #1 drawn by Whilce Portacio.
Team 7 #1 (1994) is a very compelling read and it still remains one of the most unique comic books of the original WildStorm universe ever published. It is also one of the most defining war comic books published in the 1990s.
Considering the great work done by the Dixon-Wiesenfield duo, your enjoyment and understanding of this comic book depends a lot on how much you have oriented yourself with the mentioned WildStorm heroes who appeared in the comic books of WildCATS: Covert Action Teams, StormWatch, Wetworks and the like. I enjoyed this comic book a lot because I familiarized myself with Grifter, Backlash, Deathblow, Lynch and Dane before reading it. That being said, I urge you newcomers to get to know the said characters first before reading this comic book.
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, 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. River Raid print ad
This River Raid print ad appeared on comic books and magazines long ago.
Decades before it became an industry giant with the best-selling Call of Duty games, Activision became a standout publisher in the early 1980s with River Raid on the Atari 2600. Designed by Carol Shaw, River Raid was a huge success ending up as the 2nd best-seller on the Atari 2600 as well as Activision’s best-selling game for the year 1983. Apart from showing one screenshot and the box cover of the game, the print ad of River Raid had this mesmerizing 3D image that caught many gamers’ attention and helped them feel like they will pilot on dangerous missions. The 3D image was futuristic in its own style became forward-moving 3D sequences in video games became reality many years later.
2. Galaga North American arcade flyer
The front of the flyer showing three Galaga machines that arcade operators can choose from.
Key details about Galaga were nicely presented on the rear of the flyer.
In the history of gaming, Namco’s Galaga was played by countless millions of gamers and it is still highly regarded as an arcade classic as well as one of the most enjoyable arcade games ever made. In preparation for the North American launch (October 1981), Midway prepared the arcade flyer showing the three types of machine on the front that arcade operators can choose from. On the rear is the really neat approach of explaining the details of the game, what kind of gameplay is to be expected, and how to play. Whether you are an individual player or the manager of an arcade joint, this flyer suits your needs.
3. Area 51 arcade flyer and conversion kit flyer
The front of this Area 51 flyer had an enticing message for arcade operators as well as other business owners/managers who are interested in having a machine to add value to their business joints. Atari was already in deep money problems by the time they started making this game.
The Area 51 arcade conversion kit is a cheaper alternative for businesses who want the game.
Moving on to the 1990s, Atari was already struggling financially and desperately needed a hit to lift them up fast. A light gun shooter project was approved as arcade shooters were in good demand and after overcoming serious hurdles during production internally, Atari hired independent team Mesa Logic to take charge of development. After being granted extra time and more creative freedom, the project under Mesa Logic’s handling became a sci-fi shooter titled Area 51. The game became a huge hit in the arcades for Atari resulting in sales of more than 20,000 arcade cabinets as well as a major financial boost for the company (note: Atari still exists today). Atari went on to release Atari 51 versions for PlayStation, Sega Saturn and PC in America in 1996. The Atari 51 flyers you see here are still captivating to look at and were crucial in generating buzz among arcade operators, business joints that had space for arcade cabinets and gamers.
4. Panasonic 3DO print ad
The makers of this print ad forgot to mention the 3DO is also a game machine.
Back in 1993, the 3DO Interactive Multiplayer console manufactured by Panasonic (a licensee of the 3DO Company) was launched with a CD-ROM drive, multimedia features and gaming capabilities (with a 3-button control pad). This print ad strongly emphasized the 3DO’s ability to play high-quality sound and full-motion videos using the Sea of Cortez software which functioned as an interactive movie. Obviously, this did not resonate well with people who loved to play games and by the time the 3DO Company and its partners started marketing games, they could not save the 3DO console from fading to obscurity. The console shown in the ad is specifically model Panasonic FZ-1 R·E·A·L 3DO Interactive Multiplayer. Panasonic was one of five companies that were licensed by the 3DO Company.
5. MechWarrior 3050 SNES print ad
If you were unaware of the 1994 game BattleTech, then this ad would have fooled you into thinking it is promoting a brand new game.
In 1995, the popular BattleTech entertainment franchise arrived on the Super Nintendo Entertainment (SNES) system with MechWarrior 3050 and its print ad had a really blazing artwork of an armed mech in fire which gave readers the illusion of a new and original game. In reality, MechWarrior 3050 was actually a port of BattleTech which was released on the Sega Genesis in 1994. The Genesis game was published by Extreme Entertainment Group while the SNES game was published by the more famous Activision. If you look closely at the MechWarrior print ad, you can tell how hard they tried to sell the game like it was brand new and all-original.
6. Cliffhanger video game print ad
This print ad had Sylvester Stallone hanging on a cliff to be relevant with the title of both the film and the game. They could not show images of Stallone in hard action scenes.
For fans of Sylvester Stallone, 1993 was a big and exciting year as the Hollywood icon appeared in two major action films – Cliffhanger and Demolition Man. Cliffhanger was released first and there were video game adaptations of it released on game consoles, handhelds and computers. This print ad of the Cliffhanger video game had an image of Stallone hanging on a cliff to emphasize the title. The ad makers cleverly posted selected gameplay screenshots and quoted GamePro and Electronic Gaming Monthly (EGM) to make the game look credible and worthy of purchasing. The marketing led to nowhere as the game received mostly negative reviews from critics and it faded to obscurity. Lastly, the Cliffhanger game ad had a noticeable amount of space wasted. They could have made the screenshots and text look somewhat bigger to sell the game.
7. Ballz: The Director’s Cut print ad
I never got to play this game on the 3DO.
Here is another ad of the video game released on the failed 3DO console. As its title made obvious, Ballz: The Director’s Cut is an enhanced version of the original Ballz game of 1994 that was released on other consoles. The print ad had an eye-catching piece of artwork and posted beside it were selected shots of the gameplay. Strangely enough, the creative writing on the lower part of the ad does not make any sense and did nothing to convince gamers to play the game. As Ballz: The Director’s Cut was released in 1995, this ad shows the revised 3DO console from Panasonic (model: Panasonic FZ-10 R·E·A·L 3DO Interactive Multiplayer).
8. NFL GameDay 2000 print ad
Did you find this ad funny to look at in 1999?
To promote the PlayStation-exclusive NFL GameDay 2000, Sony publisher 989 Sports and the ad makers decided to implement a humorous look at football TV coverage by having two sportscasters wearing shorts in front of a TV camera that was only showing their heads and upper bodies. The TV sets on the side show screenshots from the game to emphasize the sports gaming experience. Ultimately the game scored mostly positive review from the critics.
9. WildC.A.T.S: Covert Action Teams print ad
WildC.A.T.S. art by Jim Lee was used to promote the SNES video game.
When Image Comics launched in 1992, WildC.A.T.S: Covert Action Teams was Jim Lee’s creator-owned comic book franchise and its launch issue was a big seller. Years later, WildC.A.T.S. grew in popularity with comic book fans and the franchise achieved multi-media status by venturing into TV (with an animated series) and video games. This print ad promoting the video game adaptation had no screenshots to show which kept fans and gamers guessing how the game will turn out in terms of gameplay and game design. It was obvious that the people who made this print ad had to rely on the best WildC.A.T.S. artwork they could find drawn by Jim Lee. This ad made me laugh back in the old days because if you did not look closely, it might fool you into thinking it was more about comic books than the game on the SNES.
10. Cutthroat Island print ad
Exciting imagery without Geena Davis and Matthew Modine was used to promote the video game adaptation.
I never saw the Hollywood mega-flop Cutthroat Island nor have I ever played any of its multiple video game adaptations (released on SNES, Sega Genesis, Sega Game Gear and Game Boy). The video game print ad, however, caught my attention back in 1995 because the ad makers cleverly used a photograph from one the many expensive movie sequences filmed and the hard, physical work by the filmmakers was clearly visible. Then the ad makers had four screenshots placed on the lower-left part and inserted descriptive text that sounded exciting. Lastly, the ad mentioned a sweepstakes promo.
Without using any images of stars Geena Davis and Matthew Modine, this ad was a strong attempt to get gamers excited for the video game adaptation. Like the movie itself, this game flopped and has faded away to the land of the forgotten.
11. AH-3 Thunderstrike print ad
Captivating artwork, vibrant colors and orderly text descriptions made this an effective ad.
AH-3 Thunderstrike is one of the better games that was released on the Sega CD add-on (requires the Sega Genesis console) in 1993. Similar with MechWarrior 3050, the game was actually a port of Thunderhawk which itself was released on the Amiga and MS-DOS PC in 1992. The print ad showcased a captivating artwork (which was also used on the game’s box cover), a few screenshots and strategically placed text descriptions to sell the game. This ad still looks good.
12. James Bond 007 print ad
This print ad appeared in many comic books in 1984.
This is a print ad I saw many times while reading comic books in 1984. James Bond 007 for Atari 2600 was an ambitious licensed video game as it featured levels that were inspired by missions in the James Bond movies Diamonds are Forever, The Spy Who Loved Me, Moonraker and For Your Eyes Only. Keep in mind that programmers back then had to deal with memory limitations and primitive tools to make games.
To promote the game, original art of Agent 007 was used which did not resemble the James Bond star of the time – Roger Moore. Strangely enough, the illustrated James Bond slightly resembled Timothy Dalton whose debut as 007 happened in 1987. Adding further zest to the add was the use of fictionalized quotes pointing to fantasized critics as sources (example: Vincent Can’tbe is a reference to real life critic Vincent Canby). The use of a pink background made this catchy ad look really odd.
13. Choplifter III: Rescue Survive print ad
A captivating print ad that brought gamers’ attention to the Choplifter series again.
This print ad of Choplifter III: Rescue Survive has a striking look showing a military officer who needs your help as he has been stranded behind enemy lines. The presentation reflects the long-time tradition of the Choplifter game franchise which has been about piloting an armed helicopter to the opposition’s territory, shooting at bad guys and then rescuing the hostages or prisoners-of-war (POWs). The game eventually gathered mostly positive feedback from video game critics.
14. Defender of the Crown print ad
Cinemaware took a gamble with the visual concept of this print ad.
Released in 1986 for home computers, Defender of the Crown was made with a high level of quality backed with solid artistry. To capture gamers’ attention, Cinemaware came up with this print ad showcasing a pretty model looking somewhat seductive which reflects what happens in the game when players rescue a damsel in distress. The selected screenshots showed what the game looked like on different platforms, and the lower part of the ad made the game feel like it was a historical epic waiting to be discovered. Defender of the Crown eventually became a big hit with computer gamers.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Image Comics fans and comic book collectors! Today we go back to the year 1995 to take a close look at one of the many tales of the original WildStorm universe through one of the comic books of the Backlash series.
For the newcomers reading this, Backlash is one of the major characters of the WildStorm universe which started in the early 1990s when the famous Jim Lee was one of the founding fathers of Image Comics. Backlash, Deathblow, Wetworks, Gen13 and WildCATS: Covert Action Teams were all connected with each other and many of the characters were linked together in the Team 7 series of prequel stories.
With those details laid down, here is a look back at Backlash #5, published in 1995 by Image Comics with a story written by Brett Booth, Jeff Mariotte and Sean Ruffner. Booth did the artworks.
The cover.
Early story
The story begins with Backlash having visions of his beloved Diane who eventually turns into a gruesome Daemonite monster. Suddenly his female companion Taboo appears to him only to betray him moments after.
In the real world, it turns out that Backlash is helplessly restrained and connected to machines in the presence of Mindscape and his assistant Virtual Bob. Wetworks leader Jackson Dane and Taboo have been contained separately and could only watch Backlash agonizing. Backlash’s mind has been infiltrated by Mindscape through the use of virtual reality.
Mindscape has been looking for a living subjects who could become suitable for his project of combat droids which require genetic information from the subject. Even though he knows that having two live subjects would confuse the combat droids, Mindscape gives the order to have both Backlash and Dane together in cyberspace…
Quality
Backlash and Wetworks leader Dane face-off with Mindscape in cyberspace.
With its heavy emphasis on virtual reality and cyberspace, the creators temporarily changed their approach on storytelling and showing spectacle while managing to introduce a new villain and show more of the friendship of Backlash and Dane.
In my view, Mindscape is indeed a very interesting antagonist who is not the typical super villain who is simply being evil for the sake of it. In fact, Mindscape’s origin was efficiently told here and by the time I finished reading this comic book, I found him to be intriguing. Before he became the powerful villain here, Mindscape used to be a very talented virtual reality developer. Mindscape looks at Dane and Backlash – both of which have extensive military experience as they used to be teammates with Team 7 – not for the sake of murder but as suitable subjects for his combat drones which signifies his intention to build an army that will serve him in the real world.
As this story took place a short time after the reunion that happened late in issue #4, this comic book shows a bit more of the friendship between Backlash and Dane, revealing small details about their past together as specially trained soldiers. With the way the story here was told, there was too little room left for any character development to happen but the small details revealed about the two WildStorm heroes was enough to inspire me to revisit Team 7.
In relation to the story’s concept about virtual reality, the spectacle here is much different and absolutely wilder. You have to see it for yourselves.
Conclusion
Being trapped and helpless, Taboo could only watch Mindscape and ask him questions.
Backlash #5 (1995) is an entertaining and intriguing read. This comic book also served as a suitable break from the norm of showing Backlash fighting bad guys in the real world and infiltrating places to accomplish his objectives. Backlash and Dane here were portrayed to be vulnerable as their conflict with Mindscape happened in cyberspace. The final conflict was a spectacle to look at and the story’s ending was satisfying enough leaving the sense that Backlash and Dane would meet each other again.
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
This is NOT a comic book crossover.
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 front of the 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.
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.
The cover.
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.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s 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.
The cover.
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.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s 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.
The cover.
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).
Author Carlo Carrasco 