Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1993 and explore a chapter of the Reign of the Supermen storyline through one of the issues of the Superman monthly series.
To put things in perspective, DC Comics fulfilled its promise to kill the iconic Man of Steel in Superman #75 (1993) which sold a whole lot of copies and the daring death concept made Superman a hot news item. After a brief period showing what the world is like without Superman, DC resurrected him in Adventures of Superman #500 which spawned the different Supermen and a new storyline (the Reign of the Supermen) which took effect on the four Superman monthly series of the time.
With those details laid down, here is a look back at Superman #78, published in 1993 by DC Comics with a story written and drawn by Dan Jurgens.
The cover.
Early story
The story begins with Lois Lane still thinking about Superman as she drives her car on a rainy night. At the moment, she still has not learned to live without him. As she is granted access into a facility of Lexcorp, she carefully thinks about the sudden number of many people around the country who claimed to have seen Superman.
Inside the facility, Dr. Meyer meets her and tells her that had met the Man of Steel sometime prior and he believes that the certain person who saved him and others was definitely the same person. Being skeptical, Lois Lane asked him if some other superhero saved them from certain death. In response, he shows to her an image of the heroic figure captured by security cameras. Lois recognizes the face and head even though some parts were shadowed…
Quality
Cyborg Superman in full appearance.
Starting with the storytelling, I can say that this is one solid tale that really pokes the curiosity regarding Cyborg Superman…is he the real Superman or some very clever and capable impostor? Dan Jurgens really knows his Superman stuff and he used a clever approach on arousing the readers’ curiosity while still managing to move the story forward. As one of the early chapters of the Reign of the Supermen storyline, it was very obvious that things were set in motion to set up future post-death Superman stories.
The most engaging parts of this tale were the scenes between Lois Lane and Cyborg Superman (note: he sure looks like a Terminator-inspired take on the Man of Steel which itself was a daring concept back in 1993). Lois Lane here is clearly intelligent and for personal and professional reasons, she would not settle for words as definitive answers but have evidence scientifically analyzed right in front of her. Once again, this is a lively reminder that in the post-Crisis universe of DC Comics, Lois Lane is persistent on verifying facts to realize the truth (which is something clearly missing in today’s world of social media and news media outlets serving as loudspeakers for political forces).
While the storytelling remains good all these decades, what really aged badly in this comic book was the bastardization of Superman’s iconic imagery with some robotic influences of the Terminator mixed in that made him look science fictional in appearance. Of course, Cyborg Superman was just one of the Supermen in this storyline and the Reign of the Supermen concept was clearly an extension of DC Comics’ dishonesty behind the death and return of the Man of Steel. This also shows DC’s irresponsible handling of one of America’s icons. Let’s be honest with ourselves here…how many of you really want to see Cyborg Superman in live-action form in a future DC superhero movie from Warner Bros. and James Gunn?
Conclusion
How many of you have this poster of a very bastardized image of Superman in your homes right now?
While Superman #78 (1993) has a good story told and added to the mystery about the resurrection of Superman, it ultimately served as a build-up platform to set up further stories not only about the Man of Steel but also that of Doomsday (note: a big rematch happened a few years later). The image of Cyborg Superman is clearly a defamation of the iconic look of the Man of Steel and that alone really brought the overall entertainment value of this comic book way down in my view. I find it baffling that there was no major backlash nor an outrage from Superman fans back in 1993 over this.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1992 and explore a part of what was back then the 30th anniversary celebration of Spider-Man
In what was back then a unique approaching to celebrating the anniversary of an American icon, Marvel Comics published not one but four specific Spider-Man comic books that had holographic covers and more pages than the usual. Each of those special comic books were from a different Spider-Man monthly series. Back in 2020, I published a retro review of one of those gimmick cover comic books from the Spider-Man monthly series.
With those details laid down, here is a look back at Web of Spider-Man #90, published in 1992 by Marvel Comics with a story by Howard Mackie and drawn by Alex Saviuk.
The cover.
Early story
The story begins inside an office in Los Angeles. A hat-wearing businessman has several varied figures of Spider-Man near him and recalls the time when the iconic hero participated in one of his events as the Masked Marvel. Moments later, the businessman’s wife arrives and together they departed in a limousine.
At the South Bronx in New York, Spider-Man chases a speeding car with one of its passengers firing a gun at him. Suddenly, his spider sense bothers him a lot and when he looks around, he suddenly sees Galactus standing with members of the Avengers, the X-Men and the Fantastic Four lying down helpless on the ground…
Quality
Spider-Man on the set of an entertainment project. It’s a lively reminder about how sickening Hollywood (AKA Commiewood) can get.
To make things clear and without spoiling the plot, this story deals with illusions and the distortion of reality. Quite ironically, the said distortion made it a challenge to follow the narrative and I can say that a good amount of the spotlight was on the businessman. Spider-Man is clearly the protagonist here but it made sense for the creative team to focus a bit on the businessman (who has been doing entertainment showcases for a long time) to justify the core concept about the conflicts between what is real and what is imaginary.
In relation to the illusion aspect of the story, you will get to see established Spider-Man arch-villains such as the Green Goblin, the Hobgoblin and Venom taking on the superhero himself. As the creative team focused more on providing a great amount of spectacle, there clearly was no room left for character development on Spider-Man. Don’t expect to see Peter Parker in dramatic moments nor see him interact with the established supporting characters.
If there is any moral lesson to learn from this comic book, it would be this – living with a powerful delusion (the result of personal obsession mixed with the personal failure to separate illusion from reality) can lead you to the wrong directions in life.
Conclusion
To justify the 30th anniversary celebration, distorted flashbacks into Peter Parker’s past were presented here.
Web of Spider-Man #90 (1992) does not have much depth for those who seek engaging storytelling. That being said, the story itself is not memorable nor would it leave a long lasting impact on you. This comic book was made to entertain readers with lots of action and wild fantasy images that eerily justify its concept about illusion and reality conflicting each other. In fairness to the creative team, the said conflict was consistently visualized and there were some dialogue that related to it in a somewhat philosophical manner. The comic book’s entertainment value is satisfying enough although it does not justify the holographic cover that was part of the gimmick with celebrating Spider-Man’s 30th anniversary. As for who was the main antagonist of the comic book, I simply encourage you all to read and find out for yourselves.
Overall, Web of Spider-Man #90 (1992) is satisfactory.
Disclaimer: This is my original work with details sourced from watching the movie 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, readers! For only the 2nd time since the COVID-19 pandemic affected the world, I managed to watch a movie inside the local cinema at SM Southmall in Las Piñas City. What is intriguing is that the movie I saw is actually a carefully edited compilation of footage sourced from an upcoming live-action series that is an ambitious Philippine adaptation of a certain giant robot anime from Japan. The movie I saw was Voltes V: Legacy – The Cinematic Experience. Behind it all, the movie is part of GMA Network’s strategy of building up awareness for the Voltes V: Legacy TV series set to launch on May 8, 2023.
For the newcomers reading this, the original Voltes V anime series (Japanese title: Chôdenji mashin Borutesu Faibu) was launched in Japan in 1977. Shortly after, it made its English language debut here in the Philippines (note: Japanese characters’ names were Westernized) and ultimately it became very popular and it made an impact on millions of Filipinos who saw it and replayed it in the many years that followed. I noticed that many Filipinos of my generation think of Voltes V first when anime comes to mind. While I myself never became a fan, I saw lots of Voltes V anime episodes on TV at a time when Internet access, video streaming and social media were not yet realized here in the Philippines. I even saw GMA’s edited Voltes V anime movie (containing footage of the final five episodes of the anime series) in the cinema in 1999.
In recent years, GMA Network and its local talents joined forces with Toei Company of Japan to create a live-action TV series adaptation of the anime and there will be eighty episodes (double the anime TV series’ episode count) for broadcasting nationwide. This is Voltes V: Legacy and already the local production team went through lots of hard work making the episodes, the sets, the props, the costumes and the computer-generated images (CGI) to bring the classic series into life in coordination with Toei which reviewed and supervised the production. A lot of money has been spent into Voltes V: Legacy which was felt in GMA’s increased production costs.
As for Voltes V: Legacy – The Cinematic Experience, the so-called movie contains varied footage allegedly from the first three weeks’ worth of TV episodes and it was exclusively screened in SM Cinema sites around the country for a limited time.
The story begins in the planet of Boazan where people with horns live in prosperity and privilege while those without horns have no choice but to live a hard, lower life. A gifted young Boazanian man named Hrothgar – who was born into royalty without horns and lived with his personal secret long enough into adulthood – was exposed by Zambojil’s group to be hornless and unworthy of Boazan’s throne. Sometime later, Hrothgar leads several fellow slaves and prisoners in an uprising against Emperor Zambojil’s authority. Before getting overwhelmed by the imperial forces, Hrothgar escapes into space with an Boazanian spacecraft and crashes into the sea on Earth.
He is discovered by Mary Ann and he gets introduced to Dr. Smith and Commander Robinson. Hrothgar informs them of his Boazanian origin and he expressed to them that Earth’s defenses are too weak to protect its people from alien invaders. As he adjusts with Earth life, Hrothgar changes his name into Ned Armstrong, marries Mary Ann and have children together. After several years on Earth, Ned Armstrong worked closely with Dr. Smith to prepare the people for future invasions…
Quality
The iconic Voltes V looks bulkier and more mechanical in CGI form and the good news is that the overall quality is great and there is a lot of fun seeing the giant robot in action. (photo source – the Voltes V: Legacy – The Cinematic Experience trailer)
To begin with, the creative team of GMA managed to establish a cohesive narrative for the cinematic experience which is not an easy thing to do considering all the content from many selected episodes that had to be edited and arranged properly. This involves the presentation of the story details, the live-action elements, the CGI-heavy shots and the human performances to create a narrative that was easy enough to follow and absorb in my experience. I noticed that the so-called movie moved at a medium-to-fast pace which is not surprising because the goal of GMA was to entertain moviegoers and convince them to anticipate the live action TV series. Considering the speed of the pacing, there were some moments when I felt that some scenes were missing which only reminded me that the slower and more dramatic moments were being saved for the TV series.
When it comes to adapting the classic anime’s elements into live action, the creative team did a pretty good job most of the time. The costumes of the five pilots were made with a more practical physical design (note: they are not body tight) while retaining the classic colors and the V logo. The interior set of the Camp Big Falcon operations room looked more futuristic complete with having many people simultaneously operating. The interior set showing Prince Zardoz and his trusted companions closely resembles that of the anime. There was one particular physical set that did not look convincing – the outdoor street market in Boazan early in the movie had that indoor feel which not even the lighting could hide and the CGI shot showing the rest of the outdoor area and the far distance did not match with the place.
More on the artistic side of the presentation, I enjoyed the way the production people emulated the classic anime designs of not only the characters but also the key structures (places) and the giant robots (Voltes V and the two beast fighters) into live action. The cinematic Prince Zardoz looks so much like his anime counterpart and the same can be said about Dr. Smith and Mrs. Armstrong. The two beast fighters here were rendered to look much like their anime versions but were animated in a way to emphasize mass and scale.
The strategic posing in this notable shot is a fun and honorable throwback to a key moment in the very first episode of the original Voltes V anime TV series. (photo source – the Voltes V: Legacy – The Cinematic Experience trailer)
There were some notable artistic discrepancies and flaws however. The cinematic Princess Zandra, Draco and Commander Robinson clearly did not quite match their anime counterparts. For some reason, Princess Zandra appeared with a very different costume displaying subtle sexiness instead of royalty. Could it be possible the creative team took inspiration from the Fatima Blush character (played by Barbara Carrera) in the 1983 James Bond movie Never Say Never Again while modernizing Princess Zandra? As for Draco, he does not look as intimidating as his anime version and he even looks more like a cosplayer! Commander Robinson here does not display the maturity of the anime version due to the questionable quality of the costume provided and the actor’s appearance. In my experience watching the anime series, Commander Robinson looked and felt like a military man in his early fifties which the live action version never captured.
Now I want to talk about Voltes V itself. The highlight of the CGI combined with really good art direction is the iconic giant robot, including the five vehicles that compose it. To begin with, the use of CGI emphasizing multiple moving mechanical parts to emphasize Voltes V is a very smart move done by special effects team. While each vehicle has a new visual aesthetic to match the live action approach, they still remained recognizable to me. The biggest visual highlight in the movie is the volt-in sequence when each vehicle combined to form Voltes V in robotic form. As each vehicle connected to each other, the classic sequence from the anime was replicated excellently. Given the artistic direction and the CGI’s emphasis of multiple moving parts, the volt-in sequence here is much more detailed than the anime version! I should state that it is very likely that the visual effects team worked overtime to achieve the high-level of detail, the vibrant colors and the impressive animation on Voltes V.
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With the approach on multiple moving parts, Voltes V itself looks bulkier in a mechanical fashion which I really admire. It should be stated that showcasing the iconic giant robot in action – complete with CGI presentation of the many Voltes weapons – is a visual feast complete with very vibrant colors! Each time Voltes V hits a beast fighter by punching or using a weapon, there is strong impact felt with each blow! The sound effects team really did good work adding weight and power to the action.
The work done by the special effects crew in this external shot of Jamie Robinson’s cockpit is very impressive and detailed! Ysabel Ortega acted convincingly to what happened. (photo source – the Voltes V: Legacy – The Cinematic Experience trailer)
Considering the high detail and strong animation on Voltes V, the two beast fighters shown in this movie had very similar visual qualities. There was no major discrepancy on visual quality between the iconic robot and the enemy during battles.
More on the CGI, I can declare that the locally produced visual effects (by GMA Video and Riot, Inc.) looked very good for the most part! Apart from the battles between the giant figures, the sequences of animating the Voltes V vehicles, the Boazanian flying saucers (with fast moving sharp edges that make them resemble motorized wood-cutting blades), the fighter planes and physical damage of places were nice to see. There were, however, several explosions that were badly rendered (note: even looking flat and out of place) in key scenes and there were moments when military vehicles looked more like they belong in video games from a few console generations ago. The formation of the blade of Voltes V’s laser sword clearly needs more work as it looks unpolished. In the post-credits scene, CGI for Octo 1 was badly done!
Apart from action scenes, the giant robots and their weapons, CGI was also used on established places or structures. Camp Big Falcon really looks magnificent while the floating mechanical Boazanian skull appeared very creepy. In shots showing the far distance, Camp Big Falcon in the background still looks good even though the visual quality falls short of capturing true photo-realism.
Considering the way GMA edited the footage and selected visual effects shots for this so-called movie, the overall quality of the CGI literally landed some notches short of photo-realistic levels. That’s not criticism at all but a confirmation that Filipino-produced CGI showcased here is the best I have seen yet! All in all, an impressive ton of work by the special effects teams using computers.
As for the human performances, I can say that the cast collectively did a good job bringing the characters to life and this includes paying special attention to details from anime while adding certain elements that reflect modernization. Zardoz was portrayed to be sadistic and obsessed on conquering planet Earth which reflects his imperial task and the pressure that comes with it. Sometimes, Zardoz looked and acted even psychotic. Mary Ann Armstrong is the definitive mother figure here and the producers emphasized her more with scenes showing her as a very focused authority during crisis as well as a tender and loving woman during her time with the family. In some ways, Mary Ann Armstrong is almost like the protagonist of this so-called movie and the live action version looks deeper than the anime version. While the live action Commander Robinson needs a lot of improving, Dr. Smith here really looks and feels like he was instantly ripped off the anime resulting in a very straightforward version fans will recognize. The live action Ned Armstrong here has some elements that deviate from what was portrayed in the anime (note: a very skilled fighter whose moves were so obviously choreographed during an action scene) while retaining key elements that still made him recognizable.
The actors who played the five pilots of Voltes V performed nicely. Even with all the layered Tagalog expressions (including gestures that we Filipinos are familiar with), Steve, Big Bert, Little Jon, Mark and Jamie are all very recognizable not in terms of looks but through the dialogue, character details and acting. The production team really worked hard to not only balance their respective shares of the spotlight, but also get good enough performances from the actors. Take note that apart from the on-set dramatization, the actors of the Voltes V team had to perform accordingly in their respective cockpit scenes (note: the special effects teams painstakingly provided all the CGI to specifically reflect what had been happening with the pilots and with their machines) and this includes internal communications between the members. What we have right now are the best actors available portraying Steve, Big Bert, Little Jon, Mark and Jamie and making them recognizable in terms of characterization.
With regards to the music, I can say that this one clearly needs improvement. There is orchestrated music in this cinematic experience that played new tunes while also redoing/recycling classic tunes from the anime TV series. When the anime tunes were played by the orchestra with a modern approach, they were recognizable to my ears but the power and essence of the original tunes were not replicated successfully. Sometimes, I just wished that the anime tunes were played more while the orchestra focused more on providing new music.
As for the famous Voltes V theme song, the new version performed by Julie Anne San Jose is a letdown! I’m not saying San Jose is a bad singer but her version – which even used the Japanese lyrics – lacked impact compared to the original version. While the volt-in sequence proved to be a grand visual feast for the fans and viewers who love great looking CGI sequences, its cinematic impact was brought down a bit by San Jose’s version of the theme song. How I wish that the movie producers just used the classic song from the 1970s anime series!
This original theme song should have been used in Voltes V: Legacy instead of the new version.
Conclusion
As expected, Voltes V: Legacy – The Cinematic Experience has a mix of strong points and flaws. The good news is that the good outweighed the bad and I pretty much enjoyed this cinematic version of the live action adaptation done by GMA, its strategic partners and the local talents. As this so-called movie was a mix of content from several episodes edited to form a suitable narrative, it succeeded in entertaining and engaging me. Yes, there were flaws and there were some parts showing weaknesses but those things did not damage the viewing experience too much. There is a good amount of fun with this so-called movie.
Obviously this cinematic version is part of GMA Network’s strategy to build up anticipation for the upcoming TV series (which has a declared 80 episodes for broadcasting). While some people will perceive Voltes V: Legacy – The Cinematic Experience as a blatant form of marketing or even as corporate gimmick, I personally see it as a worthy showcase in the local cinema (note: cinemas here in the Philippines are still recovering from the massive damage of COVID-19) and it just might not be repeated. Let me remind you readers that this newest Voltes V adaptation highlights the peak of Filipino-produced CGI visuals and the Filipinos’ collective efforts to really make a worthy live action adaptation of a foreign entertainment property. This so-called movie is clearly not perfect (note: it is not deserving of perfect 10/10 scores that others gave it) but it is pretty good to watch in the cinema.
Voltes V looks better than ever and made a big entertaining impact in the cinema. How will Voltes V: Legacy turn out on TV given the fact that there are so many episodes set for broadcasting?(photo source – the Voltes V: Legacy – The Cinematic Experience trailer)
As mentioned earlier, I’m not a fan of the Voltes V anime and I’m not exactly anticipating the Voltes V: Legacy TV series. I do confirm that the long-lasting legacy Voltes V is clearly thriving here in the Philippines and the new TV series could potentially make a deep impact on Filipinos who love entertainment and possibly replicate what happened in the 1970s and 1980s when the classic anime TV aired on TV nationwide. How the new TV series will turn out is clearly GMA’s own problem.
Overall, Voltes V: Legacy – The Cinematic Experience is recommended.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the early 1990s and explore a part of the Valiant Comics shared universe through the Armorines monthly series.
In my previous retro review, the armored Marines and their US Navy SEALs managed to survive from the destruction of the submarine deep under the sea as they managed to complete their goal. One of the Armorines – Sirot – got separated from them and found himself in the presence of aliens who have been organizing secret operations on Earth, including the recent destruction of X-O Manowar’s armor. Knowing that their teammate is missing, the Armorines went back to the water on a search-and-rescue mission.
With those details laid down, here is a look back at Armorines #4, published in 1994 by Valiant Comics with a story written by Jorge Gonzalez and drawn by Jim Calafiore.
The cover.
Early story
The story begins inside one of the training domes located just outside Camp Pendleton in California (note: now a Commie-filled state). Teammates Gunny and Sirot engage in a close combat training session using the specialized technology provided to them by Dr. Zhan who carefully watches the statistics. As the session goes on, Sirot sarcastically tells the older Gunny that Senator Ackerman wants him off the Armorines as soon as their superior General Kendall feels the other recruits are properly trained. Sirot mocks him over his age (38-years-old).
Behind closed doors, Senator Ackerman tells General Kendall that even though the Armorines were successful with the mission in Australia and even managed to uncover a nest of aliens, the team were all more than capable without Gunny in their unit. Kendall defends Gunny and stressed that the man is their team’s most experienced member. Ackerman states that once the alien problem is over, he will force Gunny to retire…
Quality
Scenes like this will help readers get to know the Armorines members better.
To be clear, this story is more focused on the characters and is also a suitable build-up for the next turn of events ahead of the Armorines. As with issue #1, Gunny is the closest thing this series has to a lead character and he gets a good amount of character development scenes even though the story showed the other characters. Quite conveniently, the creative team used the military base setting to shift focus on the other Armorine team members similar to what was shown in Hollywood movies or TV shows about military personnel. There is the military club setting where the officers are relaxing and socializing with each other. There were also scenes showing specific soldiers at their respective residences where their true personalities (note: private life moments) are emphasized. All of these were done with solid writing and good artwork.
Without spoiling the details, I can say that the final page of this comic book was surprising and added to my anticipation of the next issue.
Conclusion
Alien vessels leaving Earth for space.
Armorines #4 (1994) is another solid entry in this particular monthly series which served as a good build-up for the next story that happens to be part of a big event that Valiant Comics published (read: The Chaos Effect). It is also within this comic book that you get to know the Armorines, their superiors and other characters better.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the early 1990s and explore a part of the Valiant Comics shared universe through the Harbinger monthly series.
In my previous review, Faith, Flamingo and Kris – with her uncle as a companion – accidentally got reunited with Archer and Armstrong at Coney Island. It turns out Kris’ uncle had a negative encounter with Armstrong decades prior which compels him to approach a local crime boss for assistance. This led to a wild chase.
With those details laid down, here is a look back at Harbinger #23, published in 1993 by Valiant Comics with a story written by Maurice Fontenot and illustrated by Howard Simpson.
The cover.
Early story
The story begins with Sting, Flamingo and Faith surrounded by armed personnel at the Harbinger Foundation’s private hangar at La Guardia Airport in New York. Faith does something drastic causing a heavy object from above to start falling down on the armed men. One of the men fires his gun at a barrel of fuel which causes a big explosion.
In a room nearby, Shatiqua and Kris hacked a computer to acquire lots of confidential information from the Harbinger Foundation. After realizing the explosion that happened, they decide to work fast getting the information they need.
On the airport’s tarmac, a private jet is on standby waiting for clearance to take off. Inside is Walter Sakai, who is one of the most trusted men under Toyo Harada…
Quality
Sting, his teammates and their major enemy Toyo Harada.
Without spoiling the crucial details of the plot, the Fontenot-Simpson clearly made the moves to raise the stakes between Sting’s team and the Harbinger Foundation, complete with the build-up of a pending high-stakes conflict between their respective leaders.
Of course, this is the latest conflict between the two sides – one side has super-powered teens who want to live freely while the other is a powerful organization that has been developing its of super-powered youth members using vast resources as well as political connections. This time around, the creative team not only raised the stakes but also came up with some really dark and bizarre scenarios within Sting’s own team. The good news is that Fontenot came up with something new and surprising to keep this series going with a clear direction ahead. The mentioned dark scenarios visually have a horror film vibe.
As for Sting himself, he continues to take action recklessly and without any backup, he impulsively goes after one of Harada’s top executives without considering the consequences. At this stage, Sting has turned unlikable and it really looks like the boundary separating good and evil got blurred away. That being said, there will be moments in which you will feel like wanting to tell Sting he is doing things the wrong way.
Conclusion
Very recklessly, Sting goes after one of Toyo Harada’s most trusted men.
Harbinger #23 (1993) revives the rivalry between Sting’s team and the Harbinger Foundation, only this time there are some very solid twists that resulted in both surprise and intrigue when I read this tale. It seems to me that something tremendous between Harada and Sting was being built up. Considering the really good quality of this comic book and how the story ended, I can say I am looking forward to the next issue.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the early 1990s and explore a part of the Valiant Comics shared universe through the Armorines monthly series.
In my previous retro review, the armored Marines and their US Navy SEALs counterparts encountered mutated sharks as they struggled to accomplish their mission. Along the way, one of the Armorines literally got swallowed by a huge, organic object that went directly to him during the struggle.
With those details laid down, here is a look back at Armorines #3, published in 1994 by Valiant Comics with a story written by Jorge Gonzalez and drawn by Jim Calafiore.
The cover.
Early story
The story begins deep under the sea as the Benchley explodes and falls down further as a result of the mission. Gunny finds himself falling down as well as he no longer has his ballast and propulsion unit. Fortunately, an armored teammate of his saves him and pulls him up to the surface.
Several kilometers away from the site of the ill-fated Benchley, a huge organic-looking object enters the large hole on the side of a derelict ship. Strangely enough, the interiors have an alien design and the organic-looking object turns out to be a ship of its own. Two human figures with unnatural physical features come out of it and told their alien-looking troops to enter the refrigeration unit to “bring the ‘meat’” to Chantilla.
Inside the refrigeration unit filled with lots of dead human bodies, the armed aliens approach the Armorines suit only to find it empty. As they did not bother to search around to find answers, the Armorines pilot cleverly concealed himself among the other dead bodies pretending to be dead. He gets up after the aliens leave…
Quality
The first display of the Armorines in action without the aquatic environment.
After a good amount of build-up executed by the creative team in the first two issues, this particular comic book served as a big pay-off as well as a creative build-up of its own with the future events in mind. In fact, the sci-concepts introduced here along with new figures of opposition (specifically the humans with physical aquatic features) really lifted the storytelling to a whole new level of imagination laced with intrigue. Instead of seeing armed terrorists or an opposing force with military hardware to counter the high-tech Armorines, we see people who have a sinister plan, have been organizing violent operations on Earth and are of alien origin. These aliens, who are even studying human characteristics, were involved in conflicts with X-O Manowar and Turok elsewhere within the Valiant Comics shared universe. In fact, the two individuals who arrived early in the story came from their act of destroying X-O Manowar’s armor (read X-O Manowar #28). I should also state that the duo of Gonzalez-Calafiore cleverly emphasized the aliens’ plan to weaken the coordination and security of Earth’s forces so that they can escape undetected. What is even more intriguing within this comic book is the visualization of the aliens’ secret scientific developments and experiments on Earth.
Going back to the Armorines, you will see them in action without the aquatic environment. The way the creative team showed the Armorines in action against their alien counterparts turned out to be entertaining to read.
Conclusion
Given the fact that Democrats in America today love illegal immigrants so much, can you imagine them and their hordes of woke/socialist/Communist/Marxist/liberal/LGBTQ/transgendered voters welcoming aliens from outer space and allowing them to do bad things against humanity here on Earth? Imagine Joe Biden or Hillary Clinton making secret deals with these aliens.
I can say that Armorines #3 (1994) is a well-executed story that successfully paid off what was built in the first two issues and raised the stakes further with sci-fi concepts and a force of opposition that made impact elsewhere in the Valiant Comics shared universe. As I enjoyed this old comic book, I am looking forward to the next issue.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the early 1990s and explore a part of the shared universe of Valiant Comics through the Armorines monthly series.
Before I start, I should state that the superhero concept of an armored human protagonist who could do many incredible things made possible by high technology made an impact on comic book storytelling for decades. Look at Marvel’s Iron Man and the Ultraverse’s Prototype for examples.
While Valiant Comics already had its own armored superhero with X-O Manowar (note: his armor is symbiotic, not technological), they decided to move forward with the concept of armored figures in the form of a military team.
With those details laid down, here is a look back at Armorines #1, published in 1994 by Valiant Comics with a story written by Jorge Gonzalez and drawn by Jim Calafiore.
The cover.
Early story
The story begins five hundred kilometers off the southern coast of Australia. Four people dive very deeply to explore nuclear-powered submarine U.S.S. Benchley which has been dormant for some time already. While exploring the interiors of the submarine, the divers got attacked by something in the dark.
At Camp Pendleton in California, an armored U.S. marine goes through an intense training session fighting machines not knowing that there could be traps waiting to get triggered. As Gunny (the armored marine in the session) falls into a trap, his teammates, General Kendall and the scientist Zahn watch the proceedings behind the scenes as another teammate (operating with virtual reality on her high-tech station) continues to communicate with him.
As time passes by, the situation gets even worse for Gunny physically…
Quality
Armorines has members who go out on the field wearing high-tech suits of armor while there are other members who serve as co-pilots using virtual technology and constant communication behind closed doors.
In terms of storytelling, the creative team focused mainly on the build-up of not just the plot but also the importance and the ways of the Armorines themselves. As weapons of the government, Armorines are an expensive team to run due to the use of very advanced technologies for operations. The Armorines have members who go out on the field wearing high-tech suits of armor that provide enhanced protection while also carrying high-tech weapons for offense. The team also has members who stay behind closed doors to use individual stations with virtual reality and enhanced communication with their brothers on the field.
When it comes to the characters, the smoking Gunnery is noticeably the one who got the most exposure and the most development. The other Armorine members got token exposure for the readers.
More on the plot itself, there is a mission that requires the Armorines to go deep underwater to solve a mystery and do something dangerous secretly. The mission was essentially all about protecting America’s top-secret weapons from falling into the wrong hands. To be clear, the mission itself happens in the 2nd half of this comic book which ultimately serves as a pay-off to the build-up the happened earlier. In fairness to the creative team, there was a good amount of suspense presented when the mission really started moving. There definitely something worth seeing during the mission.
Conclusion
In this story, Gunny is the closest thing to a definitive protagonist.
To be very clear, Armorines #1 (1994) is not exactly the high-powered, action-packed story people could expect from seeing the armored marines looking capable of fighting terrorists and other enemies of America in militaristic fashion. This comic book’s story is indeed surprising to me and the creative team was not hesitant to push hard with the concept they came up with here. As this comic book was clearly executed with build-up, introductions and emphasizing concepts in mind, it is not surprising that the pay-off in the 2nd half led to moments of intrigue and suspense with momentum going into the next issue. Lastly, I should state that this comic book is free from political influence and its focus on the team has been very consistent.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the early 1990s and explore a part of the Valiant Comics shared universe through the Harbinger monthly series.
In my previous review, the team led by Sting daringly broke into the Harbinger Foundation’s New York facility and freed the pretty blonde Natalie Toynbee (codename: Stunner) who happened to have a big ego and was not comfortable with the organization’s rules. While Sting and his team secured Natalie as their newest member, a sinister force from Iran arrives in America.
With those details laid down, here is a look back at Harbinger #20, published in 1993 by Valiant Comics with a story written by Maurice Fontenot and illustrated by Howard Simpson.
The cover.
Early story
The story begins deep in the nation of Iran on February 1, 1993. Thanks to the tremendous help of Screen, the Harbinger renegades composed of Flamingo, Kris, Shatiqua and Faith/Zephyr make their way through the busy section of Mashad, carefully communicating with each other while disguised in cultural clothing. Their mission is to find the hideout of Kaliph and rescue Sting and Natalie/Stunner knowing they only have ten hours left.
Inside Kaliph’s fortress, a very weak and uneasy Sting finds himself alone in a dark room while Natalie is being treated nicely by the servants of Kaliph in preparation for dinner with the sinister master himself…
Quality
During their rescue effort, Sting’s teammates face off with the armed Iranians of Kaliph.
In terms of storytelling, this is a very solid continuation to the events that happened in the previous issue and it was a clever move by the creators to have the story set in enemy territory which easily raised the stakes for Sting’s team. While this is not the first time that the group went out on dangerous missions going into the turf of the opposition, having Iran as the setting and Kaliph as the powerful villain really made things fresh for this particular comic book series.
It should be noted that having Sting being very vulnerable added a nice layer of depth in this tale given the fact that he is still living with a false sense of maturity as well as traces of arrogance on his part believing that he could make positive changes by fighting powerful enemies and freeing powered youth from captivity without vast amounts of resources. For the newcomers reading this, Sting and his companions do not have much money to live with nor do they have technologies or connections to be powerful as a team. They simply have their own super powers and the will to move on and make things happen which makes them different compared to many other superhero teams in comics.
There are also signs of suicidal thoughts on Sting’s part as he recklessly moved to get to Kaliph even though the villain’s men were armed. By contrast, his teammates moved cautiously into Kaliph’s fortress and the way they handled the armed Iranians was believably presented. Not to be outdone here in Natalie who got a good share of the spotlight.
This comic book’s evil Iranian Kaliph was presented to be not only powerful but also talented as a business negotiator (which makes him somewhat similar with this comic book series’ super villain Toyo Harada) and even as a host of special guests. His evil nature here got emphasized further through his treatment of people as pawns of negotiations backed by his power of manipulation.
Conclusion
Natalie Toynbee being treated nicely by the servants not realizing the evil of the man she is about to meet.
Harbinger #20 (1993) is both engaging and intriguing to read from start to finish. Having Sting’s team on a high-risk rescue mission in Iran made for a great setting and Kaliph turned out to be a more significant figure of evil. Through Kaliph and his violence-oriented servants, you will see the symbolism of the evil of Iran in real-life even though this comic book does not show any links between him and the regime that took power in 1979. Geopolitics are pretty much absent in the story but the evil presented through Kaliph make this old comic book highly relevant in relation to the evil of Iran today (for reference, click here, here, here, here, here and here). It should be noted that within the comic book, the Iranian people in general are not condemned and in real life, there are Iranians standing up against their government which itself has been sponsoring terrorists and organizing terrorism for a long time now. The brutality committed by Iran’s regime made several Iranians escape their country to be free.
Considering the very sensitive matter of Iran and other issues related with contemporary geopolitics, Harbinger #20 (1993) not only aged well but is also a living reminder that people whose minds got poisoned with wickedness, political correctness and wokeness would not dare make a comic book showing the evil of Iran. The Leftist-oriented people prefer to make deals with terrorists (for examples, click here and here).
Overall, Harbinger #20 (1993) is highly recommended!
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the wild 1990s by examining one of the many tales of Marvel Comics’ 2099 line of franchises, specifically through the Hulk 2099 monthly series.
For the newcomers reading this, Hulk 2099 first appeared in 2099 Unlimited #1 (1993)which also had his origin story told. Hulk 2099 was not a mere version of the classic Incredible Hulk with a futuristic touch. In fact, the futuristic green creature highlighted the protagonist John Eisenhart as a very selfish and obsessed Hollywood studio executive who happens to stumble upon the idolaters/worshipers of the classic Hulk Bruce Banner because he was searching for new properties and stories for his studio. Hulk 2099’s origin has notable similarities to that of the classic Hulk and gamma radiation exposure is one of them. As tales of the futuristic Hulk were told through the quarterly releases of 2099 Unlimited, Marvel decided it was time to give the green creature his own monthly series.
With those details laid down, here is a look back at Hulk 2099 #1 published in 1994 by Marvel Comics with a story written by Gerard Jones and drawn by Malcolm Davis.
The cover.
Early story
The story begins with the Hulk of 2099 destroying security droids and verbally attacking civilization. As he retains the intellect of John Eisenhart, he expresses his opposition against civilization for keeping people out of the water reclamation zone.
The story then shifts to California where Lotus Entertainment (Eisenhart’s employer) and its crew work on producing a film which is a dishonest telling of Eisenhart’s dealings with the Knights of Banner (already eliminated in 2099 Unlimited #1). During the production, one of the executives notices the absence of Eisenhart.
Elsewhere, John Eisenhart drives his flying car with Knights of Banner youth survivor Gawain as his passenger. Already struggling with the guilt over the deaths of all the adult Knights of Banner members, Eisenhart intends to end his employment and cash out of his contract. Gawain remains hostile towards Eisenhart.
Quality
The creative team used flashback images that look really similar to what was told in 2099 Unlimited #1.
If there is anything that is very obvious to talk about, it is the fact that this tale shows a radically different John Eisenhart who wants to get out of Hollywood’s multiple mazes of crookedness as he feels very guilty over what happened to the Knights of Banner. This happens just as a new entity took corporate control of Eisenhart’s employer before he could leave the company. In many ways, Eisenhart’s distress and struggle with being guilty reminds me a lot about Hardcase of the Ultraverse and the way the creative dramatized him was engaging.
For the story, there is a lot of corporate intrigue going on and Eisenhart’s failure to quit quickly was inevitable because the new enemy he faces here has a lot to do with the sudden takeover of Lotus Entertainment. At least on face value, this looks like an attempt by the creative team to change the status quo and move Hulk 2099 to a new creative direction away from what was established in 2099 Unlimited. Without spoiling the details, I can say that something very significant happened before the comic book’s ending and it will impact readers who followed the futuristic Hulk’s stories closely in the 2099 Unlimited series.
Along the way, there is a lot of action and unfortunate physical happenings which symbolize the chaos concept of the script. The notable thing here is that you won’t see very much of Hulk 2099’s monstrous form as the script was specifically written to tell a tale that went beyond one issue. Clearly, the creative team were sparing Hulk 2099 for a conflict in the next issue.
Malcolm Davis’ art has that visceral aesthetic that fits the established look of Marvel’s 2099 universe of the time but there were instances when he showed so much happening, the visuals looked chaotic and even disorienting. In fairness, his take on Eisenhart, Quirk, Gawain and others made them looked recognizable.
Conclusion
The future of Commiewood, wokeness, and dishonesty.
While its story has little of the green monster in it, Hulk 2099 #1 (1994) does a decent job building up the tension on top of the guilt-filled Eisenhart while setting up events that looked like a bold new creative direction was coming. By the time this comic book was published, several Hulk 2099 tales were already published in the quarterly 2099 series. On its own, this comic book lightly builds up the lore of the 2099 universe as it was clearly focused on Hulk 2099’s creative concept and characters.
While Eisenhart was indeed determined to change, it is a turnoff to see him lie and exaggerate details to protect himself from a certain corporate psychologist who is after the truth. There is also a lot of anti-corporate expressions here which seems to suggest that someone within the creative team had been thinking with socialist concepts and decided to use the script as an outlet of expression. The weird but true thing is that by today’s standards, Hollywood is filled with Commies/socialists/Marxists/liberals/woke nuts from the film crew up to the executives that run studios and produce films or shows that are dumb, lies about reality, self-centered and extensions of their ideologies. This showed that this comic book was prophetic in some ways.
Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.
Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the early 1980s and examine an alternate universe portrayal of the X-Men and the Dark Phoenix saga itself as told in one of the comic books of the first volume of the series What If.
So much has been discussed about the Dark Phoenix saga of the Uncanny X-Men series through the decades. A lot point to it as the greatest X-Men ever told while some called it the true X-Men epic story that Chris Claremont and John Byrne came up with. Considering its deep impact and significance on the Marvel Comics shared universe, it was only a matter of time before the publisher decided to revisit the said storyline but explore other outcomes through the What If series.
With those details laid down, here is a look back at What If #27 published in 1981 by Marvel Comics with a story written by Mary Jo Duffy and drawn by Jerry Bingham.
The cover.
Early story
The story begins with the Watcher looking back at the events that led to the Dark Phoenix saga, who got impacted and how Jean Grey used a weapon of alien origin to end her own life and prevent the Dark Phoenix from raging.
Suddenly, an alternate reality begins when Jean Grey survives and Cyclops reacts by using his optic blasts on incoming enemies until he got overwhelmed. The X-Men have been defeated and are brought to the imperial flagship of Lilandra’s grand fleet where the Shi’ar scientists prepare for the destruction of Phoenix.
Jeay Grey remains alive, floating above the X-Men and the others as Lilandra’s people prepare to start the process of the psychic lobotomizer on her. Their intention is to act upon Jean Grey’s brain and destroy certain parts of it in order to neutralize the Phoenix power within her. The operation turned out successful and Jean Grey survives once more. She and her fellow X-Men return to Earth…
Quality
This conflict between Phoenix-powered Jean Grey and Galactus is a must-see.
This early, I can say that this is a very great exploration and portrayal of the concept about Phoenix (within Jean Grey) not dying during the Dark Phoenix saga. The script of this comic book is so great (note: solid plot structure, consistent portrayals of the characters, strong build-up with solid pay-off and more), it’s almost as if Mary Jo Duffy and Chris Claremont worked together behind the scenes.
The protagonist in this story is Jean Grey and this comic book examines her struggle with adjusting her personal life and her effort to fit in once again within the X-Men while remembering fully that as Dark Phoenix, she still remains guilty of destroying an entire solar system and committing the mass murder of five billion people.
Unsurprisingly, due to the emergence of a tremendous crisis deep in space, Jean Grey gets involved with her team going to the site on a mission. This easily puts her into a situation that makes her revive the power of the Phoenix deep within herself. While the use of the tremendous power of the Phoenix to help the X-Men looked sensible at first glance, it only signified the beginning of a chain of destruction and unfortunate developments. As expected, Jean Grey can only go so far with her good nature and her free will while having the magnificent powers of the Phoenix.
While the conflicts were portrayed well, Mary Jo Duffy’s script raises key questions about the red-head X-Men member: How can Jean Grey ever achieve a normal life and level with her X-Men teammates knowing that she carries powers that make her god-like? How can she ever forget the tragic fact that as Dark Phoenix, she murdered billions in deep space? What can Charles Xavier do to lead and guide the X-Men knowing that Jean is way too powerful? Could the love of Cyclops be helpful for Jean Grey’s personal efforts to control the Phoenix power within?
Another highlight of this story is the final seven pages. The ending is very impactful and definitely something you must see.
Conclusion
This happened after Jean Grey’s survival.
What If #27 (1981) is a classic alternate reality portrayal of the Marvel Comics universe and it surely works as a companion piece to what was established in the Dark Phoenix saga. Mary Jo Duffy’s script really captured the spirit of Claremont’s X-Men and the dramatic stuff and all the build-up led to a very tremendous ending that can disturb you or even satisfy you in the most unusual way. Most notably, this comic book really answered the question about what would happen had Phoenix did not die. The 2nd tale of this comic book – the Kree Encounter – is an interesting additive.
Overall, What If #27 (1981) is highly recommended.
Author Carlo Carrasco 