literature – Author Carlo Carrasco

A Look Back at Demolition Man #1 (1993)

December 17, 2025December 16, 2025carlocarrasco

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 movie fans, 1990s arts and culture enthusiasts, and comic book collectors! Today we go back to the year 1993 to examine the first issue of a comic book mini-series that served as the official adaptation of the movie Demolition Man.

Believe it or not, I completely missed out on Demolition Man’s theatrical run here in the Philippines. I only heard about the movie from feedback from my friends who saw it and they often mentioned the virtual reality sex scene. Strangely, they did not talk much about the match-up between Sylvester Stallone and Wesley Snipes.

The first time I saw the movie was on a rented laserdisc in 1995. As it was a Joel Silver production, the movie really had very high production values and it also had that subtle balance between hard action, science fiction and comedy. I enjoyed watching Demolition Man and its unique presentation about the future was memorable to me. Recently, I finally read the first issue of the comic book mini-series based on the movie.

With those details laid down, here is a look back at Demolition Man #1, published in 1993 by DC Comics with a story written by Gary Cohn (based on the screenplay by Daniel Waters, Robert Reneau and Peter M. Lenkov) and drawn by Rod Whigham. This is the first of a 4-issue mini-series.

Early story

The story begins in 1996. Los Angeles has turned into a city of violent crime with a lot of areas left in ruin. A police department helicopter flies over the Hollywood sign bringing John Spartan (Demolition Man) to a wide, old building filled with some armed criminals. Spartan suspects that Simon Phoenix is responsible for hijacking a bus of thirty people and they all could be inside the building. The thermogram scan on the building only shows seven people and no signs of the passengers.

Determined to find the passengers, Spartan does a bungee jump to safely land on the rooftop of the building. He takes down a few thugs as he gradually infiltrates the place.

Elsewhere, Simon Phoenix sees Spartan via security camera. As Spartan eventually breaks into a large room, Phoenix releases a large amount of gasoline on the floor. Spartan and Phoenix encounter each other and an intense talk about missing passengers begins. As the Demolition Man presses for answers with guns aimed, Phoenix prepares to spark a sudden fire…

Quality

*This scene never appeared in the movie. If it made it the final cut, it definitely would have slowed the film’s pace down a lot.*

Having seen the movie a number of times, this comic book covers the opening and closes with a notable scene that took place after the shocking revelation about the passengers. The good news here is that the comic book creators did a really fine adaptation of the scenes from the movie. Certain moments looked and felt like they were adapted from an older version of the script (note: Spartan bidding goodbye to his wife and little daughter is the obvious scene) while some moments seem to be creative additions or expansion by the creators.

The pacing of the story is pretty good and even the slowest scenes never felt boring. This is because the writing by Gary Cohn is quite engaging and there is always some interesting or something important to read as the story goes on. That said, when the spectacle happens, the pay-off to the build-up is truly worth it.

Still on the writing, Cohn inserted a good amount of details into the dialogue as well as the moments revealing what John Spartan is thinking. This ultimately gives readers a clearer look into Spartan’s personality as well as what were the elements from his past defined him as the Demolition Man to many.

Rod Whigham is very good with visualizing the script. For one thing, he does a good job capturing the likeness of Stallone and Snipes in specific pages of the comic book. When it comes to spectacle (action, explosions and stunts), Whigham’s work ranges from efficiency to dynamic depending on what happens. This is a good looking comic book!

Conclusion

*Like in the movie, John Spartan and Simon Phoenix fight surrounded by flames.*

Demolition Man #1 (1993) is a very solid adaptation and it is also a great way to start its mini-series. The comic book essentially captured the elements of several scenes from the movie and whenever the spotlight is focused on John Spartan or Simon Phoenix, I could senses Stallone and Snipes in them. The narrative flows smoothly and I had a very good reading experience. I am looking forward to the next issue.

Overall, Demolition Man #1 (1993) is recommended.

+++++

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A Look Back at Amazing Spider-Man #387 (1994)

December 12, 2025December 7, 2025carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the 1990s to examine a small part of the Marvel Comics shared universe through a tale of the Amazing Spider-Man monthly series.

In my previous retro review, Spider-Man had a match-up with his arch-enemy the Vulture who returned with a strong obsession within. The rematch is significant not only because it the two have a rivalry that lasted decades in reality, but also because the story was structured to function as a light reintroduction of Adrian Toomes (Vulture) for new Spider-Man fans of the 1990s.

With those details laid down, here is a look back at Amazing Spider-Man #387, published in 1994 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley.

Early story

The story begins with the Vulture absorbing energy and the youth of Spider-Man using the Juvenator in front of Dr. Sanchez. As a result, Adrian Toomes/Vulture physically turned much younger with rejuvenated skin, cancer getting health, a stronger body and his hair grown back. He declares himself as the new vital Vulture. Spider-Man is down on the floor clearly weakened and with a change of his body’s shape.

Instead of taking the opportunity to kill Spider-Man, the Vulture decides to fly away knowing that his long-time rival will have to deal with brittle bones of old age. As Dr. Sanchez tries to help him, Spider-Man feels exhausted, his lungs feeling gummy and his ears ringing. Knowing that police officers are coming, the webslinger decides to get away and leave Dr. Sanchez behind.

Moments later at the top of the building, the weakened Spider-Man takes his mask and glove off realizing that he has turned into an elderly man…

Quality

To get straight to the point, this continued rematch between Spider-Man and the Vulture is so outlandish (backed with the science fiction approach to life energy and the so-called fountain of youth), it almost felt like it was a story crafted for the What If series of comic books. In fact, the sudden aging of Peter Parker into an actually elderly man getting into close calls with two notable family members made this tale even more suitable for the What If series (note: What If #4 of 1989 had a severely aged Peter Parker in it).

Still on the storytelling aspect of this comic book, the creators used the fountain of youth concept to pull off a significant twist on the enduring Spider-Man/Vulture rivalry. As Spider-Man grew so old, the Vulture became much younger which in turn convinced him he could reinvent himself and put his genius of electro-magnetism to great use.

To make things clear, this tale is not purely a Spider-Man/Vulture rivalry with sci-fi twists. In fact, there is more to the plot than meets the eye here as the Juvenator machine becomes an important element of the story (leading to something intriguing in the next issue), and a sinister revelation concluded this comic book.

Conclusion

*The Vulture rejuvenated into a young man at the expense of Spider-Man.*

Amazing Spider-Man #387 (1994) is a solid follow-up to the previous issue and it also was a radical attempt to twist the Spider-Man/Vulture rivalry a lot reaching to the point of making it look and feel like a What If story. There is a good amount of suspense, character development and enough superhero spectacle that paid-off the build-up nicely. Ultimately, this tale is actually a part of a short storyline leading to the intriguing events of issue #388.

Overall, Amazing Spider-Man #387 (1994) is recommended.

+++++

A Look Back at Spider-Man #4 (1990)

December 5, 2025November 30, 2025carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the early 1990s and explore a part of the Marvel Comics shared universe through a tale of the Spider-Man monthly series.

Having reviewed the first three issues of the Spider-Man monthly series written and drawn by Todd McFarlane (click here, here and here), I can say that the 5-part Torment storyline has a daring concept, adulterated imagery and clunky storytelling. Issues #2 and #3 saw Spider-Man in violent battles with the Lizard who is clearly not himself but under the control of the Haitian witch Calypso. It is inevitable Spider-Man, who has been in a long-lasting disadvantage so far, will somehow meet Calypso face to face.

With those details laid down, here is a look back at Spider-Man #4, published in 1990 by Marvel Comics with a story written and drawn by Todd McFarlane. This is the 4th chapter of the Torment storyline.

Early story

The story begins in a dirty alley deep within New York City. An exhausted and disoriented Spider-Man is shocked to see a grotesque looking Kraven with the vicious Lizard beside him. The moment made him remember what happened as a result of his previous with Kraven (note: refer to the Kraven’s Last Hunt storyline) which includes him getting buried temporarily with a grave designated to him.

Eventually Spider-Man sees through the illusion and realizes that Kraven is not in front of him but Calypso with the Lizard still under her full control. With an unspoken command from Calypso, the Lizard moves towards the weakened Spidey and carries him bodily…

Quality

*This portrayal of Mary Jane having a good time again in the city without her husband is clearly filler and it did not add anything to the plot.*

As anticipated, the webslinger finally met the Haitian witch who had been controlling the Lizard all along. With a mostly slow pace, the story has Spider-Man being helpless in the presence of two powerful enemies and McFarlane stylishly dramatizes moments from Calypso’s past showing her acceptance of evil ways (witchcraft), her personal connection with Kraven and her desire to have a new sacrifice done.

With Spider-Man restrained a lot for most of the story, it was not surprising to see Calypso have a good share of the spotlight to herself and the Lizard is clearly portrayed as her enforcer and assistant contrasting what was presented in the first 3 issues.

Unsurprisingly, the storytelling feels choppy although the slow pace allows readers to grasp Calypso’s intentions and her main purpose in the entire storyline. The lack of spectacle allowed McFarlane to implement long segments of suspense mixed with horror. With Spider-Man doing not so much, he’s technically a supporting character symbolizing the reader’s curiosity.

Conclusion

*There is nothing like waking up in the presence of two evil figures while being restrained.*

Compared with the previous, Spider-Man #4 (1990) does not have much to show and has even less entertainment value. Unless you are a die-hard fan of Calypso (so twisted and demonic under McFarlane’s handling), this particular story won’t mean much to Spider-Man faithful. The webslinger is still helpless but this is all part of the build-up for the fifth and final chapter.

In fairness, what was shown here might inspire fans to revisit Kraven’s Last Hunt and read past Spider-Man comic books showing Calypso’s connection with Kraven (note: Spider-Man and Calypso were present in Amazing Spider-Man #209). In my view, this comic book is not terrible but it does not have much entertainment value nor does it have anything engaging to show. I don’t feel so motivated to proceed with issue #5.

Overall, Spider-Man #4 (1990) should be avoided.

+++++

A Look Back at Mary Shelley’s Frankenstein #1 (1994)

November 28, 2025November 21, 2025carlocarrasco

Welcome back movie enthusiasts, 1990s arts and culture enthusiasts, and comic book collectors! Today we go back to the year 1994 to examine the first issue of a comic book mini-series that served as the official adaptation of the movie Mary Shelley’s Frankenstein.

The 1994 film – starring and directed by Kenneth Branagh and produced by Francis Ford Coppola – had a huge marketing push through the local media and in the cinemas here in the Philippines. Robert De Niro’s name alone attracted a lot of moviegoers’ attention and there were some literature enthusiasts who had the impression (or were hopeful) that the film would be faithful to the 1818 Gothic novel by Mary Shelley.

Like many others here in the Philippines, I went to the local cinema (which was half-full) to watch Mary Shelley’s Frankenstein and ended up having a mixed opinion. The production values looked grand and the cinematography (specifically the location shots and vistas) was very impressive but I felt something was off with regards to the direction which brought the storytelling down.

As with some other Hollywood movies of the time, there was a comic book adaptation of Mary Shelley’s Frankenstein in the form of a mini-series from Topps Comics. I remember seeing issue #1 displayed at the local comic book specialty store shortly after seeing the movie but I was not interested on buying it. Recently, I finally secured a copy of the comic book and read it for the first time ever.

With those details laid down, here is a look back at Mary Shelley’s Frankenstein #1, published in 1994 by Topps Comics with a story written by Roy Thomas (based on the screenplay by Steph Lady and Frank Darabont) and drawn by Rafael Kayanan. This is the first of a 4-issue mini-series.

Early story

The story begins at sea in 1794 in the middle of very cold weather. The ship carrying Captain Walton and his crew crashed on to pack ice and became trapped. The captain refuses to give up on his quest to reach the north pole and he has the crew chopping the ice. Suddenly they hear a frightening noise as something approaches.

A cloaked man emerges from the mist and it turns out he was not the source of the frightening noise. Without hesitation and right in front of the captain, the cloaked man tells the crew to bring their weapons and follow him. The captain tells the newcomer that only he gives the orders. The crew’s dogs ran away moving towards the source of the noise in the mist.

The dogs reached the source of the noise and attack it. The dogs were no match for it as they each got hit and eliminated. As the crew heard the dogs die, the captain tells everyone to move back to the ship.

Moments later, the captain and the cloaked man are inside the ship. A tall human figure slowly approaches the ship. After an exchange of words about what has been going on, the captain asked the cloaked man who he is. The man reveals he is Victor Frankenstein…

Quality

*This particular scene looked great in the movie itself. There was nothing the comic book creators could do to translate it into illustrated literature.*

To make things clear, this comic book covers the film’s beginning until the scene in which Frankenstein attempts to give his creature life. As there were no printed advertisements, the comic book creators tried hard to cram several scenes into it complete with lots of details regarding the setting, the scientific thoughts of Frankenstein, experiment details and more. Indeed, a lot of the exposition in the film made it here and there were also cinematic sequences that simply could not be replicated in print format.

The illustrated opening scene replicated enough of the essence of the cinematic opening. Like the movie, the narrative moves back in time to explore Victor Frankenstein’s youth, his family, how Elizabeth became his adopted sister and how family tragedy started his path to becoming obsessed with overcoming death through science, medicine, chemistry and biology.

As it is clear that this illustrated version could never replicate the grand visuals of the film, such scenes were trimmed a lot with the readers in mind. The narrative moved between slow and medium pace similar to the film but for readers, it is a must to pay close attention to the details to truly understand the story and how Frankenstein develops.

Frankenstein here is portrayed not only as an obsessed scientist (who wants to conquer death by creating life with his own efforts) but also as a hurting man whose destiny has been altered with pain, struggle and darkness ahead. No matter what the odds were, Frankenstein believes he can achieve what is impossible while also believing he is not a mad man. Of course, Frankenstein’s own obsession blinded him so much, he fails to realize the truth that he has turned into a truly mad scientist who does not care at all about ethics, nature and morality. As such, Frankenstein is truly unlikable as the protagonist.

While a lot of effort was done to translate the film’s plot into comic book storytelling, Rafael Kayanan did a decent job with the visuals showing ranging quality throughout. Given the historical setting and European locations of the movie reflecting the novel, it is indeed difficult for any artist to replicate the looks, the environments and the many material objects of the period. Some illustrated scenes looked detailed while others showed some signs of rush. If you are hoping to see the characters looking like the actors in the movie, you won’t find much of that here. Ironically, there were a few shots that reflected that gore and violent movements of the film.

Apart from the story, there are two pages in this comic book that provided details about the history of Mary Shelley’s novel and how her creation impacted entertainment and pop culture in America (including the famous 1931 movie). Selected images were also included.

Conclusion

*The dogs are powerless towards the unseen creature of Frankenstein.*

The way I look at Mary Shelley’s Frankenstein #1 (1994), it clearly follows the movie’s scenes visually rather than following closely the screenplay and that means translating Kenneth Branagh’s vision into comic book form here. As such, there definitely is something off with regards to pacing and storytelling. There really is not much enjoyment in this 1^st issue of the comic book adaptation mini-series. In fact, this is more of a humanized portrayal of unethical science driven by one character’s obsession with conquering death.

Overall, Mary Shelley’s Frankenstein #1 (1994) should be avoided.

+++++

A Look Back at Uncanny X-Men #286 (1992)

November 24, 2025November 16, 2025carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the early 1990s to explore one of the many tales of the Marvel shared universe through the Uncanny X-Men series.

While issue #284 marked the turning point following the successful return of Jean Grey and the encounter with Bishop, issue #285 generated strong vibes of the sci-fi TV series Otherworld as it revealed most of the X-Men’s Gold Team members in a completely different world filled with unknown inhabitants and culture. Clearly a lot has happened following the Gold Team’s debut in issue #281 which reflects the respective contributions of the creators.

With those details laid down, here is a look back at Uncanny X-Men #286, published in 1992 by Marvel Comics with a story co-written by Jim Lee and Scott Lobdell (who worked on the script). The art was done by Whilce Portacio with ink work by Art Thibert.

Early story

The story begins with Jean Grey, Colossus, Storm and her male companion (Mikhail Rasputin) together. While Jean is surprised and relieved to see Storm again (she was separated from the team temporarily in the last issue), Colossus is shocked to see his long-lost brother Mikhail alive and well. Mikhail reveals that so many years have passed since he last stood with his little brother and had long abandoned any hope of a reunion.

The reunion is interrupted when a portal has grown larger by the moment and it means that it is only a matter time before Earth is pulled into the realm they are in. Both worlds are at risk of getting destroyed…

Quality

*Charles Xavier and Forge are still on Earth separated from the rest of the X-Men’s Gold Team members.*

Following the build-up and character developments that happened in the previous issue, this X-Men tale is pretty much a strong pay-off while leaving some space for suspense and surprises. The writers intended to conclude what started in issue #284 and along the way, they had to go through the challenges of introducing a new world, new people and the conflicts within. Mikhail Rasputin – the same guy who helped Storm in issue #284 – is easily the most impactful addition to this tale and because of him and what he revealed, Colossus became emotional and felt like his life was crumbling as he simply could not handle the truth. Colossus’ despair and emotional state here served as the creative seeds that later led to the betrayal he would eventually commit (in Uncanny X-Men #304).

The Mikhail-Colossus interaction was easily this comic book’s source of emotions which added some weight to the plot. By the time I reached the end of this issue, I felt really satisfied and at the same time curious about the state of Colossus (note: there’s a still a long road of X-Men tales before Uncanny X-Men #304).

With regards to the writing, John Byrne’s intricate touch on the dialog was clearly missing but Scott Lobdell did a fine job taking over. While Whilce Portacio was credited as illustrator, there were a few pages that looked like they were drawn by someone else. The same also happened with regards to the inking in different parts of the comic book…Art Thibert’s inking has a fine touch and there were some images that had aggressive and thicker inking (it has to be the work of someone uncredited).

Conclusion

*A very significant moment for the Rasputin brothers witnessed by Jean Grey, Storm and a few of the locals.*

While there were some inconsistencies on the quality of the artworks, Uncanny X-Men #286 (1992) had a really strong script and the good news here is that the creative team managed to pull off a solid conclusion. This is the kind of tale in which the X-Men utilized their skills and made tough decisions while being far away from Charles Xavier. At this particular stage of the Uncanny X-Men series, the Gold Team’s development really progressed and they became a more appealing team to follow.

Overall, Uncanny X-Men #286 (1992) is highly recommended!

+++++

A Look Back at Amazing Spider-Man #386 (1994)

November 21, 2025December 7, 2025carlocarrasco

Following a serious of unfortunate events that kept Spider-Man away from his wife Mary Jane (read my retro reviews by clicking here, here and here), the Amazing Spider-Man creators decided it was time to have the iconic webslinger in a new rematch with the classic villain The Vulture (specifically Adrian Toomes whose first appearance was in Amazing Spider-Man #2 in 1963). What makes Toomes Vulture notable (note: there were other versions of Vulture in Marvel’s history) is that he is an old man who happens to be a brilliant electrical engineer who proved to be a very capable criminal. He is also a co-founder of the Sinister Six.

With those details laid down, here is a look back at Amazing Spider-Man #386, published in 1994 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley.

Early story

The story begins in the prison complex at Ryker’s Island. Adrian Toomes (Vulture) is inside his prison cell working on a small device with a guard watching from his back. It turns out the device has a tractor beam and Toomes uses it on the guard to physically slam his body on the sliding door of the prison cell. Toomes then uses the tractor beam to pull the metal bars of the other side of the cell to create an opening. He equips himself with mechanical wings and flew out of his cell and reach the speed boat prepared by two companions.

At the residence of May Parker, Peter and his Aunt May talk with an investigator. It turns out Aunt May hired the investigator to follow and observe Richard and Mary Parker. When asked by Peter, she tells him she does not think Richard and Mary are his parents. As far as the investigator is concerned, there is nothing suspicious with Richard and Mary Parker. He tells peters that his aunt needs professional help (related to Alzheimer’s Disease)…

Quality

*The physical conflict between Spidey and the Vulture is intense to see!*

Perceived as modern during the time of publication, the conflict between Spider-Man and the Vulture in this comic book utilized the concept of everlasting youth with science fiction (combined with the villain’s own obsession). This in turn resulted in a unique approach executed by the Michelinie-Bagley duo to make something new with the rematch between Spidey and his winged nemesis.

The Vulture here is not only very obsessed with obtaining everlasting life as there is something deep inside him that has been raging. This explains why the winged super villain is more visceral in his battle with Spider-Man which Mark Bagley visualized with dynamism and intensity. For the newcomers reading this, the two have fought each other a lot since the 1960s and this 1994 rematch was very unique. The Vulture here is not unhinged but rather strategic while being obsessed, and this made him even more dangerous for Spider-Man.

Apart from the promised rematch, this comic book continued building up the tension for the eventual tragedy in Peter Parker’s life (which happened in Amazing Spider-Man #388) while also dramatizing the lasting hardships Mary Jane experiences as Peter’s wife. Peter Parker meanwhile is focused on his family and his intention to find professional help for Aunt May smoothly connected with his rematch with the Vulture.

Conclusion

*Mary Jane Parker participates in a promotional event of her TV show in a shopping mall.*

There is a lot to enjoy in Amazing Spider-Man #386 (1994). The rematch between the Vulture and Spider-Man is engaging and intriguing to read. There is also a good amount of suspense applied on the main plot as well as on the sub-plot about Aunt May being suspicious about Richard and Mary Parker. The result here is a reading experience that is entertaining and also balanced with regards to tone and storytelling.

Overall, Amazing Spider-Man #386 (1994) is recommended.

+++++

A Look Back at Peter Parker, The Spectacular Spider-Man #131 (1987)

October 29, 2025October 29, 2025carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1987 to examine a small part of the Marvel Comics shared universe through a tale of the Peter Parker, The Spectacular Spider-Man monthly series.

For this particular review, we will explore the 3^nd chapter of classic storyline Kraven’s Last Hunt. The storyline started in Web of Spider-Man #31 (read my retro review by clicking here) and progressed further in Amazing Spider-Man #293 (read my retro review by clicking here) and creators J. M. DeMatteis and Mike Zeck crafted it to last six chapters.

With those details laid down, here is a look back at Peter Parker, The Spectacular Spider-Man #131, published in 1987 by Marvel Comics with a story written by J. M. DeMatteis and drawn by Mike Zeck.

Early story

The story begins inside a facility in New York City on a rainy night. Men inside work quietly moving heroin from one vehicle to another. Suddenly Kraven – wearing a black costume believing he is Spider-Man – breaks in and fearlessly attack the men who are already armed. Using very violent force, Kraven beats the men and killed the last one. Eventually, police officers and detectives broke into the facility which compels Kraven to get away fast and leaves them no opportunities to catch up. One of the detectives mentions that fifteen suspects have been hospitalized because of the individual they perceive as Spider-Man.

After climbing to the top of a building, Kraven takes his mask off. He thinks deeply about his victory over Spider-Man and becoming him. He believes he has consumed the spider’s prey and proved himself to be superior in every way. Regardless, Kraven’s obsession continues as he seeks the final proof.

Elsewhere in the city, Vermin pulls a woman into an alley and then comes out on the street as a police car approaches him…

Quality

*A key scene showing how Mary Jane and Joe Robertson react to the absence of Peter Parker who was buried alive by Kraven.*

In this 3^rd chapter of the Kraven’s Last Hunt storyline, the iconic Spider-Man is absent again but his presence is still felt through the way people perceive him and through two notable characters who personally knew Peter Parker. At this point in the storyline, Kraven truly believes he has not only replaced Spider-Man but became even more significant than him. Kraven’s obsession with achieving both greatness and significant placed him on a collision course with Vermin, and I can say that the conflict between the them is a powerful feature of the story. Once again, DeMatteis proved how compelling his script really is and Mike Zeck easily brought the said script to life with strong imagery.

As with the previous two chapters, the darkness and grittiness of the storyline are lively which resulted in a very atmospheric reading experience. The DeMatteis-Zeck duo knew exactly how to engage readers using a powerful script and images that range from being action-packed to looking very disturbing.

Speaking of character development, Mary Jane here shows how the continued absence of her husband is wearing herself down and making her even more worried. Mary Jane is a lively symbol about how we readers miss Spider-Man and how uncertain we feel about the future of comic book storytelling without the iconic superhero.

Conclusion

*Without any concern whatsoever, Kraven’s Spider-Man brutally hits the criminals with powerful strikes.*

Peter Parker, The Spectacular Spider-Man #131 (1987) is a powerful 3^rd chapter of the Kraven’s Last Hunt storyline. At this point, Kraven continues to not only be Spider-Man but make others feel his impact as he strives to be greater than the genuine Spider-Man. Vermin has turned more prominent in this comic book and the big conflict between him and Kraven is a huge pay-off to what was built-up since Amazing Spider-Man #293. Right now, I am looking forward to the next chapter of Kraven’s Last Hunt.

Overall, Peter Parker, The Spectacular Spider-Man #131 (1987) is highly recommended.

+++++

A Look Back at Uncanny X-Men #285 (1992)

October 24, 2025October 18, 2025carlocarrasco

What happened in issue #284 was a turning point in storytelling and it is only a part of the early period of the X-Men – Gold Team’s operation. The X-Men were on the way home (with Jean Grey successfully retrieved and restored) following their encounters with Fitzroy’s gang and the mutant from the future Bishop only to proceed to a specific island in response to a distress call. By the end of it, something significant happened which separated the X-Men from Professor X and Forge.

With those details laid down, here is a look back at Uncanny X-Men #285, published in 1992 by Marvel Comics with a story co-written by Whilce Portacio, Jim Lee and John Byrne (who worked on the script). The art was done by Portacio with ink work by Art Thibert.

Early story

The story begins with Jean Grey and Colossus (carrying a female primate) who find themselves not only disoriented but also separated from their teammates Iceman, Archangel and Storm. A unknown amount of time has passed since they were sucked forcefully into a void which turned out to be a portal into a new world of unknown origin.

As soon as they land, several primates (humans wearing armor and futuristic gadgets) immediately ganged up on them, knocking Jean Grey out successfully while ramping up their attacks on Colossus. With Colossus down after intense hits, the Russian X-Men member does not fight back and eventually saw his metallic skin turn into flesh fully exposing his human identity. The primates suddenly changed their attitude as they referred to Colossus as a returned savior who has fulfilled the prophecy they grew up with.

Elsewhere, in the middle of a hot desert, Storm is down on the sand feeling weak and groggy. She tries to alter the wind but fails. Suddenly, a man arrives with the intention of carrying Storm to his home…

Quality

*The natives in this page, Archangel is not only accepted by the leader but also perceived to be a great figure of destiny in connection with their beliefs.*

This particular X-Men tale is the result of the turning point that happened in the previous issue. In this comic book, the X-Men’s Gold Team members are separated from each other and the world they are in is alien in nature and yet filled with unusual looking humans who clearly have a long-lasting culture, history and cultural norms formed through generations. This concept the creative team came up with has strong vibes of the 1980s American science fiction TV series Otherworld which I saw a very long time ago. In fact, I find the overall concept of this comic book an inspired piece of work.

Like in Otherworld, the X-Men are in a totally new and unknown world that somewhat looks like Earth but then it is not as the natives they encountered are totally unlike anything they encountered before. Like in The Empire Strikes Back, the X-Men here are separated from each other which opened up opportunities for the creators to develop the characters, show particular threads of their respective personalities (or their talents) and emphasize how they perceive new people and the new world they are in.

Without spoiling the plot, I can say that the natives of the unknown world are living with the foolishness of idolatry which can be seen at least in how they believe Colossus (in the flesh) is their savior and the fulfillment of the prophecy they were oriented with. The idolatry aspect of the tale serves as the twist on the primates’ (specifically the few who went to Earth willing to fight to the death) who first appeared to the X-Men as very daring opponents and it adds depth to the X-Men’s struggle on understanding the new world they are in.

When it comes to character development, Colossus and Jean Grey are strongly emphasized by the creative team who also managed to do the same with Iceman, Storm and Archangel. This tale also serves as a relief from the back-to-back good-versus-evil battles that took place since issue #281 and I can say the writing is solid.

Conclusion

*A very helpless Storm is approached by a man in the middle of the desert.*

While it lacks the usual conflict between Marvel’s mutants and evildoers, Uncanny X-Men #285 (1992) is an inspired piece of work filled with sci-fi concepts, the overwhelming power of discovering a new world and established natives, and a lot of character development on Colossus, Storm, Jean Grey, Ice Man and Archangel. As I read the story, the mystery builds up and there were these subtle pay-offs that happened along the way. Overall, this comic book is a huge pay-off to what was established in issue #284 and the notable thing is that the X-Men Gold Team (who have Sunfire with them) are just getting started in the unknown world.

Overall, Uncanny X-Men #285 (1992) is highly recommended!

+++++

A Look Back at Spider-Man #3 (1990)

October 20, 2025October 12, 2025carlocarrasco

I previously reviewed issues #1 (click here) and #2 (click here) which were also the first two chapters of the Todd McFarlane-led Torment storyline. McFarlane had this grand vision of a dark and more violent concept of telling a Spider-Man story and it involved another rematch with the Lizard (Dr. Connors) and some connections with the Kraven’s Last Hunt saga of 1987 (read my retro reviews by clicking here and here). McFarlane’s vision was daring but his writing style and the sub-par quality of his storytelling really brought down the overall quality of Spider-Man #1 and #2.

With those details laid down, here is a look back at Spider-Man #3, published in 1990 by Marvel Comics with a story written and drawn by Todd McFarlane. This is the 3rd chapter of the Torment storyline.

Early story

The story begins at the rooftop of a building in New York City. Up there, the Lizard relentlessly attacks Spider-Man causing some damage on the building. Having recovered previously, Spider-Man manages to hold his ground and punches a solid structure that hit the Lizard hard.

Meanwhile at another part of the city, the evil Haitian Voodoo priestess Calypso communicates with the Lizard telling him to take the fight against Spider-Man easy, avoid killing him and make him suffer first. Calypso is obsessed with making the webslinger an example to the world.

The fight between Spider-Man and the Lizard continues causing even more damage. Spider-Man, who has been poisoned, is having trouble concentrating as the Lizard keeps attacking him violently. Spider-Man wonders why the Dr. Connors’ (the Lizard) blood lust is so consuming…

Quality

*Todd McFarlane’s way of visualizing Spider-Man’s origin.*

To get straight to the point, this comic book is simply a natural progression of the hard-hitting conflict between Spider-Man and the Lizard that started in the previous issue. In fact, this comic book shows the resumption of the battle (after a pause happened in the late stage of issue #2 showing the fight temporarily halting which gave Spider-Man some minutes to rest).

At this stage, Spider-Man has gotten even more vulnerable and damaged. Apart from struggling with the very violent attacks of the Lizard, his own spider sense becomes a major hindrance on his mind (he could not concentrate) as the sounds of “doom-doom-doom” caused by Calypso’s sorcery becomes very unbearable. Like the previous issue, Spider-Man gets close to death and if there is anything new here it is showing the iconic superhero messed up in the garbage.

Along the way, this comic book sheds some spotlight on Mary Jane Parker (Spider-Man’s wife) who has been spending time in the city dealing with the absence of her husband. The Mary Jane scenes felt more like filler to the script by McFarlane.

Conclusion

*This comic book shows the resumption of the violent battle between the Lizard and Spidey.*

Apart from continuing the story, Spider-Man #3 (1990) does not have much to show. Todd McFarlane’s visuals are great and consistently remained high (and even gory) on details, but his weak writing made this one a chore to read through. Being the 3^rd chapter of the Torment storyline, this one is predictable and the pay-off is minimum. At this stage, it is clear that something huge is coming up on the last two chapters of the storyline.

Overall, Spider-Man #3 (1990) is satisfactory.

+++++

A Look Back at Uncanny X-Men #284 (1992)

October 15, 2025October 8, 2025carlocarrasco

As of this writing, I really enjoyed reading the tales about the Gold Team of the X-Men under the co-writing of Whilce Portacio and John Byrne (click here, here and here). Following Bishop’s debut in issue #282, issue #283 featured his intense first-ever encounter with the X-Men while concluding the mutants mission (retrieving Jean Grey).

With those details laid down, here is a look back at Uncanny X-Men #284, published in 1992 by Marvel Comics with a story co-written by Whilce Portacio and by John Byrne (script). The art was done by Portacio with ink work by Art Thibert, Scott Williams and Karl Altstaetter.

Early story

The story begins at the Sakhali islands located off the coast of Siberian Russia and separated from Hokkaido of Japan. Previously a territory of China and explored by the Japanese, the island is now bustling with unusual activity as government officials and personnel of both Russia and Japan focus on a massive, sealed crater there. After meeting with the Russians and his fellow Japanese on location, the mutant Sunfire (Shiro Yoshida) proceeds to do a task with his immense power on the crater. The scientists quickly detect intense readings that went off the scale and it seems the void of the crater is responding to Sunfire’s assault. The void adapted its own frequencies with Sunfire’s and returns fire at him. The void then begins to change.

Elsewhere, the X-Men’s Gold Team are spending quality time together on board their supersonic blackbird heading home. Jean Grey, who previously occupied Emma Frost’s body temporarily, is back as herself and interacting with her teammates. With them is the unconscious body of Emma Frost (White Queen). Professor X and his mutants are uncertain as to what happened to Emma Frost’s mind and Bobby Drake (Iceman) speculates that she could have transferred her psyche into some unsuspecting victim (note: the party at the Hellfire Club’s headquarters in issue #281 was filled with hundreds of people).

Having heard Iceman’s opinion, Professor X decides to scan Emma Frost for the last dim echo of her personality. He tells Jean Grey to join him to scan Frost. Suddenly, the X-Men receive a distress call from the Sakhalin islands…

Quality

*After Sunfire got hit, a new batch of enemies emerged from the void.*

Following the intense and enduring events of issues #281 until #283, this comic book’s concept had Charles Xavier and the Gold Team get busy yet again due to an emergency at the Sakhalin islands. This opened the opportunity for Portacio and Byrne to introduce a new conflict at the said islands (which turns into a war zone), a new force of opposition for the X-Men and giving the Japanese mutant Sunfire a share of the spotlight in X-Men comics.

At the heart of the conflict is the crater and void at the mentioned islands which brought out a strong element of mystery slowly backed up with intriguing revelations. The new force of opposition are armored, human-like beings (whose heads, hair and masks easily remind me of the Predator design of Stan Winston in the movies) who are armed, dangerous and determined to achieve their goals no matter how difficult. What is intriguing is how the new beings (referred to as aliens) remain concerned and caring with each other even during the intense moments of their encounter with the X-Men.

The climax of the conflict here is a must-see. You just have to get a copy of this comic book to find out.

When it comes to the visuals, Portacio continues to deliver solid artworks which showcased intense scenes, scenic shots, dynamic superhero action and subtle moments of drama (especially when the X-Men are together and in comfort). As there were three guys who inked Portacio’s work, there is a noticeable inconsistency with the visuals as the story went on.

Conclusion

*Following their recent encounters with Bishop and Trevor Fitzroy, the X-Men still have the unconscious body of Emma Frost with them.*

While some readers might find the X-Men Gold Team’s involvement in the conflict rushed, Uncanny X-Men #284 (1992) remains an enjoyable read. As the situation is very new, the stakes are different here and for the most part, this comic book is a build-up of a new concept that just happened to be filled with a lot of action scenes. Portacio and Byrne delivered a fun-filled read with a good amount of intrigue and some surprises as they introduced a new force opposite the X-Men. And for the people are who are fond of Bishop, he and his companions are here but not with the X-Men.

Overall, Uncanny X-Men #284 (1992) is recommended.

+++++

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