A Look Back at X-Men #5 (1992)

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, comic book collectors, fans of 1990s culture and fans of Marvel Comics! Today we revisit the adjective-less X-Men monthly series (Volume 2) that started in 1991 with the combined talents of Chris Claremont and Jim Lee. For those who are unaware, Chris Claremont had his conflict behind the scenes with then X-Men comics editor Bob Harras which led to him departing the X-Men series with issue #3.

Previously I reviewed X-Men #4 which by today’s standards is highly significant and very expensive to acquire as it marked the literary debut of Omega Red who made quite an impact with X-Men fans. It should be noted that Wolverine and Omega Red had encountered each other far back in time and issue #4 marked the renewal of their rivalry.

With those details laid down, here is a look back at X-Men #5, published in 1992 by Marvel Comics with a story written by Jim Lee (plot) and John Byrne (script), The art was done by Lee with ink work done by Scott Williams, Art Thibert, Bob Wiacek and Joe Rubinstein.

The cover.

Early story

This for me is the money shot of the comic book. Although Wolverine is absent, you get to see the entire Blue and Gold teams with Charles Xavier as drawn by Jim Lee.

The story begins with Cerebro detecting an unidentified mutant signature in the presence of X-Men members who were out of the mansion. Forge tells Cyclops about the disturbance happening less than five miles away from their mansion. Colossus and Psylocke join in and quickly they leave the mansion with Cyclops using the Blackbird.

Not too far away, Gambit, Rogue, Jubilee and Beast are held captive inside a vehicle with an armed man in their presence. Gambit starts the effort to free his teammates using one of his charged cards.

Elsewhere in a snowy place, Wolverine is seen struggling thinking he defeated his old rival Omega Red. Suddenly the Russian mutant jumped at him and the two resumed fighting. Their fight is being monitored from a distance…

Quality

The Wolverine-Omega Red rivalry is a must-see.

When it comes to storytelling, it is obvious that the writing duo of Jim Lee and John Byrne did their best to push the envelope and break new ground as far as telling an X-Men story goes. For one thing, there is the presence of paramilitary elements which are common with Jim Lee’s creations. There are even flashbacks into the past in which Wolverine (then called Logan) actually took part in a special forces operation with a few notable others. These flashbacks expands further the personal history of Wolverine in a really intriguing way. With the way the story was presented, it is clear that the new creative team pulled off serious moves in modernizing the way X-Men stories were told in comparison to the way Chris Claremont told all those many such stories during his long run.

When it comes to the visuals, Jim Lee did another great job as each page looks great and he proved to be clever with the way he visualized the script. As this comic book was inked by more than one inker, there were subtle differences with regards to contrast as well as ink intensity.

Conclusion

Cyclops and his teammates move out.

X-Men #5 (1992) is another great comic book that involved Jim Lee’s art. Apart from the modernizing of the storytelling, this comic book further expanded the past of Wolverine while successfully giving readers more of Omega Red who is now a major supervillain of Marvel’s.

If you are seriously planning to buy an existing hard copy of X-Men #5 (1992), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $27 while the near-mint copy of the newsstand edition costs $79.

Overall, X-Men #5 (1992) is highly recommended!

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back at X-Men #4 (1992)

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, comic book collectors and X-Men fans! Previously, I reviewed X-Men #3 (1991) which, at the time of its release, marked the end of the era of Chris Claremont who spearheaded the development and storytelling of the X-Men since the mid-1970s. Along the way, he clashed with X-Men books editor Bob Harras behind the scenes at the headquarters of Marvel Comics which was a factor to his departure. It is notable that Claremont returned to Marvel in 1997 as editorial director.

Going back to 1991, Marvel had Jim Lee as their top-notch talent to sell loads of X-Men comic books to buyers. Inevitably as Claremont departed, Marvel bet big on Lee and supported his move to set a new creative direction for the X-Men.

With those details laid down, here is a look back at X-Men #4, published in 1992 by Marvel Comics with a story by Jim Lee and John Byrne. Lee drew the comic book with Scott Williams as the inker.

The cover.

Early story

The story begins in a secret facility in the South Pacific. A sleeping figure wakes up and the men wearing protective suits near him carefully observe his moves. Suddenly, the men died horribly. The figure, with white-colored skin and long blond hair, says, “Who has brought me back from the dark domain of death? Who has summoned Omega Red?”

Behind a protective window, a man starts talking to Omega Red and he shows him a picture of Wolverine (in his civilian identity). Omega Red recognizes Logan…

Quality

Gambit and Rogue in the heat of action.

Being one of the first X-Men comic books published in the so-called post-Claremont era, this comic book has a solid story and a lively presentation of the X-Men’s Blue Team members. I figured that John Byrne delivered the solid dialogue given his previous experience of working on X-Men comics (as an illustrator) as well as being the writer and artist of the memorable The Man of Steel mini-series (with DC Comics, rebooting Superman in the post-Crisis era).

While the basketball scene had true-to-character portrayals of Wolverine, Gambit, Psylocke and Jubilee complete with stylish dialogue per character, there is consistency on the portrayal of Moira MacTaggert who is understandably struggling to recover given the events of X-Men #1 to #3. The same goes with Charles Xavier. The way the script was written with strong focus on the established characters, it’s almost as if Chris Claremont never left.

The biggest feature of this comic book is the debut of the deadly mutant Omega Red who is of Russian heritage and Russia’s own parallel to the United States’ own super soldier Captain America. In pop culture, Omega Red is one of the top villains in comic books ever and this comic book sets up his sudden rise to prominence. Symbolically, Omega Red is a co-creation of Jim Lee and John Byrne and it is pretty fitting for this comic book of the post-Claremont era to feature him.

Conclusion

You love basketball?

There is no doubt that even by today’s standards, X-Men #4 (1992) is a great read and a landmark issue in X-Men comic book history. Given its content, this one will always be remembered as the start of Omega Red who later on proved to be one of the deadliest villains Marvel’s mutants ever encountered. The villain went on to appear in the video games X-Men: Children of the Atom, Marvel Super Heroes vs. Street Fighter and Marvel vs. Capcom 2.

If you are seriously planning to buy an existing hard copy of X-Men #4 (1992), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $125 while the near-mint copy of the newsstand edition costs $375.

Overall, X-Men #4 (1992) is highly recommended!

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back at Wonder Woman Gallery (1996)

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, comic book collectors and fans of Wonder Woman! I should say that this is the most unusual comic book I have reviewed so far due to its main presentation of varied artworks featuring the Queen of all Superheroes herself – Wonder Woman!

For the newcomers reading this, there were several comic books back in the 1990s that did not really tell stories but showcased artworks of varied superheroes done by several artists. Such publications were in the form of swimsuit specials, apparently inspired by Sports Illustrated’s own publications. There were WildStorm Swimsuit Special #1, Ballistic Studios Swimsuit Special #1, Homage Studios Swimsuit Special #1, Lady Death Swimsuit Special #1 and the Avengelyne/Glory: Swimsuit Special #1 to name some.

The 1990s saw a rise of eroticism in superhero comic books. Not even the Wonder Woman monthly series of that time was spared from the trend. There was a time when DC Comics hired Mike Deodato to illustrate a number of Wonder Woman comic books in the mid-1990s which resulted a more eroticized look of Diana/Wonder Woman and her fellow Amazons. John Byrne took over after Deodato and his stint was not an improvement.

While the 1990s was a weak decade of Wonder Woman comics for me personally, not all was doom and gloom. Around twenty years before Gal Gadot debuted on the big screen as the cinematic Wonder Woman, DC Comics published an art gallery of the Queen of Superheroes in the form of a comic book.

With the details established, here is a look back at Wonder Woman Gallery, published by DC Comics in 1996 featuring the works of multiple artists.

The cover.

What it is

Wonder Woman Gallery is a showcase of thirty-two artworks done by George Perez, Stuart Immonen, Mike Wieringo and Richard Case, Brent Anderson, Howard Porter and John Dell, Jim Balent (misspelled as Jim Balant), Amanda Conner, Chuck Wojtkiewicz and Will Blyberg, Howard Chaykin, Steve Lightle and 22 others.

As this is an art gallery, there is clearly no story to tell. It is all artwork showcasing the different talents of the artists (and the inkers who helped them) on presenting Wonder Woman (note: the only exception here is a solo image of the forgettable WW replacement Artemis).

This artistic contribution by Phil Jimenez looks great.
Jill Thompson’s inspired take on Wonder Woman.
Wonder Woman by Howard Porter and John Dell.
Wonder Woman by Ivan Reis and Barbara Kaalberg.

Quality

As this is an art showcase, the overall quality of the collected art here varies. Such a collection of different art styles will appeal to Wonder Woman fans depending on how they like their favorite superhero presented visually.

In my honest opinion, I always love the art style done by George Perez on Wonder Woman, her fellow Amazons, the supporting characters and more. His presentation here is flawless and timeless. What surprised me here in this collection is the contribution of Phil Jimenez whose quality and art style seem inspired by George Perez’s Wonder Woman legacy. As many of us know already, Jimenez later went on to become one of the top illustrators of DC Comics in the 2000s and his work here is nice to look.

There were a few artworks that showed Wonder Woman with a very cartoony look. Among them is the Wonder Woman piece done in the very distinct style of Sergio Aragones. Some art pieces here showed WW with a bizarre look and then there were a few others whose take on the Queen of Superheroes turned out good.

Conclusion

This work by George Perez is my favorite in this collection.

I can say that Wonder Woman Gallery (1996) is a published work that Wonder Woman fans will enjoy for as long as they are willing to accept images of their favorite superhero with styles ranging from realistic to cartoony, obscure and simple. Art styles aside, there is a lot here that fans will marvel at again and again, while art enthusiasts (who are not necessarily fans of the Queen of Superheroes) could find something eye-catching here.

If you are seriously planning to buy an existing hard copy of Wonder Woman Gallery (1996), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the comic book costs $40.

Overall, Wonder Woman Gallery (1996) 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back at X-Men Adventures #13

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.

It’s funny how adaptations of adaptations turn out in real life. Long before the first live-action X-Men movie was released, an animated TV series (popularly referred to as X-Men: The Animated Series or X-Men TAS) was produced and arguably brought together the fans of both the X-Men comic books along with the animated X-Men followers.

Along the way, Marvel Comics went on to publish a monthly comic book series called X-Men Adventures which themselves were adaptations of the animated series (which itself adapted stories and concepts from the comic books).

The adaptation-of-an-adaptation approach went deep further when the animated series adapted loosely the story of the classic X-Men comic book storyline Days of Future Past (by legends Chris Claremont and John Byrne) which resulted a story told in two episodes on TV. And then there was also a comic book adaptation that followed starting with X-Men Adventures #13 which is the subject of this retro comic book review.

1
The cover.

Early story

Written by Ralph Macchio and drawn by Andrew Wildman, the comic book begins in the dark future of 2055 in New York. The city is in ruins and mutants on the loose are being hunted by Sentinels. A very old Wolverine appears to help two loose mutants but ends up getting stunned with them by Bishop who turns out to be helping the automated authority of the Sentinels.

As he turns over the captured mutants, the Sentinels betray Bishop telling him that they no longer required him. Afterwards, Bishop and Wolverine (who woke up) each carry a person under the watch of a Sentinel. Suddenly, the two other mutants use their powers to attack the Sentinel and Wolverine followed to back up their efforts. The Sentinel however grabbed Wolverine.

Quality

3
A very old Wolverine in the dark future of 2055.

With the exception of some liberties, this comic book closely followed what was told in the first of the 2-episode Days of Future past animated adaptation. As a comic book story, the story was heavily loaded with details and exposition designed to orient readers about the setting and why the future became a time of darkness in relation to the rise of machines having ultimate power over people.

While the time travel concept of the literary classic involved the mind of Kitty Pryde going into the past, this comic book used the more common concept of having Bishop travel back through time physically which easily reminds me of Kyle Reese arriving from the future in 1984’s The Terminator.

The build-up leading to Bishop’s move to travel back through time was nicely done by the creative team. There was a lot of exposition followed by an incoming attack complete with explosions happening just as Bishop is about to leave. In short, the pay-off was worth it.

The engagement did not end there. In fact, it continued nicely as Bishop meets the X-Men in 1993 with the details of his mission carefully unveiled. Professor Charles Xavier’s reaction to future history (Sentinels taking control of the world) was dramatic and worth re-reading.

As with his other works in the X-Men Adventures comic book series, Andrew Wildman’s art is very good to look at and he knows how to make each scene look engaging whether it’s just an exchange of dialogue between characters or an action scene loaded with a lot of impact.

Conclusion

While it is only half of a 2-issue adaptation of a 2-episode animated adaptation of the Days of Future Past literary classic, X-Men Adventures #13 is still a fun-filled reading experience complete with a lot of engaging moments.

19
The money shot by Andrew Wildman!

If you are a serious collector of comic books, be aware that, as of this writing, a near-mint copy of X-Men Adventures #13 costs $6 while its newsstand edition copy is worth $21 in near-mint condition according to Mile High Comics.

Overall, X-Men Adventures #13 is highly recommended. Both dedicated X-Men fans as well as newcomers will have something a lot to enjoy with it.


Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back at Fantastic Four #275

Back in the mid-1980s, the Marvel Comics universe had revisions as a result of the best-selling series Secret Wars. As a result of that series, Spider-Man went home with the alien costume or symbiote (read: Venom), Colossus’ feelings for Kitty Pryde weakened and the Thing decided not to go home yet with the Fantastic Four.

This resulted a temporary change in the lineup of the Fantastic Four. To make up for the loss (and strength) of the Thing, She-Hulk came in as the replacement. Reflecting this particular change, here is my retro review of Fantastic Four #275.

20190611_125812.jpg
The cover.

Released in 1985 with a story written and drawn by the legendary John Byrne, Fantastic Four #275 begins when a sun-bathing She-Hulk got photographed by a man riding a helicopter flying at the top of the Baxter Building in New York. The sheer force of air from the helicopter’s blades temporarily causes She-Hulk’s cover to loosen which exposes her body to the photographer.

“Here I was all braced for a super-baddie, and I end up getting photographed deshabillee by an airborne peeping-tom,” She-Hulk said during the encounter.

The green-skinned lady then decides to take a huge risk by leaping off the building and grab on to the helicopter.

While this is indeed a Fantastic Four comic book, it is very focused on She-Hulk. There is a short scene about Johnny Storm as well as an epilogue at the end of the comic book showing Reed and Sue Richards however.

In terms of storytelling, John Byrne did not tell the usual good-versus-evil story rather he focused more on how being a superhero can be challenging when it comes to personal privacy. This was emphasized through She-Hulk who became the object of a magazine whose editor-in-chief views her as a public figure and that puts her in the public domain along with other famous public figures whose faces and even their private lives got exposed to the masses.

20190611_125237.jpg
From page 11.

If you are looking for superhero action, you won’t find much. There are some incidental forms of action in the form of collateral damage as She-Hulk crashes through walls.

Overall, Fantastic Four #275 is a fun read and its focus on how the print media treats superheroes viewed as public figures is a nice break from the typical good-versus-evil type of story. No clear villain here. Just the She-Hulk dealing with a magazine that violated her privacy.

Fantastic Four #275 is recommended.

 

My Observations: X-Men: Dark Phoenix Final Movie Trailer

20th Century Fox just released what is supposed to be the final movie trailer promoting Dark Phoenix (or X-Men: Dark Phoenix in other countries) to the best they could leading to the June 2019 global opening in cinemas.

Watch the trailer here now.

To describe quickly, it is a rehash about how the story will turn out. Somewhat based on the classic comic book storyline by Chris Claremont and John Byrne, the trailer shows the X-Men going to space and then something cosmic happens that affects Jean Grey.

Screenshot_20190419-063557~2.png
For the first time in cinema, the X-Men go to outer space.

Of course there are clips again of Jean Grey (Sophie Turner) approached by a mysterious lady (Jessica Chastain) which clearly connects to further footage showing the former with cosmic powers as Dark Phoenix.

If there is anything new shown, it is the short but very sweet moment of Professor X/Charles Xavier (James McAvoy) communicating with people using Cerebro. That is a very common aspect from the X-Men comic books that remains heavily underutilized in the movies!

Screenshot_20190419-063414~2.png
James McAvoy as Charles Xavier using Cerebro for communication.

There is also added footage of Cyclops (Tye Sheridan) showing great concern for Jean Grey which resonates with me as I read the comic books. It looks like Tye Sheridan has the talent, and perhaps enough good material from the script, to bring Cyclops to life on the big screen.

The way 20th Century Fox marketed this movie gave moviegoers and fans what seems to be the core elements of the story. I am just hoping that behind the scenes, the filmmakers have prepared a big surprise or some sort of major twist kept secret from the marketing. I also hope that Simon Kinberg outdid himself as a first-time director with this movie given the fact that most directorial debuts end up as cinematic disappointments.

Dark Phoenix will open in cinemas worldwide this June. We will find out soon enough if there are enough fans and moviegoers who will care about it more than a month after the anticipated giant opening of Avengers: Endgame.

 

A Look Back At Freex #1

I want to say that I am a fan of Marvel’s X-Men. Given the long publication history as well as how many creators – most notably Chris Claremont, John Byrne, Jim Lee and Whilce Portacio – defined and redefined them through the ages, the X-Men for me is the best superhero team comic franchise from Marvel.

Back in 1993, Malibu Comics launched a new line of superhero comic books called the Ultraverse and there I was inside a comic book store along Presidents Avenue, BF Homes, Paranaque one time struggling to decide which of the many Ultraverse launch titles displayed to buy with my very limited budget. As I was very fond of the superhero team dynamics of the X-Men, I bought Freex #1.

Freex1
Cover of Freex #1.

Written by Gerard Jones with art by Ben Herrera (inked by Mike Christian), Freex #1 introduces Ray/Boomboy (a guy who lived hidden from the public due to his abnormal body), Valerie/Pressure (a very bitter lady who could produce steam or plasma out of sweat), Lewis/Anything (a guy who could reshape his body), Angela/Sweetface (who has several fleshy tentacles from her body) and Michael/Plug (a digital escapee).

The comic book emphasizes the five individuals’ respective struggles with not only their abilities but also with being social outcasts. This eerily parallels Marvel’s X-Men in more ways than one. The big difference is that the Freex do not have a mature adult to guide them nor do they have a large estate to hide and live in. Clearly the Freex are in a desperate situation to survive and realize their destiny.

In terms of storytelling, the pacing is fine and for the most part character development or spotlight was noticeably invested on three of the five Freex which is understandable since the comic book had only twenty-five pages of story and art. In terms of spectacle, there presentation is nice and the action scenes nicely reflect what the characters could do.

Freex2
Valerie Sharp’s flashback.

Going back to character development, I find Boomboy’s back story to be the most interesting. Due to his rock-like appearance, his family had no choice but to hide him in the basement for an unspecified number of years. Unsurprisingly he became very lonely and he dealt with loneliness by reading a book about a certain literature classic.

Due to his high consumption related to his abnormal condition, Boomboy’s family realized that feeding him was too costly and they found a place where he could be transferred to and receive special care. Thinking that he would end up like a slave at the new place, Boomboy naturally rebels and forcefully leaves the house causing damage.

For the first time, Boomboy explores the suburban exterior while causing people nearby to panic as he looks like some monster to them. The uncertainty for him ended when Lewis meets and welcomes him.

Freex3
It truly is very hard to be social outcasts.

Very notably, Boomboy claims that “Huck” (actually Anything) saved him and went on to really believe in him.

Being an X-Men fan, I noticed that Freex has some similar themes with Marvel’s superhero team in the sense that there is a group of individuals with special abilities (or abnormalities as some would call them) who are noticeably rejected by members of the local society they live in. Valerie said it correctly: So we are here, right? Living in some locked-up squat, stealing to eat with the cops all over us!

Valerie’s words captured the desperate situation of Freex. They don’t have a mature leader to look up to. They cannot go back to where they came from. They cannot reunite immediately with the people who care for them. They are already rejected by the local authorities.

Overall, I find Freex #1 as engaging as it was when I first read it way back in 1993. It has aged nicely with its fine mix of drama and spectacle composed with a more mature audience in mind. If you are a comic book collector looking for 1990s concepts or if you want something similar to the X-Men or even DC Comics’ Teen Titans, then I recommend this comic book.

It’s too bad that Marvel bought out Malibu Comics and shut them down. As of this writing, Freex and the rest of the Ultraverse characters and concepts are all in limbo and remain unused by Marvel for decades now.

Freex4
Freex with a stronger superhero look they adapted later in their short-lived comic book series.

Still I can imagine the unlikely scenario that Marvel Studios (under the orders of their parent company the Walt Disney Company) would revive someday the Ultraverse properties in a limited way without cannibalizing their very own superhero properties already in use in movies. I think Freex would make an interesting animated series or as a video game or as action figures. Truly there is still good entertainment potential with Freex similar to the other Ultraverse franchises.


Thank you for reading. If you found this article to be engaging, please click the like button below and also please consider sharing this article to others. Also my fantasy book The World of Havenor is still available in paperback and e-book format. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me as well. Also please feel free to visit my Facebook page Author Carlo Carrasco.

Author’s Note: This article was originally published at my old Geeks and Villagers blog. What you read on this website was an updated and expanded version. In other words, this newest version you just read is the most definitive version