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 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.
In my previous retro review, Todd McFarlane told a tale of the iconic web-slinger with intense build-up leading to another rematch with his old nemesis the Lizard (Dr. Connors). While the writing was pretty weak, McFarlane still managed to tell a tale with a strong element of horror and supernatural stuff. McFarlane’s approach with visual violence and graphic stuff was clearly adulterated. What was presented daringly tested the limits allowed under the Comics Code Authority (CCA).
With those details laid down, here is a look back at Spider-Man #2, published in 1990 by Marvel Comics with a story written and drawn by Todd McFarlane. This is also the 2nd chapter of the Torment storyline.
The cover.
Early story
The story begins in New York City where two men got suddenly murdered by the Lizard in an alley during the night. The next morning Peter Parker reads the newspaper (showing the photograph and the news story of the Lizard’s murder of the two men) while having a breakfast moment with his wife Mary Jane. As soon as his wife mentions the word “monster”, Peter takes a 2nd look at the newspaper’s photograph and finally notices the bloody writing “CNNR” on the alley wall which makes him realize that the Lizard is back again.
Feeling very troubled, Peter leaves Mary Jane quietly and dresses up as Spider-Man to go out once again.
Elsewhere in the city, a sorceress uses her evil method of crafting a potion which creates an unrelenting sound of disturbance which Spider-Man hears. As the sound goes on, his focus and Spider Sense get overwhelmed…
Quality
A quick look at the origin of the Lizard by McFarlane.
While the writing by McFarlane remains weak, he still succeeded in making this story a marginal improvement over the previous issue in terms of moving the plot forward, paying off a good chunk of the build-up in issue #1, and establishing his own visual corner (inspired by horror and adulterated stuff) within the Spider-Man franchise of comics of the time.
The biggest feature here is the physical conflict between Spider-Man and the Lizard. As expected, McFarlane drew the big fight with a lot of intense action, powerful violence (note: it was clear the editorial team recommended moves to tone down the graphic violence), suspense and a good amount of horror. Not only does the big fight move the story forward, it allowed McFarlane to dramatize Spider-Man as a vulnerable hero who not only has to cope with the disturbance from the sorceress far away, but also deal with the poison he got from the Lizard. That being said, Spidey also struggles with his sanity and the new fact that the Lizard has turned into a murder machine which disturbs him a lot as he personally knew Dr. Connors.
Considering what happened here and in the previous issue, there is still a greater force of evil that awaits Spider-Man and the Lizard happens to be an ultra-violent tool.
Conclusion
Many times Spider-Man finds himself in a disadvantage while fighting the Lizard.
Being the 2nd chapter of the Torment storyline, Spider-Man #2 (1990) is a slight improvement over the previous issue in terms of moving the story forward, spectacle and dramatization. While the big fight between Spider-Man and the murderous Lizard is clearly the big feature of the story, McFarlane does a good job portraying Spider-Man as vulnerable and on the edge towards defeat. McFarlane’s writing here is still weak but the other positive elements achieved outweighed the weakness.
Welcome back readers, fellow geeks and electronic gaming fans!
Today I am launching a brand-new series of articles titled Retro Gaming Ads Blast (RGAB) which will explore the many print ads and promotions of video games, computer games, arcade games and handheld games that were published through the decades.
For the newcomers reading this, print ads of games were widely popular and heavily relied on by gamers/players long before smartphones, social media, the worldwide web and online videos even started. Back in the old days, print media was the most common method for companies to market their games while also helping hardware (machines which played the games) reach potential buyers. Such ads appeared in magazines, comic books and newspapers. Not only that, there were several print ads of games that were made to look creative, compelling and even intriguing.
With those details laid down, here is the first batch of retro gaming print ads for you to see and enjoy…
1. Parker Brothers’ Spider-Man-led print ad
Does this ad look amusing?
Remember Parker Brothers? That was a company that started way back in 1883 founded with a strong focus on the enjoyment of games in the form of board games, cards and toys. In the late 1970s, Parker Brothers started making electronic versions of their popular board games and engaged in the video game development and publishing. They also went on to make home ports of popular arcade games in the early 1980 for several gaming platforms.
Parker Brothers was very active with making games for the Atari 2600 console which became the dominant machine for home gaming in North America in 1982. In the above print ad, their marketing heavily emphasize the Spider-Man video game for Atari 2600 and added two others games they also published – Tutankham and Amidar – which was a clever move to market multiple games. The ad’s focus on Spider-Man was amusing and even without showing a single screenshot of the game, it was enough to entice people to watch out for it. Be aware that the Spider-Man game’s development was done by Laura Nikolich who was hired by Parker Brothers at a job fair. Nikolich had full creative control on making the game and had no contact whatsoever with Marvel Comics.
2. Advanced Dungeons & Dragons: Cloudy Mountain print ad
An ad like this was strong enough to motivate gamers’ imagination and interest.
Back in 1982, Advanced Dungeons & Dragons: Cloudy Mountain was released on the Intellivision game console and I was fortunate enough to watch my next-door neighbor play it repeatedly. The above print ad – which simply referred to the game as Advanced Dungeons & Dragons – only had a few words which directly pointed to the main objective of the game…the golden crown. While only one screenshot of the game was displayed, the advertisers heavily relied on hand-drawn, comic book-style fantasy art work to sell the game.
For those who were born long after the 1980s, let me share with you that ads like these were really impressive for their time. It was common for advertisers to use art works (even though they may not accurately reflect the gameplay or game design) and post at least one screenshot to catch the viewer’s attention with the hope that it would even encourage him/her to anticipate the game. It should be noted that ads like these were strong enough to make gamers’ imagination or curiosity grow stronger.
3. Konami’s collective military video games advertising
Print ad of four games for IBM, Amiga and Commodore.
Print ad of Jackal and Contra for the NES.
Konami, the Japanese company that has long been known for Metal Gear, Suikoden and the controversial sacking of famous game designer Hideo Kojima, was aggressive in the gaming business in the 1980s and arguably the aggressiveness was reflected in their publishing of several games that emphasized militarism during the late stages of the Cold War. In short, they made the military look cool and their activities fun to do in digital form.
While Konami has always been identified with console gaming, they actually released Rush’n Attack, Contra, Jackal and Boot Camp on IBM, Amiga and Commodore computers (as seen in the first print ad above) which were popular in the 1980s. The said ad also have a very amusing visual concept emphasizing the excitement and fun of military action games coming to gamers at home for their computers.
The 2nd print ad above – Jackal and Contra for the Nintendo Entertainment System (NES) – was very intriguing to see. It was very clear back in the 1980s that the NES always had a wholesome audience (note: a lot of buyers were parents who wanted to entertain their kids at home) and that includes a lot of very young players. To see the collective ad of Jackal and Contra (for the NES platform) having battle-hardened men in military gear holding guns was openly aggressive to perceive and instantly reminded people about the Cold War (and the menace of Communists, socialists, Marxists and terrorists) and the cultural impact of the mega blockbuster film Rambo: First Blood Part II. This is the kind of ad that would drive today’s woke-minded people crazy and even cause them to panic and pretend to be victims of militarism and patriotism. If you look at the ad closely, you will realize there is simply no room for the garbage of political correctness and wokeness.
Lastly, I myself had played Contra and Jackal with my friends on the Nintendo Family Computer (the Japanese counterpart of the NES) and both military games were a lot of fun to play from start to finish!
4. Batman Returns SNES game ad
This print ad appeared in some comic books I read in the early 1990s.
Way back in 1992, Batman Returns (the sequel to the mega blockbuster Batman movie of 1989) was released in cinemas with intense marketing and merchandising reflecting Warner Bros. intention to replicate the commercial success they had in 1989. Along the way, there were several video game adaptations of Batman Returns that were released on different platforms. Among those many video games was the Super Nintendo Entertainment System (SNES) game of Batman Returns which was developed and published by Konami in 1993 the form of a side-scrolling beat-them-up game.
The above ad was visually appealing with hand-drawn, comic book-style art dominating the spaces while leaving room for some screenshots and a written description of the game. Having seen this ad on multiple comic books I read back then, I can say that the ad was entertaining to see and was effective in making me interested in the game. I played Batman Returns on the SNES but never got to finish it. Oh yes, the game’s audio were really good and there were also digitized images from the movie for the in-game narrative.
5. Flashy Sonic the Hedgehog Japanese print ad
A dazzling approach by Sega on selling Sonic the Hedgehog.
1991 will always be remembered as the year of Sonic who eventually became not only Sega’s most defining mascot but also a video game industry icon. That same year, Sega released Sonic the Hedgehog on the Sega Genesis (referred to as Sega Megadrive in other parts of the world) console and it became a massive success with consumers and the game critics.
In the above Japanese print ad, a very captivating display of light and energy rays dominated the space leaving a minority share left for Sega’s console, screenshots and even a UFO Catcher arcade machine picture. While I could not understand the Japanese text, it seems to me that the flashy visual concept of the ad reflected Sega’s high ambitions with Sonic. How many gamers in Japan bought a copy of Sonic the Hedgehog because of this ad remains undetermined.
6. Japanese Super Star Wars print ad
A long time ago in a galaxy far, far away…
Before Nintendo released its 16-bit game console (referred to as Super Nintendo Entertainment System in America, and Super Famicom in Japan), there were lots of Star Wars video games released on varied platforms and the arcade.
With Nintendo’s 16-bit gaming platform realized, lots of game designers and business partners saw opportunities to make new games with gameplay concepts and designs using the technological advantages of the time. For LucasArts and its partners, taking Star Wars gaming into the next level was inevitable and they made it all come true in 1992’s Super Star Wars video game.
Published in Japan by JVC Musical Industries for the Super Famicom, Super Star Wars was a major leap forward in game design, visuals, sound and enjoyment. Apart from the 2D side-scrolling run-and-gun gameplay, gamers were deeply immersed into Star Wars’ universe with the Mode 7 landspeeder and X-Wing fighter sequences, as well as the first-person trench run sequence.
The Japanese print ad above cleverly presented screenshots from the game while using official imagery from the Star Wars movie poster of 1977 (look at how young Harrison Ford, Mark Hammill and the late Carrie Fisher were back then). The ad is a fine example of combining the greatness of the classic George Lucas-directed film with the highly enjoyable design of Super Star Wars. Lastly, these should remind you that there was a time when Star Wars was not yet tainted by wokeness and the garbage values of the Satanic Leftists (read: woke Disney).
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 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.
Back in the late 1980s, Todd McFarlane proved to be a highly talented artist who helped Marvel sell a lot of issues of the Amazing Spider-Man series. McFarlane was also highly involved with the creation of Venom which not only became Spider-Man’s deadliest foe but also an icon of Marvel’s. In the year 1990, a brand new monthly series of Spider-Man was launched and it had Todd McFarlane writing and illustrating the tales.
With those details laid down, here is a look back at Spider-Man #1, published in 1990 by Marvel Comics with a story written and drawn by Todd McFarlane. This marks the beginning of the Torment storyline.
The cover.
Early story
The story begins in New York City where countless people walk to their respective destinations not realizing that the local hero Spider-Man was swinging above them. In a dirty alley, Spider-Man prevents an armed thug from harming a woman and leaves him hanging covered with a lot of web.
Elsewhere in the city, a sinister figure conducts a ritual, prays to evil forces and begins using magic.
In yet another location, a hideous creature emerges from the water. It’s the Lizard…
Quality
This page is an example of Todd McFarlane creating a travel sequence that allowed him to draw something great. It’s a classic example of moving back into the comfort zone.
To make things very clear here, this comic book is pretty shallow and hollow mainly due to its storytelling as this was the writing of a very young Todd McFarlane. There is no denying that his art here is great to look at from start to finish. In fact, this was one of McFarlane’s finest visual works ever with Marvel.
But if you look beyond the great visuals, the writing is very weak all throughout the issue. At best, this comic book is a grand-looking yet shallow set-up for the conflict of the Torment storyline complete with shared emphasis on the iconic web-slinger, the Lizard (looking more menacing than before) and Calypso (the one behind the magic and rituals).
In fairness to McFarlane, he added his own touch on emphasizing the personalities of Peter Parker and wife Mary Jane simultaneously as a couple. If you were used to seeing in-depth character development and witty dialogue about the two major characters as portrayed in the Amazing Spider-Man, Web of Spider-Man and Spectacular Spider-Man series of 1990, you won’t find them in this comic book. Under McFarlane’s writing, Spider-Man in this issue showed signs of sarcasm and cockiness in the first scene, and with Mary Jane he (as Peter Parker) expressed himself philosophically. To say the least, the portrayal of Spider-Man here is noticeably different under McFarlane.
The Lizard, a long-time rival of Spider-Man’s, was presented to be very violent and murderous in this issue. This was clearly McFarlane’s approach on emphasizing the force of opposition that awaits the iconic web-slinger and he obviously went for a more adulterated approach with the visuals. That being said, the violent content in this comic book is very unique and clearly stood out from the rest of the Spider-Man-related comics published by Marvel in 1990. Lastly, I should say that McFarlane’s visual take on the Lizard is the best I have seen.
Going back to the visuals, McFarlane implemented strong elements of horror, darkness and grittiness which went along well with the adulterated approach to violence. These mixed elements, as they turned out in reality, became part of McFarlane’s future works past Spider-Man.
Conclusion
McFarlane’s vicious and horrifying approach on visualizing the Lizard can’t be ignored. This Lizard makes the cinematic Lizard of the 2012 movie The Amazing Spider-Man look cartoony.
Spider-Man #1 (1990) is a very mixed bag when it comes to literary enjoyment. It clearly has great artwork by McFarlane whose adulterated approach on expression and spectacle made it very unique. The writing by McFarlane (who was very young at the time of production) is clearly the big letdown although his own approach on portraying Spider-Man, MJ and the Lizard are very notable. Take note that this was Todd McFarlane starting with writing while doing the art (his true strength), and at this point in comic book history his talent on telling compelling stories would not be realized until a few years later (particularly with Spawn and Image Comics). Notably, his use of visual horror and darkness predates his work in Spawn which makes his Spider-Man take very distinct. Ultimately, this comic book served as a build-up for things to come in the Torment storyline. Don’t expect too much when acquiring this comic book.
Have you been searching for something fun or interesting to watch on YouTube? Do you feel bored right now and you crave for something to see on the world’s most popular online video destination?
I recommend you check out the following topics and the related videos I found.
#1Xbox-related announcements at The Game Awards 2023 – The Game Awards 2023 edition took place recently and like many of its previous editions, it was a spectacle of video game awards as well as announcements of upcoming games. Team Xbox, which now has giant publishers Activision-Blizzard-King and Bethesda under its umbrella, came out with very notable video game announcements that not only includes Hideo Kojima’s Xbox project but also a brand new game (the licensed property of a very popular entertainment brand) which I never anticipated coming. I should also state that Square Enix’s announcement of Visions of Mana includes the Xbox Series X and Xbox Series S for future release. Watch the videos (including one from a YouTuber) below…
#2 Godzilla Minus One makes impact in America – While its current theatrical distribution in America is not too great, the Japanese-made Godzilla Minus One movie managed to make an impact with moviegoers and critics there. In fact, Toho’s newest Godzilla film even topped the American box office on specific days during the week (click here and here) even though it came with English subtitles (with original Japanese voices throughout) that had to be read by moviegoers. Why is Godzilla Minus One making an impact in America? Watch the videos below…
#3 The evil of the Islamo-Left – It is not surprising at all that Leftist elements continue to take sides with the Palestinian terrorist group Hamas while opposing Israel’s war efforts in the Gaza strip (Israel’s response to Hamas’ October 7 terrorist attacks and abduction of hostages). If you do your research of history, you will realize that the unholy alliance between Islamic terrorists and Leftists actually go a long way back. That alliance is referred to as the Islamo-Left which is composed of Islamists and Leftists who are united by their hatred for Israel and their desire to commit genocide against the Jewish people. The Islamo-Left is the evil force that needs to be rejected and defeated. I also want to state again that the Palestinians are NOT the indigenous people of Israel, the Palestinians have no right to the land of Israel, and the Palestinians are still living under the wickedness of their leaders (Hamas and the Palestinian Authority). Learn more by watching the video below…
#4 Beware of charismatic criminals – In this divided world we live in, there are certain charismatic individuals who wield so much power, they managed to deceive people and commit crimes believing they could simply get away with it all. The charismatic criminals of recent times are specifically Elizabeth Holmes (convicted), Sam Bankman-Fried (convicted) and Charlie Javice. To find out who the charismatic crooks are, what happened to them and why you must never let them deceive you, watch the videos below…
#5 Unite with the Right to push back against the Satanic Left – Shifting to geopolitics, Sky News Australia published two videos that must be seen. The first one is about the political Right gaining significant ground in the Netherlands and Argentina (following the very inspired political shift related to Giorgia Meloni’s rise to power in Italy in 2022). The 2nd video shows why the Satanic Left often leads people to social, political and economic ruin as seen in Argentina. Let these two videos inspire you and members of your community to rise up against the Leftists and be united with the Right in future elections as well as with ongoing developments of the current government. Never let the Satanic Left take even the slightest space away from you. Communists, socialists, Marxists, liberals, diversity fanatics, inclusion fanatics, LGBT activists, the woke nuts, pro-Palestine zealots and all those other wicked Leftist elements are simply too chaotic to be given power.
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 culture enthusiasts and comic book collectors! Today we go back to the mid-1980s to explore Marvel Comics’ extensive publishing of a comic book series based on the wildly popular military-themed franchise of toys – G.I. Joe: A Real American Hero.
Whenever a war between good and evil happens, it is only desirable for people siding with the good guys to score a major breakthrough against the evil ones. Breakthroughs include annihilating the enemy entirely or compelling them to surrender unconditionally, or capturing one of their most powerful leaders alive.
With those details laid down, here is a look back at G.I. Joe: A Real American Hero #23 published in 1984 by Marvel Comics with the main story written by Larry Hama and drawn by Mike Vosburg.
The cover.
Early story
The story begins near the Italian border of Switzerland. GI Joe member Snow Job sits high up on a cliff and monitors an institute from long distance. He carefully sees the Baroness (wearing a white garment) and reports to Duke about it. Duke, who is seated close to Roadblock in public, tells him to maintain passive surveillance as their team is anticipating that the Baroness will lead them to Cobra Commander.
Moments later, Roadblock notices a man across the street coming out from one of the buildings. The man turns out to be Major Bludd, a mercenary working for Cobra. Duke then sends a message to Cover Girl and Clutch (both of them riding a car elsewhere) to follow Major Bludd…
Quality
Cover Girl and Clutch chase the vehicle that has Major Bludd and Baroness.
I really like this story. While this is clearly not the bombastic, gun-blazing conflict between G.I. Joe and Cobra, this tale has stronger elements of espionage, suspense and intrigue nicely mixed together. The story moved at a medium pace and there were suitable pay-offs to the build-up that occurred throughout.
While the cover of this comic book is indeed a spoiler, it is within the details of the script and its story structure that justified the capture of one of Cobra’s most notorious figures. How G.I. Joe pulled it off and what obstacles they went through were nicely portrayed by the Hama-Vosburg team.
Not only that, the comic book also shed light on the character moments and story developments told through the side of Cobra which are quite intriguing to read.
Conclusion
Cobra Commander making his way through in the American town of Springfield which is their front.
G.I. Joe: A Real American Hero #23(1984) is another fun and engaging tale Larry Hama crafted. The creative team succeeded in justifying the capture of Cobra Commander (as seen in the cover) while giving readers some new insights about the characters and how they do their duties. By the time I reached the end of this comic book, I was satisfied and convinced to look forward to what would happen next.
Overall, G.I. Joe: A Real American Hero #23(1984) is recommended.
Welcome back superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today we go back to the early 1980s to explore Marvel Comics’ extensive publishing of a comic book series based on the wildly popular military-themed franchise of toys – G.I. Joe: A Real American Hero.
Last time around, G.I. Joe found itself getting attacked within their own base (The Pit) as a result of the robot they brought in from a stronghold of their terrorist rival Cobra. It was a Trojan plan that Cobra Commander and his team organized from far away and they almost succeeded.
With those details laid down, here is a look back at G.I. Joe: A Real American Hero #10 published in 1983 by Marvel Comics with the main story written by Larry Hama and drawn by Mike Vosburg.
The cover.
Early story
The story begins with G.I. Joe members Scarlett, Snake-Eyes and Zap reach the top of a tall New York City building that could be another stronghold of Cobra. On the street just outside of the same building, other Joe members located inside a van on the street and in the sewers carefully make their moves to ensure their operation will succeed.
Behind the scenes inside the building, the Baroness is informed of the Joes’ presence. This causes the top of building’s roof to open causing Snakey-Eyes, Scarlett and Zap to fall down into a room. In response, the Joe members inside the van make their move into the building save Scarlett and her two teammates…
Quality
A few of the Joes captured by Cobra, and Snake-Eyes got heavily restrained.
This is another clever story written by Larry Hama highlighting the rivalry between G.I. Joe and Cobra without emphasizing the usual action-packed battles between them. Instead, this tale emphasizes Cobra being more resourceful than meets the eye. What I mean is that the terrorists here are not limited to their military culture and weapons as they also have the means to conduct scientific experimentation, establishing spies among civilians (including minors) and even having American towns as their tactical fronts.
In many ways, this tale shows Cobra being a very diversified terrorist organization that also mastered the uses of disguise and imagery to hide themselves from American authorities right there in America. The town of Springfield symbolizes Cobra’s use of ground level fronts to hide their secret underground stronghold from being spotted which is eerily similar to how Palestinian terrorist group Hamas uses schools, hospitals and other establishments in the Gaza strip to hide their tunnels and operation places deep under. The portrayal of American minors being junior officers of Cobra is really disturbing as it reminds me of the fact that in reality, Palestinian terrorists (note: the Palestinian Authority is corrupted and practices apartheid) have brainwashed their minors to hate and to murder Jews. I should add that the Palestinian terrorists, Hamas, the United Nations (UN), Amnesty International and the many Leftist leaders of nations formed the global axis of evil we know today.
As for the characters, the new kid here is easily the most notable addition and you have to read the comic book to find out why. For the more established characters, you will see Snake-Eyes helpless and Scarlett being really vulnerable in the dream world. On the side of Cobra, Dr. Venom has really fascinating interpretations and observations about the readings of the scientific operations.
Conclusion
The other G.I. Joe members scramble to rescue their teammates.
G.I. Joe: A Real American Hero #10(1983) is very engaging and intriguing to read from start to finish. This comic book, which is clearly a piece of fantasy, also served as an intriguing reminder that terrorists in the real world (read: Iran, Palestinian terrorists, Hamas, Hezbollah, ISIS and others) are capable of securing or stealing large financial resources for themselves and expand their operations to infiltrate societies and take advantage of the ignorant and helpless members to be part of their wicked causes. There were indeed lots of parallels between Cobra and the Palestinian terrorists.
Overall, G.I. Joe: A Real American Hero #10(1983) is 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).
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 culture enthusiasts and comic book collectors! Today we go back to the early 1980s to explore Marvel Comics’ handling of a series based on the wildly popular military-themed franchise of toys – G.I. Joe: A Real American Hero.
Last time around, a small number of G.I. Joe members went to the North Pole on a mission to find answers and anyone responsible for the destruction of the American research base. The mission did not involve Cobra at all but a certain specialist who was working as a freelancer.
With those details laid down, here is a look back at G.I. Joe: A Real American Hero #3 published in 1982 by Marvel Comics with the main story written by Larry Hama and drawn by Herb Trimpe.
The cover.
Early story
The story begins shortly after G.I. Joe’s successful raid on a secret stronghold that belonged to their arch-rival Cobra. A huge, bulky robot was found at the site and the Joe team received orders to get the machine back to their command center – The Pit – to run preliminary scans on it.
Due to the very sensitive nature of the robot and the Cobra stronghold, the military uses three trucks disguised as American mail trucks for the trips to The Pit.
Elsewhere, Cobra Commander and his team are aware that G.I. Joe is bringing the robot with them. He has a Trojan plan prepared…
Quality
The scent of bacon and eggs reached the higher levels.
To make things clear, this is story still does not put G.I. Joe head-to-head with Cobra in combat. Instead, this is a tale about Cobra’s attempt to cause chaos on their rivals deep within a top secret stronghold of the Americans. That being said, the main character here is the huge robot of Cobra’s which really pushed the Joe team into real challenges. The robot does not even speak and its actions really drove up the tension of both the Joe team’s predicament as well as the narrative itself.
Along the way, you will get to see members of G.I. Joe becoming more tactical with their struggle to survive and solve problems. In fact, the Joe members are more versatile which reflect what they learned from extensive training.
Conclusion
Cobra Commander monitors the developments from a distance as G.I. Joe members brought with them the robot from what was once a stronghold of Cobra.
While the lack of a direct conflict between the Joe team and Cobra is evident, G.I. Joe: A Real American Hero #3(1982) still had an unrelenting enemy in the form of Cobra’s robot that proved to be a major force of opposition. In terms of presentation, this story has a slight touch of science fiction (due to the robot) but managed to be military in nature the rest of the way. Apart from their resourcefulness, the G.I. Joe members here displayed a strong element of team work. The narrative is packed with action as well as a good amount of details that made the reading experience consistently good.
Overall, G.I. Joe: A Real American Hero #3(1982) is 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, 1980s culture enthusiasts and comic book collectors! Today we go back to the year 1982 to take a close look at one of the many tales of the Marvel Comics shared universe told through the monthly series of Uncanny X-Men.
In my previous retro review, Charles Xavier got reunited with his beloved Lilandra, the empress of the Shi’ar Empire, as they were trapped temporarily by the Brood. Elsewhere, Corsair reveals to his son Cyclops what happened before they got separated on Earth twenty years prior. The X-Men and the Starjammers got captured by the Brood’s massive transport which turned out to be a massive organic creature. The conflict that followed saw another battle between the X-Men and the Brood but with the stakes raised higher.
With those details laid down, here is a look back at Uncanny X-Men #157 published in 1982 by Marvel Comics with a story written by Chris Claremont and drawn by Dave Cockrum.
The cover.
Early story
The story begins in space where the X-Men and the Starjammers worked together to repair the external parts of the Starjammer ship. An incident happens in which Wolverine starts to float away from the ship while Colossus loses consciousness. One of the Starjammers saved Wolverine.
Just as the Starjammers used their advanced technology to help the unconscious Colossus, Empress Lilandra tells Professor X and a few others that she used her imperial commlink and private code to each Chanellor Araki to confirm to him that she is free and unharmed. Supposedly, Lilandra’s move should compel Araki to call off the punitive strike against Earth.
As Lilandra starts communicating with the flagship that carries Araki, Admiral Lord Samedar takes control of the ship and declares that they will execute Araki’s orders to obliterate Earth…
Quality
Kitty Pryde on the move against all odds.
Following the events of the two previous issues, this story is another engaging pay-off to the established build-up but with the stakes raised higher as Earth becomes a target of the defiant Shi’ar officials who themselves turned out to be defiant towards their empress Lilandra all along. Not only that, there is a good amount of intrigue with the way the Shi’ar people are portrayed here.
The X-Men here continue to struggle not only because of Colossus’ weakness but also because something bad happened to their leader Professor X (a must-read scene). Far away from the rest of their teammates, Nightcrawler and Kitty Pryde became major players in this particular story and what happened with them was nicely structured by Chris Claremont. This is clearly a big pay-off to what was staged in issue #155 and it sure is worth anticipating!
If you have great interest with the Brood, you will be delighted to see more of the way they communicate and how they treat foreigners like Deathbird as they live on with their uncompromising belief that their race backs winners only.
Conclusion
How the Brood treats Deathbird.
Uncanny X-Men #157 (1982) is an action-packed sci-fi tale that continued Claremont’s direction of the X-Men while also emphasizing the Brood as well as the Starjammers and the Shi’ar as crucial players in this particular storyline. There is plenty of superhero spectacle to enjoy here, a few memorable character moments and if you are fond of Chris Claremont’s works, you will enjoy the twists and surprises he pulled off here.
Overall, Uncanny X-Men #157 (1982) is 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, 1980s culture enthusiasts and comic book collectors! Today we go back to the early 1980s to explore Marvel Comics’ handling of a series based on the wildly popular military-themed franchise of toys – G.I. Joe: A Real American Hero.
Last time around, G.I. Joe members were sent to an island to rescue a very important woman who was kidnapped by Cobra. Along the way, the Joes faced stiff opposition and the duo of Snake-Eyes and Scarlett infiltrated the headquarters facing off with Cobra Commander and the Baroness. The comic book itself was indeed engaging and fun to read.
With those details laid down, here is a look back at G.I. Joe: A Real American Hero #2 published in 1982 by Marvel Comics with the main story written by Larry Hama and drawn by Don Perlin.
The cover.
Early story
The story begins when the United States discovers its research station in the North Pole has been attacked and left in ruin. The damage found indicates that it has been wiped out in a commando-style raid, all station personnel were found dead and all the records were missing.
After carefully assessing the available information about the ruined American base, General Austin decides to send the G.I. Joe team to the North Pole. This resulted in cutting short the respective leaves of Stalker, Breaker, Scarlett and Snake-Eyes.
After being dropped at the North Pole, the selected G.I. Joe members carefully make their way to the Russian base and decide to watch from a distance…
Quality
The character Kwinn is the most interesting character in this story.
When compared to what happened in issue #1, this comic book’s concept is smaller in scale but allows room for readers to get to know the Joes closely and follow the simplified plot which itself has details that are worth looking into.
When it comes to entertainment value, don’t expect a repeat of the bombastic action of the previous comic book. Expect to see lesser action but with more suspense and a stronger emphasis on the complexities that come with the world of espionage which itself is never simple.
That being said, the force of opposition here is not Cobra at all but something different. The new character Kwinn is a freelance operative who is quite formidable and he sure has extensive experience that enables him to outsmart the Joes. On top of that, Kwinn’s strong adherence to his principles and code of honor made him quite a pretty deep character which are nicely reflected into the story itself. For this reason alone, this is a must-read G.I. Joe tale.
Conclusion
Have you ever experienced your leave getting canceled suddenly?
With G.I. Joe: A Real American Hero #2(1982), the creative team of Larry Hama and Don Perlin took a very different approach that shifted away from the classic G.I. Joe/Cobra rivalry and deep into the world of espionage with a really engaging and refreshing tale. As the story features much lesser characters, you will get to know Stalker, Breaker, Scarlett and Snake-Eyes better. Kwinn is easily the most interesting and most compelling character of this comic book. While the story is fun and engaging, it may not delight fans who love to see the Joes fight the Cobra terrorists.
Overall, G.I. Joe: A Real American Hero #2(1982) is recommended.
Author Carlo Carrasco 