Tag: Retrospective

Retro Gaming Ads Blast – Part 47

Retro Gaming Ads Blast – Part 47

carlocarrasco

Welcome back readers, fellow geeks and electronic gaming fans!

In this edition of the Retro Gaming Ads Blast (RGAB) series, we will take a look at another batch of retro gaming print ads from the 1980s to the 1990s.

For the newcomers reading this, Retro Gaming Ads Blast (RGAB) looks back at the many print ads of games (console, arcade, computer and handheld) that were published in comic books, magazines, flyers, posters and newspapers long before smartphones, social media, the worldwide web and streaming became popular. To put things in perspective, people back in the 1980s to the 1990s were more trusting of print media for information and images about electronic games and related products.

With those details laid down, here is the newest batch of retro gaming print ads for you to see and enjoy…

1. Atari Console and Games Print Ad

Atari video game console advertisement featuring various game titles and cover art.
Back in the 1980s, this was simple and yet exciting to look at.

Back in the 1980s, the styles of video game advertising were very different. Back then, Atari was the market leader on console gaming with the Atari 2600 and they had a lot of video games made for it. As such, the above print ad showing the console and the video games (with the front covers of the game boxes) was typical of the era and it was captivating to look at. By today’s standards, the ad looks simple but it still has the appeal to lure gamers.

2. Shark Attack North American Arcade Flyer

An advertisement for the arcade game 'Shark Attack', featuring a cartoon shark and a woman in swim gear, promoting gameplay where players experience a shark diver challenge.
The front.
Promotional image for an arcade game called 'Thrust and Munch' featuring a woman wearing a diver's mask, smiling. The background includes text highlighting game features like shark control and dimensions.
The rear.

Remember long ago when Steven Spielberg’s Jaws made some people afraid of sharks and the sea? Jaws was a massive blockbuster, and it was influential to the public. A few years later, Universal Pictures pushed through with Jaws 2 without Spielberg, and it also was a huge commercial hit. By the start of the 1980s, creature feature films inspired by Jaws were released and pop culture itself was influenced. In 1981, the obscure arcade outfit Pacific Novelty Manufacturing released their game Shark Attack in arcades. To promote the game, the company came up with an arcade flyer that had a comedic touch on the text descriptions while featuring a pretty blonde fashion model posing as the diver. The front of the flyer had the arcade cabinet, the model and an exaggerated artwork of a shark holding a knife and a fork. On the rear, the sexiness was ramped up with a shot of the model’s behind (plus more pictures of the model herself). This is indeed an amusing and funny arcade flyer.

3. Centipede North American Arcade Flyer

Promotional poster for Atari's Centipede video game featuring colorful artwork of a centipede character and arcade game machines in the background.
This was designed with arcade operators in mind.

When Atari released Centipede in arcades in 1981, it attracted a lot of gamers and became a huge commercial hit. Part of its success is linked with the strategic promotions Atari committed, and the above arcade flyer is one of the variants of Centipede flyers. The one above shows an illustrated centipede carrying a coin in its mouth and in the background are two different arcade cabinets plus a cocktail table machine (for those who want to play Centipede while sitting down). This particular arcade flyer of Centipede emphasizes the popularity of the game and there are different types of machines that arcade operators can choose from. At the same time, this old flyer remains amusing to look at.

4. Rambo Famicom Japanese Print Ad

A promotional poster for a Rambo video game featuring a muscular man holding a weapon. The background is yellow with text in Japanese and images of the game on the right side. The large text reads 'RAMBO' in bold letters at the bottom.
Using this iconic imagery of Sylvester Stallone as Rambo was a very smart move.

When it comes to Hollywood action movies of the 1980s, Sylvester Stallone was highly successful, and he impacted American pop culture with the Rocky and Rambo films. By 1985, Stallone struck gold with Rambo: First Blood Part II which made over $300 million worldwide. Considering the Cold War theme and ambitious action scenes of the movie, it was clear for Japanese game developer Pack-In-Video to make an official video game adaptation of Rambo: First Blood Part II for the Nintendo Family Computer (Famicom) in the form of a 2D side-scrolling adventure game. The said game was simply titled Rambo and to promote it, the company came up with the above Japanese print ad that had the iconic Rambo image of Stallone holding the rocket launcher, and a few screenshots of the game itself. If you look closely at the lower-right corner, you will see a cartoonish hand-drawn art of the Rambo character with a bow and arrow. Considering how very popular Stallone, his character and the movie were, it made a lot of sense to promote the Rambo Famicom game like this in Japan. 

5. Gyruss Family Computer Disk System Japanese Print Ad

A retro video game advertisement for 'Gyruss' by KONAMI, featuring a spaceship amidst a colorful space backdrop with planets and swirling galaxies. The poster includes gameplay screenshots and promotional text in Japanese, with the release date and price displayed.
Gyruss was Konami’s first-ever game developed for the Famicom Disk System of Nintendo.

In 1983, Konami released Gyruss, a science fiction tube shooter designed by Yoshiko Okamoto. The game was a huge arcade hit and it really attracted a lot of players who enjoyed the unique game design and spaceship shooting. Konami licensed the game to a few companies which resulted in the creation and release of Gyruss ports for different consoles and home computer systems. In 1988, Konami released an enhanced Gyruss port for the Family Computer Disk System of Nintendo. To promote the Famicom Disk System port, Konami came up with a print ad that had a nicely detailed painted artwork of a spaceship (representing the player) about to hit incoming enemies deep in space, 3 screenshots and the official price and release date displayed. The artwork is still captivating to look at and the port itself features major overhauls that arguably made it better than the arcade original. Konami really went the extra mile for this Gyruss port.

6. Operation Thunderbolt Japanese Arcade Flyer

An illustrative movie poster for 'Operation Thunderbolt', featuring military characters in action with explosions, tanks, and aircraft in a dramatic background.
Great looking artwork on the front.
Illustration of two masked figures holding firearms against a plain background, with the word 'ENEMIES' displayed prominently at the top. Below, there are technical drawings and measurements of objects in blue and red colors.
The rear.

Following the huge success of Operation Wolf, Taito went on to make the sequel military shooter Operation Thunderbolt which was named after the 1977 movie that itself was based on the real-life Entebbe raid of 1976. To promote the game, the company came up with a pretty compelling arcade flyer for the Japanese market. The front has a detailed painted artwork that emphasizes the conflict between soldiers and Islamic terrorists in the Middle East. The rear has technical details of the arcade cabinet, several phone numbers and hand-drawn art of the terrorists (they easily remind me of Palestinian terrorists) clearly called the enemies. While the listing of phone numbers on the rear was very unusual, this old arcade flyer still looks great. Operation Thunderbolt went on to achieve huge commercial success in the arcades and later on consoles. It was one of the highest grossing arcade games in Japan in 1989.

7. Batman Returns North American Print Ad

Promotional advertisement for 'Batman Returns' on Sega CD, featuring Batman and Catwoman with game screenshots and reviews.
Sega’s clever print ad promoting the Sega CD game of Batman Returns.

Batman Returns was a big hit in cinemas in 1992 although it never came close to matching the success of its 1989 predecessor. When it comes to video games, Batman Returns was even more ambitious as there were different game adaptations on different platforms. For the Sega CD Batman Returns game, Sega came up with the above ad that strongly featured photos of Michael Keaton as Batman, Michelle Pfeiffer as Catwoman and Danny DeVito as the Penguin with a stylish dark background and four screenshots of the game. The line “Batman Returns…on Sega CD” was really catchy and ultimately the game itself was very notably an expanded version of the Sega Genesis version with selected video footage from the film. As Sega had the license to make Batman Returns games for its platforms, this print ad is absolutely an attention-grabber.

8. Super Star Wars: Return of the Jedi North American Print Ad

Vintage advertisement for 'Super Return of the Jedi' video game featuring Sega Game Gear and Nintendo Game Boy packaging, with space-themed background and game screenshots.
The Force is with the handheld gamers.

If there is anything notable about Star Wars in the 1990s, it is the fact that there is a lot of merchandise, comic books, video games, books and other licensed products released long after 1983’s Return of the Jedi which itself was perceived to be the last of the film franchise. In the mid-1990s, ports of Super Star Wars: Return of the Jedi were released on the competing handheld platforms Nintendo Game Boy and Sega Game Gear. This particular single-page ad has a nice visual design that captured the vibe of the movie (which I saw as a young boy in 1983) and it made handheld gaming look cool.

9. Elevator Action Returns Japanese Print Ad

Retro video game cover for 'Elevator Action Returns' featuring illustrations of characters and a helicopter, with bold yellow title text and release date information.
Did you play Elevator Action Returns on the Sega Saturn?

In 1994, Taito struck gold with the release of Elevator Action Returns in Japanese arcades. The sequel was a big hit for the company and they eventually released a console port on the Sega Saturn only in Japan. For promotion, a print ad was made using the official painted artwork while also showing the screenshots and other details about it running on the Saturn (which itself was a powerful 2D sprite machine). Just looking at this old ad brings back the excitement of Elevator Action Returns and I now have a digital copy of it on my Xbox Series X.

10. Jade Cocoon: Story of the Tamamayu North American Print Ad

Promotional image for the video game 'Jade Cocoon: Story of the Tamamayu' featuring various characters and creatures within bubbles, showcasing the game's fantasy theme and release date of July 14, 1999.
A very ambitious print ad promoting Jade Cocoon in North America.

By the late 1990s, Japanese role-playing games (JRPG) really became popular on gaming consoles in America which arguably was the result of the massive global success of Final Fantasy VII. In 1999, there were a lot of JRPGs that got released on PlayStation and publisher Crave Entertainment literally pounced on American gamers’ interest on JRPGs by releasing Jade Cocoon: Story of the Tamamayu. Crave aggressively promoted the game and the result was this 2-page print ad that emphasized the game concept (developed by Genki), showed screenshots of the game, and displayed artworks that fans of Studio Ghibli anime productions can recognize. While Jade Cocoon: Story of the Tamamayu never became a massive commercial hit because of the low print run, there is no denying that its print ad was one of the most visually appealing ads of 1999. The ad alone made it look very ambitious.

11. Konami LaserScope North American print ad

Did you get excited after seeing this Konami LaserScope print ad? Do you know anyone who bought the peripheral?

In 1990, this print ad of Konami’s LaserScope appeared in comic books and several other publications. The LaserScope was a gaming peripheral designed for use on the Nintendo Entertainment System (NES) complete with compatibility with existing games that were made to support the NES Zapper. The ad even boasted a voice-activated firing feature and a hands-free approach on playing NES games. While the ad boasted that players will have the most powerful voice in video games, the LaserScope itself was a very flawed and badly optimized device. Apart from having a built-in microphone that was oversensitive, tracking targets was a chore requiring constant head-turning which in turn made the gameplay experience very tiring and frustrating. This old ad promised a lot and the LaserScope was a catastrophe. When was the last time you bought hardware from Konami?

+++++

Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @CarloCarrascoPH as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco

A Look Back at X-Men 2099 #18 (1995)

A Look Back at X-Men 2099 #18 (1995)

carlocarrasco

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, X-Men fans and comic book collectors! Today we revisit the Marvel Comics shared universe through one of the many tales of the X-Men 2099 monthly series.  

After 17 issues read, it is clear that the futuristic X-Men were destined to be separated from each other before getting back together against all odds. By having the team in disarray and the members separated with different situations that affected them, it provided the comic book creators opportunities to really develop each member extensively while expanding the lore of Marvel 2099 in creative ways. After seventeen issues, Skullfire has transformed into a more reasonable person who aligned himself with Shakti closely. Meanstreak meanwhile went to Las Vegas with Halloween Jack to do something that could alter the city seriously. Krystalin in California is on a quest to find her kidnapped brother.

With those details laid down, here is a look back at X-Men 2099 #18, published by Marvel Comics in 1995 with a story written by John Francis Moore and drawn by Ron Lim.

Cover of X-Men 2094 comic book, featuring characters in dynamic poses with vibrant colors and the title prominently displayed.
The cover.

Early story

The story begins in Berkeley where Krystalin and her companion visit a ruined part of the city. She is told that it is best for them to turn around but Krystalin insists on finding the Free Radicals who are responsible for kidnapping her brother Zak. As they walk further, they both fall into a trap door only to find themselves in a very dark wind tunnel which caused their fall to slow down. After landing on the floor, gas is suddenly pumped on them. A very bright light followed which disoriented them both. A man and woman appear to take them in. Krystalin decides to fight and find her brother.

Meanwhile in the mountains of New Mexico, three intruders appeared inside a secret laboratory while Shakti struggles to sleep. The intruders analyze Zhao’s attempt to make analogs of the original 20th century X-Men members which ended in failure. One of them thinks that Shakti has finally halted and reversed the deterioration. Using technology, they have the three fossilized bodies teleported to the Theater of Pain.

Shakti, who has been unable to sleep, senses the presence of a mutant inside the laboratory…

Quality

A group of diverse, stylized characters in a comic book setting, gathered in a futuristic underground location. The central figure, wearing a yellow robe and holding a glowing orb, is flanked by various characters with unique features, including a woman in black, a man with a muscular build, and a child with colorful attire, all engaged in a discussion.
Krystalin and her companion meet the Free Radicals, a group of dangerous freaks.

As expected, this comic book continues the tales of the previous issue, specifically Krystalin’s quest and Halloween Jack’s takeover of Las Vegas. Things, however, turned for the weird and the wild.

Krystalin’s quest for her kidnapped brother Zack led her to facing off with the Free Radicals, a group of freaks composed of scientists who have been waging guerilla war against governmental and corporate oppression. Elements of politics were mixed into the narrative of Krystalin’s tale as it brings back memories of radicalized groups in America who engaged in crime, political activism and terrorism during the rule of President Richard Nixon (for insight, click here). As expected, Krystalin finds herself on a huge disadvantage and her will to get her brother (a highly prominent part of the Panthers) back really got tested here.

As for the other important tale, Halloween Jack (assisted by Meanstreak) pushed forward with his insane intention to take over the Synge casino and bring down the syndicate while Desdemona Synge is helpless. This tale easily reminds me of the Las Vegas legacy of crime, particularly with the establishment of businesses owned by gangsters many decades ago. As Marvel 2099 has a strong anti-corporate message (which confirms the Leftist bias and philosophies with Marvel Comics and creators during the 1990s), the boundary that separated good and evil got blurred away in this tale. While Halloween Jack believes he is doing something good and significant by bringing down the Synge empire and changing Las Vegas, he does not realize he himself is evil and is executing a plan of one evil force replacing the current evil force. This should remind you about the Black Panthers, the Palestinian terrorists, the Black Lives Matter (BLM) movement and other wicked forces of the world who see themselves as liberators and went to the extremes with violence and coercion.

Along the way, Meanstreak assists Halloween Jack without any hesitation which made him a pawn of evil. As such, Meanstreak’s character and moral standing got compromised a lot which makes his membership of the X-Men questionable.

Indeed, there is a lot of symbolism in the tales of Krystalin and Halloween Jack here and the undeniable thing is that John Francis Moore implemented a good amount of depth within.   

Conclusion

A comic book panel featuring a dialogue between two characters. One character, a shadowy figure in a black suit, speaks to another character, a woman with long dark hair, wearing a yellow top and black shorts. A glowing green container is present in the background, indicating a sci-fi setting.
Shakti, who has the ability to sense the presence of mutants, encounters the intruder.

X-Men 2099 #18 (1995) is clearly an attempt to shake the foundation of the series itself. Las Vegas has always been a key location since the beginning, and the Synge empire was the original enemy of the futuristic X-Men. Even as the mentioned two tales resulted in the weird and the wild, the creators succeeded in ensuring a cohesive read.

Overall, X-Men 2099 #18 (1995) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at  @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco/.

A Look Back at Wolverine #50 (1992)

A Look Back at Wolverine #50 (1992)

carlocarrasco

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, X-Men fans and comic book collectors! Today we revisit the Marvel Comics universe to examine one of the many tales of the Wolverine monthly series.  

Before I start the review, I have to say out loud that the very woke and shameless game developer Insomniac Games ruined the superhero icon in the new Wolverine game on PlayStation 5. They inserted woke and homosexual elements into the game. That said, Insomniac Games never intended to make a Wolverine game that was fun and accurate to the source material. I urge you fans of X-Men and Wolverine to BOYCOTT the Wolverine PlayStation 5 video game!

Times like these, it is best to go back to reading the comic books published from the 1970s to the 1990s that featured Wolverine.

With those details laid down, here is a look back at Wolverine #50, published by Marvel Comics in 1992 with a story written by Larry Hama and drawn by Marc Silverstri.

The cover.

Early story

The story begins with Wolverine forcibly going up a New York City skyscraper with his motorcycle. It turns out that S.H.I.E.L.D.’s Helicarrier is secretly floating by the top of the building and Wolverine – who caused a lot of disturbance along the way – used his motorcycle to leave on to the floating structure. Wolverine crashes through the Helicarrier’s window and makes his way to Colonel Nick Fury. Wolverine tells him that he is aware about El Tigre and Emilio Garra’s activities in Cuba and he wants him to hand over his security dossier.

Minutes after Fury makes a call to secure the dossier, pawns of Hydra inside a building nearby gets alerted and retrieves from the National Security Agency (NSA) files of S.H.I.E.L.D. that have not been pulled in over twenty years.

The next day in Washington, D.C., Wolverine arrives at the office of the Department of Agriculture wanting to talk to Professor Thornton who is behind the closed door of his office…

Quality

A barrage of images from Wolverine’s memories drawn in great detail by Marc Silvestri.

The best way to describe this particular story of Wolverine is that it is a mystery and suspense tale (with a touch of political intrigue) told in the form of a superhero tale. More notably, this one reconnects to Wolverine’s past with Weapon X and it strong emphasizes the sinister nature of Weapon X and how is ruined the memories and lives of its living objects (including Wolverine and Silver Fox).

As many fans are already aware, it was during the Weapon X project when Logan was held against his will, got heavily experimented on and had Adamantium installed into his skeleton (note: the sharp Adamantium claws were installed on Logan).

In this comic book, Larry Hama went further with the mysteries by focusing on the memories Wolverine remembers and how the people behind Weapon X cleverly staged scenes (complete with physical sets, props and movie cameras) and implanted false memories into their minds by having neuro-synthetic implants placed in the cerebral vortex.

The X-Men led by Professor X bring Wolverine to Canada where the Weapon X warehouse is located at.

That said, this comic book explores moments from Wolverine’s past which will challenge readers to think if such moments are real or somehow fabricated. Considering Wolverine’s legacy as an aged superhuman who could not figure out his own personal history, this tale offers readers a cerebral reading experience that is truly one of a kind.   

Of course, this comic book would not be complete with action scenes of the icon. Wolverine’s battle with Shiva is indeed action-packed and Marc Silvestri’s art style made it look dynamic and gritty at the same time. I should state that the action did not happen in a random fashion. Instead, the action happened within the context of the story complete with moments of intrigue and revelations (note: pay close attention to the dialogue and other details during the action scenes).

Conclusion

This page’s message is clear: never mess with the tough and rough Wolverine.

Wolverine #50 (1992) is indeed a very compelling read and it still is a great, standalone Wolverine tale to follow from start to finish. The story has a good amount of intelligence, mystery, political intrigue and twists carefully blended. In my experience, the tension gradually built up as Wolverine’s quest for answers and the truth went on. I can also say the payoffs are rewarding. More notably, this old comic book will make you think deeply about Wolverine and his past, and how Weapon X violated him to the point of ruining his memory. This comic book could also make you sympathetic towards the tough and violent Marvel icon in ways that other forms of media (notably the movies) could not.

Overall, Wolverine $50 (1992) is highly recommended!

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @CarloCarrascoPH as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco/.

A Look Back at X-Men 2099 #17 (1995)

A Look Back at X-Men 2099 #17 (1995)

carlocarrasco

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, X-Men fans and comic book collectors! Today we revisit the Marvel Comics shared universe through one of the many tales of the X-Men 2099 monthly series.  

I like the way the direction of the series went with issue #16. The X-Men are in disarray and they are not even complete nor are they stable enough for any opposing force that could come their way. As Krystalin went to California for an uneasy reunion with her brother, Meanstreak has the past catching up to him. Firstly, he is not comfortable with Luna (Skullfire’s former tormentor and romantic partner) being part of their team. Secondly, a friend of his from Alchemax returned but in a radically different form.

With those details laid down, here is a look back at X-Men 2099 #17, published by Marvel Comics in 1995 with a story written by John Francis Moore and drawn by Ron Lim.

The cover.

Early story

The story begins with Meanstreak and Halloween Jack (Jordan Boone who previously appeared as Loki during the Fall of the Hammer storyline) arriving in Las Vegas. Halloween Jack tells his pal that they benefit a lot from Las Vegas once they reshape it to their desires. For Meanstreak, trusting Jordan Boone (his friend since their days at the Alchemax academy) is very tough as he has changed so drastically into a dangerous psychopath as Halloween Jack. Jordan tells his fast friend that revenge is motivating him to take over Las Vegas.

Deep inside the Synge Casino & Hotel, Desdemona appears to her fallen brother Lytton who is paying the penalty of having murdered their late father Noah Synge. Even though he is in prison and has been isolated, Lytton remains addicted to shriek

Quality

A civil talk between Krystlin and her extremist brother Zak.

This comic book has two main plot threads – one is about Meanstreak and the obsessed Halloween Jack tackling the top of the Synge empire by confronting Desdemona personally, and the other follows Krystalin in California. Thematically, the two main plot threads are about dealing with the past and doing something with the future in mind.

In the case of Meanstreak (now separated many miles away from his teammates), his uneasy reunion with Jordan Boone puts him into a direct encounter with the head of the Synge empire which itself has a powerful grasp on Las Vegas. Meanstreak is witnessing Halloween Jack’s move to take over the city which effectively puts him in a very awkward position and none of the X-Men could help him.

As for Krystalin, she has the burden of dealing with her brother Zak who is obsessed with the ways of Wakanda and still lives with the obsession that everyone – including his sister – has to follow the Wakandan ways and agenda even if it means betraying the X-Men and their mother’s legacy. In fact, Zak here is pretty extreme and there are hints of racism and discrimination in his beliefs. This comic book also reveals the conflict of beliefs between Krystalin’s own parents which remains in effect between her and Zak.

Conclusion

Desdemona is the head of the Synge empire.

With its two plot threads, new sub-plots and character-driven focus, X-Men 2099 #17 (1995) moved this series to a direction that can be described as suspenseful, intriguing and also uncertain. That said, the current state of the X-Men looks even bleaker and more uncertain. Still, this comic book has set up something about Las Vegas and Krystalin’s personal struggle, and I am interested enough to discover more.

Overall, X-Men 2099 #17 (1995) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at  @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco/.

A Look Back at X-Men 2099 #16 (1995)

A Look Back at X-Men 2099 #16 (1995)

carlocarrasco

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, X-Men fans and comic book collectors! Today we revisit the Marvel Comics shared universe through one of the many tales of the X-Men 2099 monthly series.  

Having read the first fifteen issues of the monthly series, the X-Men have so much uncertainty ahead of them. Their leader Xi’an not only left them, but he also joined the sinister Theater of Pain which is led by the demonic Brimstone Love. The twisted Skullfire returned to the X-Men with a renewed purpose, but Kystalin had to leave them to settle a private matter. In Las Vegas, something is brewing within the Synge empire.

With those details laid down, here is a look back at X-Men 2099 #16, published by Marvel Comics in 1995 with a story written by John Francis Moore and drawn by Ron Lim.

Cover art of X-Men 2099 #16 featuring a character in a blue and red outfit with a serious expression, and a ghostly figure looming menacingly behind. The title 'X-Men 2099' is prominently displayed at the top, with 'Halloween Jack' as the subtitle.
The cover.

Early story

The story begins in Las Vegas when operators of the Synge empire attempt to kill a man. The man successfully avoids getting hit then jumps off the building and transforms into an eagle. Using their flying vehicle, the operators chased the eagle and successfully knocked it out cold using the neural scattershot.

In Oakland, Kystalin attends the grand funeral of Andre Daniel Ogada, one of the founding soldiers of the panther who helped rescue a community from violence. There, she is reunited with her brother Zak who is addressed by others s Minister Ogada. Krystalin could not believe that Andre Daniel Ogada is gone as she always thought he was invincible. Zak tells her she should have been at his side. Kystalin suddenly finds herself in a conflict between being with her family and being one of the X-Men as Zak tells her that her duty is with the family instead of the mutants…

Quality

A comic book page featuring a dynamic action scene with a character, a woman with white hair and a dark outfit, fighting and using a whip in a confrontational pose. The dialogue includes playful banter and expressions of defiance.
Luna got slashed from behind by someone with serious business with Meanstreak.

To begin with, this comic book really moved a lot of developments forward involving the X-Men members in creative fashion. This one has four plot developments that even include Desdemona Synge and her empire’s struggle with one very notable gang that gave them a lot of trouble.

Among the four plot developments, the one involving Meanstreak – who appeared on the cover art – is the closest thing to being the most important one to follow. This is because each plot development has a lot of depth and John Francis Moore ensured character developments would happen along with intrigue and surprise sprouting from the narrative. The part about Desdemona and the Synge empire is very compelling to read on its own and there is something new to discover about how it operates as it combats individuals perceived to be crooks or terrorists. The plot thread about Kystalin reuniting with her brother carries a lot of emotional weight as the legacy of her family was well defined. To see Krystalin getting conflicted between two families – her biological family and the X-Men – is absolutely intriguing and you might end up speculating about what lies ahead for her.

Conclusion

A comic book scene depicting a fight between characters, with dynamic action lines showing impact. One character receives a kick, while another character is poised for a strike. Speech bubbles reveal dialogue about teamwork and combat skills.
At this stage in the X-Men 2099 series, Skullfire and Shakti are focused on keeping the team together while knowing fully well that the Theater of Pain is one powerful enemy to deal with.

The best way to describe X-Men 2099 #16 (1995) is this…it sparked a wave of emotions from the X-Men members while creatively reconnecting this series to what was told in the early issues (specifically issues #1 to #5) and even paving the way for an uncertain future that awaits the team. This is the kind of comic book that builds up anticipation for the next issue and if you are an X-Men 2099 reader who cares a lot about the characters, then this one will resonate with you.

Overall, X-Men 2099 #16 (1995) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at  @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco/.

A Look Back at X-Men 2099 #15 (1994)

A Look Back at X-Men 2099 #15 (1994)

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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, X-Men fans and comic book collectors! Today we revisit the Marvel Comics shared universe through one of the many tales of the X-Men 2099 monthly series.  

Looking back at how early the members of the futuristic X-Men got separated and lost their leader Xi’an (who became sinister, pursued a quest of his own interest and joined the Theater of Pain), I can see what the creators did to develop the characters, tell new stories, introduce new characters and expand the lore of the 2099 in another part of the United States. That said, this series became consistently entertaining and intriguing at the same time.

With those details laid down, here is a look back at X-Men 2099 #15, published by Marvel Comics in 1994 with a story written by John Francis Moore and drawn by Ron Lim.

The cover.

Early story

The story begins in the Keewazi Nation in Oklahoma. Eddie/Metalhead is unconscious with Hurricane and her friend accompanying him. Their pregnant companion Rosa has been missing since Glitterspike (the man who impregnated Rosa) took her away from them. Metalhead wakes up and immediately asks where Rosa is.

Far away, Rosa tells Alexi/Glitterspike to let go of her even though they are flying high above ground. Glitterspike tells her that he will do the best interest of her and their unborn child to become one big happy family. Rosa rejects him stating that the Freakshow is her family.

Even with the tremendous risk present, Rosa uses power of producing static interference on them. Soon enough, they start losing altitude…

Quality

Serious talk between Shakti and a changed Skullfire about the X-Men and the situation they have now that their former leader Xi’an joined a gang of evil.

The story crafted by John Francis Moore here is strongly focused on the Freakshow with emphasis on former X-Men member Metalhead who at this point of the series has gotten very close with the pregnant member Rosa. This comic book marks the first time that Metalhead became a true major player in the series as he gradually adjusts with becoming a new member of the Freakshow.

Unsurprisingly, Rosa became a major player in the story too as she has no choice but to deal with someone from her past who is not just stubborn but also a cybernostra hitman who was genetically bred to process light into energy. Glitterspike went ballistic when Rosa left him some time prior and his obsession with her only grew.

A major part of this story involved the presence of a fabled monster called the Shadow Dancer which has been lurking in the hills of the wasteland and already a lot of people got scared of it. Creatively, this monster serves as the obstacle that Metalhead, Rosa, and the others have to deal with.

What Moore and Ron Lim accomplished in this story is deeply developing the Freakshow, Metalhead and Rosa while expanding the lore of 2099’s American wasteland even further. They also gave readers a quick look at the remaining X-Men team members who are now dealing with the new reality that their former leader turned evil by joining Brimstone Love’s Theater of Pain. In addition, Skullfire – once a weak and unsure new member of the X-Men in the beginning – not only returned to Shakti and the remaining team members, his personality and view of reality have changed which reinvigorated his passion for the team.

Conclusion

Rosa does something very risky as Glitterspike carries her in the air.

X-Men 2099 #15 (1994) was crafted to be compelling with strong focus on Metalhead and the Freakshow. It clearly marked the next phase in the life of Metalhead and it made the Freakshow an even more interesting team within the X-Men 2099 series. The story has lots of strong and intriguing moments, and character development is consistently strong. The tale also has some science fiction inspiration from the 1979 movie Alien mixed in. This is a good read.

Overall, X-Men 2099 #15 (1994) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at  @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco/.

A Look Back at X-Men 2099 #13 (1994)

A Look Back at X-Men 2099 #13 (1994)

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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, X-Men fans and comic book collectors! Today we revisit the Marvel Comics shared universe to examine one of the many tales of the X-Men 2099 monthly series.  

I enjoyed the way John Francis Moore put things into motion in issue #12 and other previous issues of X-Men 2099. During the 3-part storyline at the start of the series, the Synge business empire and its wing of enforcers looked like the definitive force of evil for the mutants led then by Xi’an. As the series progressed, the Theater of Pain (first introduced comprehensively in issue #4) and its leader Brimstone emerged as the new force of evil while the X-Men lost Xi’an and Skullfire became more unhinged and got more involved with Luna (the one who messed with his mind and emotions). Xi’an, who reverted back to his sinister mindset, is obsessed with finding the Driver. It should be noted that these characters are all in the middle of the wasteland in 2099’s America (for 2099 historical reference, click here).

With those details laid down, here is a look back at X-Men 2099 #13, published by Marvel Comics in 1994 with a story written by John Francis Moore and drawn by Ron Lim.

The cover.

Early story

The story begins with Brimstone Love making his way into the Garage, a secret high-tech facility of the Driver. He finds it interesting that his hunt for Luna led him into the strange structure in the desert and he know that she and her companions are inside.

Inside the structure, Junkpile is bound and tortured on a chair with Adamantium restraints holding him. With Junkpile is the Driver watching him while Xi’an, Skullfire and Luna are trapped nearby by a laser grid. Skullfire, who is aware that Xi’an has been pursuing the Driver ever since he learned key details from Hurricane, implied to the former X-Men leader that the Driver is more of a problem and antagonist while Luna added her own comments about their situation. Xi’an tells them they need to determine the severity of their situation.

Xi’an tells the Driver that Hurricane described him as a part of the mutant underground during the Purge. It turns out, the Driver has not heard about Hurricane for a long time and insisted to Xi’an that he mistook his actions as hostile.

The Driver begins to explain what he has been doing, why he continues to fight and protect the sacred mutant tribe and why he sought out hundreds of mutants to give them sanctuary…

Quality

A lot of intriguing developments happened here and it concludes Xi’an’s pursuit of the Driver.

With regards to storytelling and revelations, I can say that the intensity from the previous continued smoothly in this comic book. While the Theater of Pain was first revealed in issue #4, it was in the previous issue and in this particular story that its actual scope was made clear, and the presence of Brimstone Love – obviously 2099’s walking symbol of Satan – added great tension and a new evil presence for the X-Men to deal with.

What I enjoyed most in the story crafted by John Francis Moore are the revelations. The Driver, who came close to death and witnessed the plight of mutants, has a personal mission of providing sanctuary to mutants who are still living in danger in 2099’s America which has been dominated by mega corporations (MegaCorps). Still, his specific methods of achieving his goals for mutantkind are intriguingly questionable and in someways they made him looked even sinister. That said, Xi’an’s pursuit of him (which started a few issues prior) really resulted in some shock value that has to be seen page by page.  

Very notably, Moore made the script even more dramatic which is clearly reflected in the dialogue of the characters and the art done by Ron Lim. I should also state that flashbacks of the mutants struggle for survival under the Driver and Hurricane are included and they are worth seeing.

Considering what this comic book has, it will make readers think deeply about the essence of X-Men 2099 as a team and the comic book series itself. At the same time, new mysteries about the direction of the series will be realized in ways that readers don’t expect.

Conclusion

The Driver himself was part of the effort that saved desperate mutants decades prior and he came close to dying. This comic book heavily defines his existence and his mission on providing sanctuary to any mutants he finds.

If there is anything significant about X-Men 2099 #13 (1994), it is the fact that it changed the trajectory of the series and reshaped the concept of X-Men 2099 as a whole in dramatic fashion. The build-ups, the pay-offs and revelations in this comic book are powerful. Along the way, this will make you question even further the intentions of Xi’an (former X-Men leader) and Skullfire (the unhinged X-Men member who used to be so weak and unsure of himself). As for the Driver, he is very well defined by the Moore-Lim duo in this comic book and he has gotten even more significant by the end. If there is anything severely lacking here, it is the spotlight on the surviving X-Men team members (with Shakti as their new leader).

Overall, X-Men 2099 #13 (1994) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at  @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco/.

Retro Gaming Ads Blast – Part 46

Retro Gaming Ads Blast – Part 46

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Welcome back readers, fellow geeks and electronic gaming fans!

In this edition of the Retro Gaming Ads Blast (RGAB) series, we will take a look at another batch of retro gaming print ads from the 1980s to the early 2000s.

For the newcomers reading this, Retro Gaming Ads Blast (RGAB) looks back at the many print ads of games (console, arcade, computer and handheld) that were published in comic books, magazines, flyers, posters and newspapers long before smartphones, social media, the worldwide web and streaming became popular. To put things in perspective, people back in the 1980s to the 1990s were more trusting of print media for information and images about electronic games and related products.

With those details laid down, here is the newest batch of retro gaming print ads for you to see and enjoy…

1. Frogger Print Ad

Do you find this old ad humorous?

When Frogger was first released in video arcades in 1981, it easily attracted countless gamers offering them bouts of fun and the video game critics were very impressed with it. Considering its massive arcade success, it was unsurprisingly ported to the game consoles and home computers of the time. Parker Brothers secured the license for cartridge versions and the company produced Frogger ports for not just the Atari 2600 but also the Atari 7800. This print ad they came up with had a deliberate cartoony artwork (with a touch of humor) and an artist created a hand-drawn illustration intentionally made to resemble a screenshot from the game. I saw this ad a number of times when I read comic books in 1982.

2. The Legend of Kage Japanese Arcade Flyer

Action and excitement in ancient Japan!

In my life, I never had the opportunity to play the original arcade version of The Legend of Kage and ended up playing only the Nintendo Family Computer (Famicom) port. Behind the scenes, Taito itself came close to preventing The Legend of Kage from being released in the arcades. The company placed it in a certain game show where it received praise by many which prompted Taito to give it a full arcade release. To promote the game, the Japanese arcade flyer had lively hand-drawn artwork that perfectly reflected what the game is about, who the playable hero is and what ancient Japanese setting was used. Fortunately for Taito, The Legend of Kage became a huge commercial hit and this led to the production of ports for different consoles and computers.

3. Hyper Olympic Japanese Arcade Flyer

Arguably the best track and field game ever made for the arcades.

In 1983, Konami released their summer Olympics-inspired arcade game Hyper Olympic (titled Track & Field in other parts of the world) which offered players the opportunities to compete in a series of events with emphasis on pressing the buttons as quickly as possible. The arcade flyer Konami came up with featured fine-looking hand-drawn artwork showing athletes competing in track and field events (with the types of events displayed at the top-most part of the flyer) while showing just one screenshot (lower right) and displaying the officially 1984 Los Angeles Olympics logo (lower left). In my view, this old arcade flyer does a good job promoting both the arcade game as well as the 1984 Olympics itself. Too bad nobody makes this kind of arcade flyer anymore.

4. Terra Cresta Japanese Arcade Flyer

Did you ever play Terra Cresta in the arcades in Japan?

Nichibutsu, which produced a lot of arcade games that were released only in Japan, released Terra Cresta in Japanese arcades in 1985. It turns out Terra Cresta is a sequel to their 1980 game Moon Cresta which itself was their first big arcade hit game. Nichibutsu literally loaded the front of Terra Cresta’s arcade flyer with lots of visuals and details. As you can see, seven screenshots of the game were displayed (each with descriptive text), a fancy looking artwork that emphasized the science fiction setting, some English descriptive text, the cocktail table arcade machine and a pretty Japanese lady wearing an aerobics outfit with legwarmers (popular in the 1980s). This flyer truly has a strong 1980s flavor.  

5. Sega Master System European Print Ad

From the early days of Sega’s console business.

After many years doing arcade games, Sega made the bold decision to start competing in console gaming with the release of the SG-1000 in 1983 in Japan. Even though Nintendo was a very tough competitor with the best-selling Famicom, Sega did not give up and proceeded to launch their console in America and Europe referred to as the Master System. In a serious attempt to gain customers specifically in England, Sega made a print ad showcasing a family sitting in front of a TV set with the young boy playing a racing game on a Master System. Looking at how the descriptive text was presented, it was clear that Sega emphasized bringing the arcade game experience into the comfort of home while also promising that a lot more new games will be released in the near future. This is an eye-catching ad and also a fine example of aggressive marketing by Sega.

6. Ken Griffey Jr.’s Winning Run North American Print Ad

What was the best baseball video game you ever played?

Following the commercial success of the 1994 Super Nintendo Entertainment System (SNES) game Ken Griffey Jr. Presents Major League Baseball, Nintendo got Ken Griffey Jr. again as endorser and proceeded with the follow-up Ken Griffey Jr.’s Winning Run. With the highly talented Rare (Donkey Kong Country) chosen as game developer, Nintendo was highly confident with the baseball sequel and the 2-page print ad reflected that. The Ken Griffey Jr.’s Winning Run ad had a striking image of a broken baseball bat on one side while the game’s details, two screenshots and the creative description dominated the other side. While I am not so interested in baseball, I can say that this old print ad is indeed attention-grabbing.

7. 2Xtreme North American Print Ad

From the time when the X Games were wildly popular.

Remember how popular the X Games (Extreme Games) were back in the 1990s? Early in the life of the PlayStation console, Sony released ESPN Extreme Games which sold over a million copies worldwide. As expected, a follow-up titled 2Xtreme was approved for a 1996 release. Sony came up with a 2-page ad that had an upside-down X Games participant with roller blades dominating most of the space and six screenshots were displayed. The descriptive text in the lower part of the ad was deliberately written to be hip and cool.  

8. Macross Plus Japanese Arcade Flyer

The front.
The rear.

Based on the mid-1990s anime OAV, the Macross Plus video game from Banpresto was designed as a vertical-scrolling 2D shooter that captures the feel and intensity of the anime’s spectacle. The front of the Japan-only arcade flyer showcased the YF-19 Excalibur, the YF-21 Sturmvogel and the VF-11 Thunderbolt (plus the basic arcade controls on the lower-left) which were all rendered in 3D polygons to delight Macross fans and gamers who are interested in new 2D shooting experiences. The rear of the flyer showed additional details and it even includes English text descriptions. Strangely, no screenshots of the game were displayed. Being a long-time Macross fan, I can say this old arcade flyer is still engaging to look at.  

9. Macross VF-X2 North American Print Ad

An impressive looking print ad for a Macross video game that never got released in North America.

In the late 1990s, Bandai prepared to launch Macross VF-X2 (the sequel to 1997’s Macross Digital Mission VF-X) on the PlayStation console in North America. This was a very intriguing move because Bandai never brought the mentioned 1997 Macross game outside of Japan. Shortly after the official announcement of a North American release, Macross VF-X2 got featured in video game magazines, an English demo of the game (first mission only) was distributed through Official U.S. PlayStation Magazine, and Bandai came up with the 2-page print ad you see here. Unfortunately, Macross VF-X2’s North American release got cancelled because of copyright issues and legal obstacles (note: Harmony Gold held the Western rights to Robotech and actively blocked the release of genuine Macross products in America). As such, this impressive looking Macross VF-X2 print ad for North America ended up as a promotion for nothing!

10. Star Wars: Racer Arcade Japanese Print Ad/Poster

This is one of the many video games based on Star Wars: The Phantom Menace.

In 1999, Star Wars Episode I: The Phantom Menace was a massive box office hit in theaters around the world and it marked a new era of Star Wars movies with digital effects available. Similar with 1993’s Jurassic Park, George Lucas’ movie also had a huge lineup of merchandise, action figures and video games. The pod racing from the movie became the basis for Star Wars: Racer Arcade which was released in Japan on June 2000, and then in America a month later. To help arcade operators attract gamers and Star Wars fans, a print ad and poster were released featuring a very dynamic image of pod racing from the game dominating the background, a few screenshots displayed and some computer-generated of characters and vehicles. At the lower right part of the ad/poster is the image of the arcade machine which has a huge screen, a seat and control panel. The descriptive Japanese text was written to excite both fans and gamers. Did you play this Sega-produced Star Wars game in the arcades?

11. Konami Wai Wai World Japanese Print Ad

Can you spot Simon Belmont, Mikey Walsh and King Kong in this Japan-only print ad of Konami Wai Wai World?

Going back to the late-1980s, Konami released a 2D adventure game on the Famicom that was very ambitious as it featured side-scrolling treks, vertical-scrolling shooting sequences and, most notably, a cast of characters that emphasized crossovers between intellectual properties of gaming. I am talking about Konami Wai Wai World (sometimes called Konami World for short) which had characters, settings and elements of Konami’s own properties like Gradius, Castlevania and Twin Bee. Not only that, King Kong of King Kong 2: Ikari no Megaton Punch and Mikey Walsh of The Goonies were also featured which is astonishing because they represent entertainment intellectual properties that were licensed to Konami for video game adaptation. That said, the emphasis of crossovers and excitement was shown in the form of 2D character sprites in this Japanese print ad of Konami Wai Wai World. This is the kind of game that Konami itself will never be able to make again and to do a remake or an enhanced re-release of Konami Wai Wai World will require overcoming all the legal obstacles in the way.

+++++

Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @CarloCarrascoPH as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram athttps://www.instagram.com/authorcarlocarrasco

A Look Back at X-Men 2099 #12 (1994)

A Look Back at X-Men 2099 #12 (1994)

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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, X-Men fans and comic book collectors! Today we revisit the Marvel Comics shared universe to examine one of the many tales of the X-Men 2099 monthly series.  

Looking back at the X-Men 2099 series of the 1990s, so much has developed during the first eleven issues released from 1993 to 1994. When I first read issue #1 in 1993, I found the futuristic X-Men really intriguing to follow and there was the expectation that the team led by Xi’an would somehow grow and make breakthroughs happen in 2099’s America. Surprisingly, members of the team got separated from each other – such as losing Metalhead to the Freakshow – and Xi’an himself changed for the worse and eventually left the team. Tim Fitzgerald/Skullfire (the weak and unsure newcomer who joined the futuristic X-Men) himself changed radically becoming unhinged and he has gotten really close with Luna (the one who messed with his mind and triggered his emotions).

With those details laid down, here is a look back at X-Men 2099 #12, published by Marvel Comics in 1994 with a story written by John Francis Moore and drawn by Ron Lim.

The cover.

Early story

The story begins in the black market mall with Luna struggling to separate Skullfire and Junkpile from each other. Skullfire hates Junkpile whom he holds responsible for killing his friend Serpentina (the one X-Men member who welcomed him at their sanctuary). Junkpile blames Skullfire and his teammates for causing him some serious grief in Las Vegas. Luna tells them both to shut up or she would do something on both of them.

Moments later, the three of them are accused by the mall security for violating the market regulations. An armed mall security officer points his weapon at them accusing them of willful destruction of market property. The looks of Junkpile, Luna and Skullfire, however, scared him and convinced him to move away. Luna then reveals to Skullfire that she encountered Junkpile outside of Las Vegas shortly after the violent encounter with the X-Men. The three of them proceeded to a café to have a civil talk. Skullfire asks Luna about the Theater of Pain…

Quality

Former X-Men member Metalhead with the group of degenerates called the Freakshow. One of their members clearly rejects him given his status as a mutant.

Wow! The Moore-Lim team loaded this comic book with immense details that established the true force of opposition that awaits the X-Men. The story reveals to readers the Theater of Pain, its demonic leader Brimstone Love and what the theater’s purpose truly is. Brimstone Love and the theater were first revealed at the very end of issue #3 and this comic book offers readers a close look at them complete with very intriguing details that turned out to be worth discovering. That said, it was clear that John Francis Moore designed the Theater of Pain to be not just a planned force of evil the X-Men must face but also an actual threat to many living in 2099’s America. The Theater of Pain has a very sinister agenda and its operations involves the accumulating human misery which is a frightening concept on its own.

While Luna’s history and connection with the Theater of Pain is emphasized, Xi’an’s search for the Driver makes a lot more sense here as the former X-Men leader (now sinister and spiritually lost) communicates again with someone from his past. That said, the plot really thickened a lot in this comic book and that alone makes it engaging to follow.

As this issue follows Skullfire, Luna, Junkpile and Xi’an – plus a quick look at former X-Men member Metalhead now spending time with the Freakshow – the tone of the tale turned dark and gritty which I think was intentionally done by the creators as the Theater of Pain was strongly emphasized. That said, this is indeed inspired work.

Conclusion

Skullfire, Junkpile and Luna look so intimidating and creepy, the mall security guy got scared and abandoned his duty.

With a dark tale and an established force of evil rising in the horizon, X-Men 2099 #12 (1994) can be described as an inspired turn of events for the monthly series as a whole. At this stage, the direction of the series really started to take shape. It is also a lively reminder that the mutants struggling in 2099 have the wilderness and its violent elements as the least of their worries. The Theater of Pain itself is a reminder about sinister yet unseen forces that are operating while lots of people remain unaware of them (note: think about the World Economic Forum and what its core organization really do behind closed doors as time passes). Lastly, the twisted developments of Skullfire and Xi’an’s respective personalities will keep you in suspense as to how the futuristic X-Men can survive without them.

Overall, X-Men 2099 #12 (1994) is recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. If you want to support my website, please consider making a donation. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at  @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco/.

A Look Back at X-Men 2099 #8 (1994)

A Look Back at X-Men 2099 #8 (1994)

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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, X-Men fans and comic book collectors! Today we revisit the Marvel Comics shared universe to examine one of the many tales of the X-Men 2099 monthly series.  

After the first seven issues of the series, it is clear that the futuristic mutants under Xi’an have tough challenges to not only survive in the dangerous and unpredictable wasteland of 2099’s America but also help their leader fulfill the ultimate goal of protecting mutants from the evil corporations in accordance to the dream of Professor X (Charles Xavier). Unlike the X-Men of the 20th century, the team of 2099 does not have vast resources nor do they have a permanent place for living and development. Xi’an himself is still struggling with the elements from his past as a violent criminal.

With those details laid down, here is a look back at X-Men 2099 #8, published by Marvel Comics in 1994 with a story written by John Francis Moore and drawn by Ron Lim.

The cover.

Early story

The story begins with Krystalin examining Archangel with amazement. Moments later, she sees Cyclops, Iceman, Beast and Jean Grey (in her Phoenix form). She wondered how many times did each of Professor X’s first students appear to die only to return again and again. She recalls that the records of their deaths may have been in error or even falsified. She also remembers the succeeding X-Men teams of Del Ruiz and Zhao.

It turns out the original X-Men members she saw were holograms as Victor Ten Eagles (who was a fellow outlaw with Xi’an in the old days) reveals that he opened his studio to few people and never to strangers. He allowed Krystalin in because he owes Xi’an a blood debt from their time together with the Lawless. As they talk, he explains to her his personal interest in the X-Men and the legacy.

Over at Iron Horse in Arizona, Hurricane talks with two trackers who were tied up. Meanstreak uses his super speed to dismantle the trackers’ suits of armor and examine the technologies within. He finds one Tetsuo Mark 6 signal beacon that was used to monitor armor in the field. He tells Hurricane she can use it as an advance warning the next time trackers are sent after her.

Hurricane tells the X-Men that she and the Freakshow never stay too long in one place. Moments later, the infected Metalhead tells Skullfire that he is trapped in his current metal form and could not change back…

Quality

As the Freakshow is about to leave, Metalhead surprises his fellow X-Men.

To make things clear, this X-Men 2099 comic book is very engaging to read as it is filled with a lot of details that further expanded the lore of the 2099 universe concerning mutants and legacy of the X-Men in the 21st century. As such, I really enjoyed learning about the “future history” of the X-Men, how mutants struggled to survive in a corporation-controlled America, and why the wasteland became the 21st century’s very own Old West where danger and uncertainty are constant.

If have an obsession about the 2099 universe, there is a lot to discover and enjoy here. Xi’an’s pursuit for knowledge about the mutant underground and Hurricane’s involvement is compelling to read and what was revealed is worth discovering. Meanwhile, Krystalin and Ten Eagles’ exploration of facilities as they search for answers reminds me a lot about a notable part of the story in Beneath the Planet of the Apes.

Conclusion

The closest thing to a crossover with the original X-Men.

X-Men 2099 #8 (1994) is a compelling read and it is one of the stronger references about the 2099 universe and the legacy of the X-Men from the time of Xavier to that of Zhao. The details revealed here are fine pay-offs to what was built up in the previous issues, and they connect well with the existence of Xi’an’s X-Men. This comic book will really help you understand the place of mutants in the 21st century and in my experience, the learning is enjoyable.

Overall, X-Men 2099 #8 (1994) is highly recommended.

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