Retrospective – Author Carlo Carrasco

A Look Back at X-Men 2099 #13 (1994)

September 4, 2026August 22, 2026carlocarrasco

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 It should be noted that these characters are all in the middle of the wasteland in 2099’s America (for 2099 historical reference, click here).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.

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

September 2, 2026August 31, 2026carlocarrasco

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

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

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)

August 31, 2026August 20, 2026carlocarrasco

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.

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.

+++++

A Look Back at X-Men 2099 #8 (1994)

August 28, 2026August 18, 2026carlocarrasco

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 20^th 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.

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 21^st 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 21^st 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.

+++++

A Look Back at X-Men 2099 #6 (1994)

August 24, 2026August 18, 2026carlocarrasco

In late-1993, Marvel Comics published the Fall of the Hammer crossover storyline highlighting the major figures of Marvel 2099 and the X-Men members involved were only Skullfire, Krystalin, Bloodhawk and Meanstreak. As told in Ravage 2099 #15, the said X-Men members made it to Valhalla with Ravage. After the events of Fall of the Hammer, the four X-Men members survived and eventually started traveling all the way back West in America to rejoin the rest of the team.

With those details laid down, here is a look back at X-Men 2099 #6, published by Marvel Comics in 1994 with a story written by John Francis Moore and drawn by Ron Lim.

Early story

The story begins in Arizona when two fully armed personnel wearing suits of armor search for a monster-like mutant who tries to hide. The mutant is named Dominic and he eventually got corned by the two armored figures. As he is about to get shot, one of the armored guys got pushed by force somehow. The next moment, a gang of mutants called the Freakshow appears.

In the southern part of Nevada, Skullfire, Bloodhawk, Krystalin and Meanstreak travel in an aircraft going back to Xi’an and the rest of their teammates. As Bloodhawk jumps of after saying goodbye, Skullfire jumps off as well in a suicidal manner. He eventually grabs Bloodhawk by the ankle. Back at the aircraft, Krystalin and Meanstreak shared their respective observations about Skullfire’s sudden change of personality since the psychic vampire Luna messed with him…

Quality

*As the X-Men search for Hurricane, the Freakshow stands in their way.*

The script of this comic book was finely crafted by John Francis Moore and it is amazing how efficient he got the X-Men team back (after Skullfire, Krystalin, Meanstreak returned) on track while ensuring a good amount of depth as reflected in the dynamics between the team members as the story went on. The storytelling felt natural and really believable.

Along the way, this comic book shed light on team leader Xi’an and the threads of the past that came back to haunt to him. This instantly added a new layer of development on Xi’an which established an element of uncertainty on the future of the X-Men under him (and his personal struggles). That said, Xi’an does not have the rock-solid stability of Professor X (Charles Xavier) which will remind readers how different the X-Men of 2099 are from the classic X-Men.

The X-Men are on the search for a mutant called Hurricane who has been active on resisting the corporations’ control on the nation and has long emphasized liberty and self-control on personal living. Historically, Hurricane led a part of the Underground Railroad which carried mutants to safe haven during a time of terror and fear. That said, X-Men’s search has a heavy purpose and the challenges they faced here is gripping and intriguing to follow. I should also state that Ron Lim’s delivery of dynamic action is really good to look at.

Conclusion

*I really enjoyed the dynamics of the interactions between the members of the X-Men in this comic book. There is richness in John Francis Moore’s script here.*

X-Men 2099 #6 (1994) is both a solid follow-up to the events of the Fall of the Hammer storyline and also a fine portrayal of how the team works under Xi’an’s leadership. More notably, it pushed the narrative of the series forward and gave us readers an in-depth exploration of the isolated places of America’s southwestern region in 2099 which is a sharp contrast to that era’s New York City dominated by Alchemax. More notably, this comic book implemented renewed focus on the state of mutants who have been living in fear, danger and uncertainty in America of 2099 which connects directly with the purpose of the X-Men as a team.

Overall, X-Men 2099 #6 is recommended. (1994)

+++++

A Look Back at X-Men 2099 #11 (1994)

August 21, 2026August 16, 2026carlocarrasco

If there is anything notable about the futuristic X-Men, it is the separation of the team members that started really early in the monthly series. Meanstreak left the team to pursue something personal. A few members of the team – including Meanstreak – got involved in the Fall of the Hammer crossover storyline (click here, here and here), Metalhead got infected and decides to leave the team to stay with another group, and their leader Xi’an lost his way.

With those details laid down, here is a look back at X-Men 2099 #11, published by Marvel Comics in 1994 with a story written by John Francis Moore and drawn by Ron Lim.

Early story

The story begins with Tim Fitzgerald/Skullfire and Luna enjoying their time together outdoors. Tim, whose personality has changed into becoming radical and wild, tells her that he has not forgotten the anguish she put him in through the darkroom which made him relive the death of his beloved Reiko from some time ago.

As the tension between Tim and Luna intensifies, Xi’an tells him that they have to go to El Paso in Texas. It was Luna’s first time to meet Xi’an. The former leader of the X-Men states that they are closing in on the Driver…

Quality

*Skullfire blasts Junkpile, the one responsible for the death of Sepertina (see X-Men 2099 #3).*

Given the way the members of the X-Men got separated, the Moore-Lim duo succeeded in telling an intriguing story without even having a clear enemy for them to encounter. This is a tale about a drastically changed Xi’an (now arrogant and with an agenda of his own) develops into someone becoming more undesirable and dangerous with the passage of time. Similarly, Tim here is turning more unhinged and dangerous as he gradually turns into Skullfire (personally and visually) and Luna here is ironically the one keeping him stable.

On the other side, the remaining X-Men are still together but with a huge cloud of doubt over them. At this stage, Shakti/Cerebra – who was the faithful second-in-command when Xi’an still led the team – is taking more responsibilities as she gradually becomes the team leader. The writing done by John Francis Moore is rich when Shakti sticks strongly to principles during her interaction with Meanstreak who himself has turned uncertain about their status as a team. That said, there are certain traits of Xi’an visible in Shakti. Along the way, a few friends of the X-Men went away which added to the uncertainty that hounded them.

With regards to the reveal of the Driver on the cover of this comic book, the tale indeed reveals him and a new story thread about him was gradually built up. The Driver is Xi’an’s target and his act of helping one of the X-Men’s friends added to the suspense over what could happen next.

Conclusion

*As the new leader of the X-Men, Shakti remains very principled. Her talk with Meanstreak in this scene is meaningful.*

X-Men 2099 #11 (1994) is a very character-driven story from start to finish and the good news is that it is engaging and entertaining to read. The lack of a good-versus-evil conflict never hurt the story at all as Moore and Lim went deep to develop Tim, Xi’an and others while building up the pending encounter with the Driver. Not only that, having Tim and Xi’an more radicalized reflect the atmosphere of uncertainty and danger in the region (with lots of wilderness throughout and far away from the metropolis dominated by Alchemax) within America of 2099. It is a good read and I enjoyed the character development done by the creative duo.

Overall, X-Men 2099 #11 (1994) is recommended.

+++++

A Look Back at X-Men 2099 #2 (1993)

August 17, 2026August 15, 2026carlocarrasco

Way back in 1993, I had a fun reading X-Men 2099 #1 as soon as it was released in the local comic book specialty store here in the Philippines. Back then, I was already into the 30^th anniversary celebration of the X-Men while also reading more comic books about Marvel’s science fiction 2099 franchise of comic books. I love the way X-Men 2099 #1 ended as it was a powerful way of building up the tension and excitement that comes with waiting another 30 days for issue #2 to come out.

With those details laid down, here is a look back at X-Men 2099 #2, published by Marvel Comics in 1993 with a story written by John Francis Moore and drawn by Ron Lim.

Early story

The story begins with the X-Men desperately trying to escape as the arcology has been invaded by enforcers (also referred to as the Greater Nevada Syndicate) of the Synge casino. Their leader Xi’an is in critical condition after getting shot during an assassination attempt that happened moments earlier. The X-Men are inside their van speeding away and Meanstreak (Henri Huang) uses his super speed to run ahead of them to quickly check what awaits them all. During the ride, Krystalin learned of the news that Noah Synge has died and Xi’an has been blamed for murder. Cerebra confirmed that Xi’an expressed hatred towards Synge.

When the van finally reaches the outdoor area, the X-Men find themselves facing a large tank and a helicopter of the syndicate which anticipated their arrival. The syndicate tells them to surrender Xi’an…

Quality

*Cerebra shows their leader Xi’an with a biological cocoon forming over his body. Pay attention to the details.*

As a follow-up to the impressive first issue, this one remains a very good read after all these decades. It is clear to me that John Francis Moore had carefully planned an engaging tale of the futuristic X-Men with Tim Fitzgerald (who will later be called Skullfire) as the symbolic reflection of the readers who get to discover more about the team, the situation they are in and why they exist in the first place.

As expected, the creative stuff that started in issue #1 progressed naturally as the story went on in this comic book. The X-Men of 2099 got away to find safety and get themselves organized as their leader remains in critical condition. Along the way, the syndicate itself gets adjusted as it has the son and daughter of Noah Synge taking over their evil empire suddenly. The syndicate is responsible for seven deaths, the wounding of nineteen people and the capture of over forty people as a result of their sudden invasion of the arcology and their attempt to assassinate Xi’an in retaliation of the death of Noah Synge. This was the creative duo’s way of telling readers who the bad guys are and why the X-Men are at a great disadvantage.

What I find engaging here is how the Moore-Lim duo emphasized Xi’an’s significance through flashbacks and background details (which further revealed more of the founding of the futuristic X-Men). This creative gamble worked wonders and clearly more than made up for the lack of dialogue and interactions from the X-Men’s leader. At the same time, the narrative has this flavor of conspiracy when the Synge empire was emphasized.

Conclusion

*The futuristic X-Men encounter strong opposition from the syndicate.*

X-Men 2099 #2 (1993) is clearly a very good read. As a follow-up to the very solid issue #1, it added to the build-up emphasizing the futuristic X-Men a lot more while still having enough room to develop the Synge empire and its syndicate. Along the way there were some nice pay-offs to certain build-ups in issue #1 and there was a fine balance between action scenes and the plot/character development scenes. That said, this comic book is a solid bridge between issue #1 and the conclusion in issue #3.

Overall, X-Men 2099 #2 (1993) is highly recommended.

+++++

A Look Back at Robin #1 (1991)

August 14, 2026August 6, 2026carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1991 to explore a part of the DC Comics shared universe through one very notable comic book featuring Batman’s sidekick Robin.

For decades, the Caped Crusader Batman (who is business tycoon Bruce Wayne during the day) had Robin as his skilled teenage partner fighting countless waves of criminals in many comic books published through the decades. The most notable fact about Robin is that there are three different characters who took the role as Batman’s sidekick…Dick Grayson (who later joined the Teen Titans and became Nightwing), Jason Todd (who died as a result of a warehouse explosion set up by the Joker who beat him mercilessly) and Tim Drake. Behind the scenes at DC Comics, a decision was made to publish a comic book mini-series featuring Tim Drake Robin.

With those details laid down, here is a look back at Robin #1, published in 1991 by DC Comics with a story written by Chuck Dixon and drawn by the late Tom Lyle.

Early story

The story begins inside the Batcave. Tim Drake is still adjusting in his new role as Robin and right in front of Bruce Wayne (wearing his Batman costume), he feels uneasy deep inside even though he got the role after wanting it so badly. He just could not tell him how much it scares him.

Even though Tim admits he feels unsure and needs more time, Bruce tells him he is ready to be his partner. Still the new Boy Wonder says he is not sure if he has what it takes. Bruce reminds Tim that he has proven to be smart after figuring out correctly his secret identity as Batman. He tells him that he needs to develop himself more to gain his edge.

Meanwhile in Japan, the deadly assassin Lady Shiva meets the martial artist Koroshi and discovers he has been paralyzed and limited on a wheelchair…

Quality

*Tim Drake undergoes training in Paris. Bruce Wayne sent him there to improve himself by learning from a master.*

As a tale strongly focused on Robin, this comic book has a fine blend of action, discovery, intrigue and even elements of culture clash. It gradually dramatizes Tim Drake’s development into Robin showing moments of trial-and-error, getting himself educated far away from home, experiencing humiliation and overcoming the odds while having limitations.

The script written by Chuck Dixon is not limited to presenting how the newest Robin came to be. I enjoyed how Dixon crafted Tim Drake’s private talks with Batman and the butler Alfred Pennyworth. Each interaction with the established characters were rich in details and there is that sense of the new Robin looking up to Batman as his mentor and to Alfred as a guidance councilor.

*The new Robin learns valuable lessons from Alfred at Wayne’s residence.*

By going all the way to France to learn from an Asian master, Tim Drake’s journey has some similarities with how Bruce Wayne developed himself into becoming Batman. It should be noted that this tale took place sometime after the death of his predecessor Jason Todd (beaten by the Joker who eventually became the Islamic terrorist regime of Iran’s ambassador to the United Nations) and it is indeed a part of Batman becoming more stable after overcoming the trauma of Todd’s demise.

For those who still find Robin as an unbelievable teenage crime fighter simply because of his youth, there are young gangsters in this tale that symbolically are the opposites of Batman’s sidekick. This was Chuck Dixon’s way of reminding people that there are indeed teenage criminals or youth gangs that exist around the world. Such young criminals or abusers still exist to this day and Robin’s status as a teenage crime fighter is clearly justified.

As a standalone tale, this comic book is pretty good and there is clear coordination between Chuck Dixon and Tom Lyle who did a fine job visualizing the script. Lyle’s art has this fine balance visualizing character development scenes, transition scenes and dynamic action. Historically, Lyle went on to draw the Robin II and Robin III mini-series for DC Comics before moving to Marvel Comics to work on Spider-Man comic books. In this very comic book, you can see how talented Lyle really was on illustrations.

Conclusion

*Batman and Robin in an early scene in this comic book. Pay attention to the details.*

Even though I am not a fan of Robin, I can say that the Dixon-Lyle duo succeeded in making Robin #1 (1991) a really entertaining and engaging read. It definitely is a strong start to a Robin mini-series and also serves as a defining moment for Batman’s sidekick who also got modernized at the time.

Overall, Robin #1 (1991) is recommended.

+++++

A Look Back at Peter Parker, The Spectacular Spider-Man #109 (1985)

August 10, 2026August 5, 2026carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Spider-Man fans and comic book collectors! Today we go back to the year 1985 to examine a small part of the Marvel Comics shared universe through a tale of the Peter Parker, The Spectacular Spider-Man monthly series.

The first two chapters of the murder of Jean DeWolff really impacted not only Spider-Man but also Daredevil and the city of New York. Issue #107 was the start and the search for answers started with a good amount of mystery and suspense. In issue #108, the plot thickened somewhat and Spider-Man encountered the Sin-Eater with lots of bystanders nearby. Since the start, the creators crafted a compelling tale with a heavy touch of detective storytelling.

With those details laid down, here is a look back at Peter Parker, The Spectacular Spider-Man #109, published in 1985 by Marvel Comics with a story written by the late Peter David and the late Rich Buckler.

Early story

The story begins with the news of the violent death of a reverend being reported on television. The local authorities believe that the victim’s concern for criminals – a concern shared by the late judge Horace Rosenthal – marked him as a target of the Sin-Eater. While the news broadcast goes on, Peter Parker talks to Stan Carter as Spider-Man on the phone (with a cloth on the mouthpiece to distort the sound of his natural voice). Other people who saw the news broadcast are affected in different ways and there is the feeling of dread clouding the city.

In the evening, Wilson Grant Fisk (the Kingpin) dictates into his small recorder. While dictating and recording, the Kingpin knows Spider-Man is hiding in the dark very close to him. He fires a shot at Spider-Man who easily evades it. As the webslinger starts talking to him, the Kingpin reminds him that he is trespassing…

Quality

Right from the start, this tale not only maintained the gritty detective story tone since issue #107, it continued to build-up the tension and intrigue smoothly as the story went on. At this stage of the storyline, Spider-Man and Daredevil are both doing detective work to find out who the Sin-Eater really is and why precisely has he been killing people and causing chaos in the first place.

Both superheroes encountered different people in their respective searches for answers. Because he was not successful finding details as Daredevil, he decides to do it in his civilian form as Matt Murdock. Spider-Man, who is not a professional detective at all, continues his search with his limitations and with the only ways he knows how (including the use of violence, humiliation and threats).

Without spoiling the plot, I can say that there two notable plot turning points that are really fine payoffs to the build-up that started since issue #107. What happened here was finely dramatized by the David-Buckler duo and easily justified the cover price.

Conclusion

*Spider-Man doing detective work the way he knows how.*

Considering the very strong qualities of the writing and visuals combined with the two major plot developments, Peter Parker, The Spectacular Spider-Man #109 (1985) is easily the most compelling part of the death of Jean DeWolff storyline. I should also state that Spider-Man and Daredevil are the key detectives of the tale and the creative team succeeded again in shaping this detective story to be very grounded with reality. The superhero elements are still present but noticeably contained with the brooding detective story. As to the two plot turning points I mentioned earlier, I encourage you all to grab a copy of this comic book and find out for yourselves. I promise you, they are worth your time and attention

Overall, Peter Parker, The Spectacular Spider-Man #109 (1985) is highly recommended.

+++++

Retro Gaming Ads Blast – Part 45

August 3, 2026August 1, 2026carlocarrasco

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.

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

1. Tron Arcade Flyer

*The rear. The details were clearly written for arcade operators.*

Remember how dazzling the 1982 movie Tron was when you first saw it? That film had groundbreaking computer-generated graphics and the filmmakers worked very hard to tell a story covering both the real and digital worlds. Along the way, the movie had strong video game vibes which resonated with gamers at a time when arcade gaming was wildly popular in America. Believe it or not, an official arcade game of Tron was released the same year as the movie and it was a massive success. The arcade flyer perfectly captured the vibe and look from the movie and the machine itself had a control stick the same with what was shown to viewers. This old flyer is still great to look at.

2. Green Beret Japanese Arcade Flyer

Konami was a highly prolific game publisher in the 1980s and it had lots of games that became huge blockbusters. During the decade, their game developers were strongly influenced by both Hollywood action movies and the Cold War. In 1985, Konami released the militaristic game Green Beret in Japanese arcades and to promote it, they created an arcade flyer featuring a very stylish artwork highlighting military images of soldiers (including a guy smoking) and warfare. This ad still looks great and it was not surprising it helped the game achieve huge commercial success. Green Beret was released in America as Rush’n Attack.

3. Darius Japanese And North American Arcade Flyers

Released in arcades worldwide in 1987, Darius is a 2D side-scrolling shooter game from Taito which had a science fiction concept of the starship Silver Hawk (piloted by players) which sets on a mission to destroy an evil empire before it could destroy the world called Darius. The game was successful, most notably in Japan and it eventually led to sequels being released later. What I find intriguing is how the arcade game was promoted in Japan and in North America. The Japanese arcade flyer had this intriguing artwork that reflected a blend of sci-fi with a touch of horror. The North American flyer had a strong sci-fi touch with a male and female model wearing costumes (that made them look futuristic) standing beside the Darius machine. Which flyer looks more appealing to you?

4. Data East’s Arcade Alley Print Ad

*Fun and excitement emphasized in this print ad.*

There is nothing like porting arcade hits to computer systems for gamers to enjoy. In 1988 there in Europe, U.S. Gold released Data East’s Arcade Alley for computer systems and it included ports of popular Data East games like Kung Fu Master, Express Raider, Breakthru, Tag Team Wrestling, Last Mission and Karate Champ. U.S. Gold’s print ad showed a guy in the middle of a video arcade looking on both sides to pick which game to play which strongly emphasized the essence of the game collection (offered in cassettes and disk). This old ad is still amusing to look at.

5. Blasteroids European Print Ad

Blasteroids, the third entry in Atari’s popular Asteroids games series, was released in European arcades by Image Works and eventually landed on computer systems there. For Europe, the ad makers came up with artwork showing a creepy, green space monster surrounded by a few spaceships to emphasize the game’s concept. The said monster eventually appeared on the game covers of the computer ports of Blasteroids later. This ad shows creative adjustments taken to promote games in different parts of the world.

6. Dream Team USA Japanese Print Ad

The legends of the NBA in the Japanese version of EA’s Team USA Basketball. Retitling the game as Dream Team USA made more sense because “Dream Team” was a much more popular reference than “Team USA Basketball”.

Remember how wildly popular the Dream Team (Team USA in Olympic basketball) was in 1992? With NBA legends Larry Bird, Michael Jordan, Magic Johnson, Charles Barkley, Karl Malone, John Stockton and more representing America in the basketball tournament of the Olympic Summer Games in Barcelona, Spain, the Dream Team (a media-led reference for the team) was easily the main attraction not only for basketball fans worldwide but also those who craved for excitement in international sports events. That said, Electronic Arts secured the license to make an official video game about the Dream Team and actually released the game Team USA Basketball within 1992 for the Sega Genesis. As basketball is popular also in Japan, EA released the game there titled as Dream Team USA and came up with a Japanese print ad to seriously capture gamers’ attention. This ad is still effective in delighting both basketball and video game enthusiasts.

7. Super Star Wars: The Empire Strikes Back And Return Of The Jedi Print Ad

*No screenshots of games used. Just the official images from the posters of the two movies.*

Back in the 1990s, there was a resurgence of the original Star Wars trilogy across different forms of media. Apart from the VHS re-releases of Star Wars, The Empire Strikes Back and Return of the Jedi, there was a slew of video games of Star Wars released during the decade and the fans had new stuff to entertain themselves with. Along the way, the company THQ secured the rights to Super Star Wars: The Empire Strikes Back and Super Star Wars: Return of the Jedi for re-release to coincide with the 1997 “Special Edition” theatrical releases of their respective movies. THQ’s print ad simply used official images of Return of the Jedi and inserted a tiny bit of The Empire Strikes Back, and they did not show any screenshots that could have been helpful for Super Nintendo Entertainment System (SNES) and Game Boy users. Still, it was smart for THQ to print two excerpts of game reviews to sell the games.

8. Super Mario RPG North American Print Ad

*A mesmerizing ad for the acclaimed Super Mario RPG.*

Remember back in the 1990s when Nintendo and role-playing game giant SquareSoft had a very healthy business relationship that proved successful? Before their eventual breakup (related to Square signing with Sony for PlayStation development), the two companies joined forces to make a fully featured role-playing game for the SNES featuring Super Mario and related characters…Super Mario RPG: Legend of the Seven Stars. To promote the game, Nintendo (the publisher) created a mesmerizing 2-page print ad highlighting their characters while emphasizing the role-playing and fantasy aspects of the game. At the time of its release, Super Mario was often identified with platform games and the Super Mario RPG print ad was a serious attempt to lure fans into RPGs which the SNES was already rich with. This ad, which I first saw in gaming magazines in 1996, still looks great.

9. NBA Shootout ’97 Print Ad

*Did you play this on PlayStation in 1997?*

If there is anything I miss about 1990s console gaming, it is the fact that there were a lot of NBA-licensed video games that were offered to players with different tastes in basketball gaming. Sony had its own exclusive NBA games series called NBA Shootout and they were pretty aggressive selling its own basketball games along with the PlayStation going up against the likes of Electronic Arts (NBA Live), Sega and others. This is reflected in this 2-page print ad of NBA Shootout ’97 which was a PlayStation-exclusive release. They featured a photograph of Lakers’ Eddie Jones about to dunk and showed screenshots as well as the descriptive text written with excitement. Since it first started, NBA Shootout was basketball in full 3D polygonal graphics backed with motion-captured moves and dunks that players could enjoy only PlayStation. This ad is a reminder that Sony used to make official NBA games and there is a lack of variety and players’ choice of NBA gaming in today’s world.

10. Legend of Legaia North American Print Ad

*Perhaps someone at Sony Computer Entertainment America (SCEA) thought Legend of Legaia was a horror video game.*

There was a time when Sony produced Japanese RPGs (JRPGs) exclusive for PlayStation consoles. One of them was Legend of Legaia which had a combat system that emphasized martial arts and it had an interesting fantasy concept. For its 1999 North American release, Sony came up with a very bizarre 2-page print ad that had digital artwork with a very strong horror vibe and the visual designs within the three screenshots shown were clearly not related with it. How this ad was made remains unclear. This is easily one of the most misguided gaming ads of the 1990s.

+++++

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