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 revisit the early days of Image Comics through Jim Lee’s WildC.A.T.S: Covert Action Teams comic book franchise which was one of the launch titles of the said company.
For the newcomers reading this, Jim Lee is one of the co-founders of Image Comics and during his previous stint with Marvel Comics, he was instrumental in modernizing the X-Men both visually and creatively (note: look at all the paramilitary elements implemented during his X-Men days). WildC.A.T.S was his independent superhero team project which went on to not only grow as a comic book franchise in the 1990s, but also became an animated TV series. WildC.A.T.S dealt with conspiracy as well as aliens from outer space.
With those details laid down, here is a look back at WildC.A.T.S: Covert Action Teams #2, published by Image Comics in 1992 with a story written by Brandon Choi and Jim Lee. Lee did the art.
The cover.
Early story
The story begins in the headquarters of International Operations (I/O) whose officials have been monitoring a situation far away. Suddenly a portal appeared inside I/O which surprised director Lynch and his fellow officials. Seen through the portal – which appeared for only seconds in front I/O’s people – were Jacob Marlowe, Spartan, Grifter, Maul, Zealot, Voodoo, Void and Warblade who just escaped from certain death which is connected to the explosion monitored by I/O.
The WildC.A.T.S instantly arrived inside their highly advanced aircraft safe and sound. After some talk, they begin to move to a safehouse of Grifter’s near Quantico…
Quality
An efficient exposition about the science fiction concept of WildC.A.T.S.
As far as storytelling goes, this comic book has more depth to its plot. While the first issue was filled with introductions of characters and story concepts as well starting its narrative in cryptic fashion, there was more freedom in this issue for the writers to properly structure their story, gradually build-up tension, execute payoffs satisfactorily while still managing to insert spectacle to complete the work. The story moved with a moderate pace and things moved fast when it was needed. I find re-reading this WildC.A.T.S tale a more satisfying experience than before and it is also an improvement over the first issue.
More on the core concept about Daemonites infiltrating human societies on Earth with the involvement of the Cabal to enhance their efforts, there literally more meat to chew here as Jim Lee and Brandon Choi came up with clever and efficient ways on executing exposition. The I/O meanwhile literally jumped from being background decoration into the main story as a connection was made between one of the top officials of the organization and WildC.A.T.S leader Marlowe.
More on the WildC.A.T.S themselves, you will get to know more about each member and how their respective personalities differ from each other as they all struggle to keep up with the changes around them. Voodoo here is still the witness of a conflict she never anticipated would involve her and many times she is clueless and really struggling to figure out what has been happening. While Marlowe has the strong tycoon mentality all throughout, Spartan is the dedicated and focused operator while Grifter is the cocky gunslinger and Zealot is the battle-hardened warrior whose perception about life and survival could make readers wonder if she is truly brave or truly reckless. With the introductions of each character already done, in issue #1 it was no surprise that there was a bit more space for the creators to define each team member with limited space (pages) they had during comic book production.
Conclusion
In the heat of the action, something visceral happened with Voodoo who is not even a fighter.
The best way to describe WildC.A.T.S: Covert Action Teams #2 (1992) is that its core concept as well as its mini-series plot really started to take shape as Brandon Choi and Jim Lee got over all the creative hurdles in issue #1. The result was not only more focus on plotting but executing payoff for story build-up, characterization and putting enough action in a rather disciplined way. There was no sign of creative rush by Choi and Lee here. I should also state that it is in this same comic book where you will see more interesting traits of the WildC.A.T.S members which, in my experience, made me anticipate the next issue.
As one of the very early comic books of Image Comics, this one had one of the first, if not the first, gimmick covers of the said publisher and I can say that its content was good enough to justify the flashy cover and its rather high cover price of $2.50 (note: back in 1992 many of Marvel’s and DC’s comic books had cover prices of $1.25 while WildC.A.T.S: Covert Action Teams #1 had a $1.95 cover price). I could not forget the day in 1992 when I visited a local comic book specialty store in Makati that had WildC.A.T.S: Covert Action Teams #2 (1992) displayed with its cover really shining under a strong light source. I also remember there were others in the store staring at it.
If you are seriously planning to buy an existing hard copy of WildC.A.T.S: Covert Action Teams #2 (1992), be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the gimmick cover edition costs $20 while the near-mint copies of the signed gimmick cover edition and the newsstand edition cost $60 each.
Overall, WildC.A.T.S: Covert Action Teams #2 (1992) 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. 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/
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 revisit the world of 2099 within the universe of Marvel Comics back in the 1990s, specifically through the Spider-Man 2099 monthly series.
Today we will look back at the sixth issue of Spider-Man 2099. Previously, Spider-Man struggled long and hard with the Japanese agent called the Specialist not knowing that they are being monitored by powerful forces behind the scenes. As Alchemax’s Tyler Stone wanted Spider-Man, something unexpected happened before issue #5 ended.
With those details laid down, here is a look back at Spider-Man 2099 #6, published in 1993 by Marvel Comics with a story written by Peter David and drawn by Ricky Leonardi.
The cover.
Early story
The story begins in downtown New York which is the historic and original section of the city located far below the modern-day society and its skyscrapers (referred to as Uptown). Lots of people are living in poverty in downtown New York and even so they are not spared by people who claim to have authority over them as public service personnel. A woman and her child got approached by two men who believe that the mother is two months behind her security payments.
As the physical struggle between them went on, they all found themselves close to a dead end with a pile of trash located on it. Suddenly, a human arm comes out pushing the trash out of the way which stuns them all. Spider-Man then emerges and asks for help…
Quality
Spider-Man of 2099 is so weak and vulnerable, he could not even swing his way around and has to take a ride in downtown New York City.
If there is anything clear about this comic book, it is the fact that Peter David portrayed the futuristic Spider-Man as not only struggling for survival but also as a fugitive complete with a brand-new physical environment which is a dark, far futuristic vision of 20th century New York City. The good news is that David succeeded with what he executed and to say the least, this story has a completely different feel compared to issues #2, #3, #4 and #5.
On Spider-Man, the protagonist was shown to be very vulnerable. His fall from uptown to downtown really wrecked his health and due to the genetic modifications that happened to Miguel O’Hara in issue #1, his above-normal (albeit slow) recovery and strength to even move out the medical facility while being injured are justified creatively. Spider-Man being hunted together by Private Eye and their downtown counterparts (note: there is a clash of cultures and attitudes between them which was nicely dramatized) adds a new layer of suspense mixed with tension which easily reminds me of the fact that the futuristic web-slinger is just a worm within the futuristic and oppressive society of New York in 2099 under Alchemax (note: clearly anti-corporatism is a key element of Marvel 2099 which can be deceiving and misleading to readers, especially those who are vulnerable to the lies and deception of socialists, Marxists, Communists, liberals and other elements of the Satanic Left).
As expected, Peter David further dramatized relationships or connections between the supporting characters. He further spiced up the script with the gradual first appearance of a key 2099 villain for Spider-Man to face off with. I won’t reveal which villain is that and I encourage you to find out by reading this comic book.
Conclusion
Early in the comic book.
Spider-Man 2099 #6 (1993) is fun and compelling to read. What makes it compelling is the creative way the author changed the mood of the story as it shifted into downtown New York of 2099 filled with poverty, darkness and hopeless living. Spider-Man as a fugitive here is similar yet different enough compared to how local authorities perceive the classic Spider-Man/Peter Parker. At this point of the monthly series, Spider-Man of 2099 is shown to be very vulnerable and Miguel O’Hara finally becomes desperate not just to survive but also get back home somehow.
If you are seriously planning to buy an existing hard copy of Spider-Man 2099 #6 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $30 while the near-mint copy of the newsstand edition costs $90.
Overall, Spider-Man 2099 #6 (1993) 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. 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/
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 revisit the future of 2099 through the Punisher 2099 monthly series.
For the newcomers reading this, Punisher of 2099 is Jake Gallows who works during the day as a law enforcer which is a nice contrast to the concept of the classic Punisher identified as Frank Castle. In Punisher 2099 #1 (1993), Jake Gallows witnesses the demise of his family that got attacked by a gang of killers led by Kron Stone who is not only the son of Alchemax’s Tyler Stone but also became the deadliest nemesis of Spider-Man 2099.
With those details laid down, here is a look back at Punisher 2099 #2, published by Marvel Comics in 1993 with a story written by Pat Mills and Tony Skinner, with art by Tom Morgan.
The cover.
Early story
The story begins with a funeral of Jake Gallows’ lost family members held at the church of Thor. In accordance to the traditions of the Thor religion, the dead bodies were placed on a burning boat floating on the water just outside the church building. As he and his fellow law enforcers watch the ritual happen, Jake confirms that he and the church of Thor do not believe in forgiveness and he himself believes in revenge.
When he is not on duty, Jake goes out as the Punisher hunting and killing criminals in his own brutal ways. Even as he does not wear a mask nor a helmet, his face is digitally covered from detection of security cameras thanks to a special technology he uses to protect his identity.
Meanwhile at an amusement park, lots of children enjoy floating in the air within an anti-gravity chamber. Kron Stone and his fellow killers arrive as they attempt to murder the children. Punisher suddenly comes out and successfully kills Stone’s companions, leaving them together in a standoff…
Quality
The Punisher has someone assisting him.
While the sub-par issue #1 was composed mostly of the build-up and emphasis of the futuristic Punisher, this story is pretty much a big pay-off to it. Quite predictably, Jake gets to meet with the gang leader responsible for the death of his family in this issue not once but twice. Along the way, the comic book writers got to emphasize Kron Stone’s wickedness more as well as his continued disregard of human life. This time, Stone’s willingness to kill many children is very disturbing and Tom Morgan’s art style clearly emphasized the villain’s evil.
Within this comic book is a visual tour of the Gallows residence which has a large underground facility and pieces of technology that Jake uses for his campaign against crime (this makes Punisher 2099 becoming similar with Batman and his Bat Cave). He also has a technology oriented partner named Matt who helps him establish a working base of operations.
There is also a sub-plot about the side of crime with the introduction of the Fearmaster who, like Tyler Stone, is with Alchemax and has influence over Public Eye. Unsurprisingly, his introduction is short.
Conclusion
Jake Gallows and Kron Stone (AKA Venom 2099) meet again, only this time the former is now in his form as the Punisher.
The best way to describe Punisher 2099 #2 (1993) is that its plot really thickened and unlike issue #1, this one has a more interesting story and the presentation done by the creative team has some entertainment value. While this is unsurprisingly the natural progression of defining the futuristic Punisher to readers, it is also a successful way of expanding his own part of the 2099 universe complete with the introduction of a new villain and conspiracy that connects to both criminals and law enforcers. To be clear, this is far from being an excellent comic book but it is clear that this one is an improvement over issue #1. In retrospect, the one thing that adds weight to this comic book is not Punisher himself nor the creative concepts involved, but rather the presence of Kron Stone who later on became Venom 2099 (read my retro reviews involving him in Spider-Man 2099 issues #35, #36, #37, #38 and #39).
If you are seriously planning to buy an existing hard copy of Punisher 2099 #2 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $90 while the near-mint copy of the newsstand edition costs $200.
Overall, Punisher 2099 #2 (1993) is satisfactory.
+++++
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. 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/
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 revisit the future of 2099 through the Spider-Man 2099 comic book series of the 1990s.
Last time around, Miguel O’Hara/Spider-Man found himself in a very tricky situation as he found himself in confrontation with the Specialist while making sure that Kasey Nash (the lady who is involved with Miguel’s brother Gabriel) is safe. It should be noted that at this particular point of time, Spider-Man is still adjusting to his special abilities and he also has deal with matters over his work at Alchemax in his civilian form.
With those details laid down, here is a look back at Spider-Man 2099 #5, published by Marvel Comics in 1993 with a story written by Peter David and drawn by Rick Leonardi.
The cover.
Early story
The story begins with a weakened Spider-Man who mask is being held by the sword-wielding Specialist. As soon as the Specialist realized that the mask can’t be pulled off easily, Spider-Man scratches his body with talons and gained some distance away from him enabling him to wear his mask properly.
Meanwhile inside the facility of Alchemax, Tyler Stone watches the conflict between Spider-Man the Specialist recorded live by cameras. He orders his assistant to interrupt the scheduled programming of Private Eye and direct the live feed of the fight to the entire city. Stone orders him to alert Private Eye’s personnel.
Stone specifically wants Private Eye’s armed members to converge at the fight of Spider-Man and the Specialist, but states that no apprehension will be done. Stone has something in mind for Spider-Man…
Quality
The battle between Spider-Man 2099 and the Specialist was viewed by Alchemax.
What started in issue #4, this comic book expanded greatly without letting the narrative turning dull. The fight between Spider-Man and the Specialist pretty much dominates the majority of the story, and yet Peter David successfully told stories about Kasey Nash and Gabriel O’Hara while giving readers an inside look at Alchemax and its control on society. In addition, the futuristic Stark-Fujikawa corporation was given its own spotlight in the story complete with their own connection with the Specialist.
As the universe of 2099 was further emphasized, Spider-Man got developed further as an action performer. The more Miguel used his special abilities, the more he becomes proficient not only with fighting but also with defensive moves aided by enhanced reflexes. It was also here where Spider-Man gets to use his organic web a lot more which really challenged his opponent from Stark-Fujikawa.
More the narrative, I like the way Peter David raised the stakes and intrigue all throughout. Not only will you get to see Kasey Nash, Alchemax and Stark-Fujikawa perceive the battle, there is also a short and yet intriguing scene of Gabriel O’Hara with a certain lady who would later become a crucial part of the Venom 2099 storyline (read my reviews of issues #35, #36 and #37). I should state that the battle between Spider-Man and the Specialist built up the tension for the impactful moment very near the end of the story, and that is something you must see.
Conclusion
Spider-Man reacts with his reflex and talons.
Spider-Man 2099 #5 (1993) another compelling and enjoyable read from the team of Peter David and Rick Leonardi. The stakes were really raised high in the story complete with giving the reader a greater view of the 2099 New York society under the control of Alchemax and Spider-Man himself is just a small part of it who happens to stand out among all the people because of his special abilities. Clearly, the series at this point moved swiftly from the superhero origin stage into the dangerous society of the far future.
If you are seriously planning to buy an existing hard copy of Spider-Man 2099 #5 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $60 while the near-mint copy of the newsstand edition costs $180.
Overall, Spider-Man 2099 #5 (1993) 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. 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/
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 revisit the Ultraverse of Malibu Comics and examine one of its many stories through the Sludge comic book series.
Previously I reviewed issue #2 of the series which was a surprising and fun comic book to read as the creative team took the risk of emphasizing the violent character Bloodstorm over Sludge himself. Ultimately, this move served as a way to not just build up tension but to expand the specific place of Sludge and the dark forces within the Ultraverse. For this retro review, issue #3 is set during the events of the memorable Ultraverse crossover story Break-Thru.
With those details laid down, here is a look back at Sludge #3, published by Malibu Comics in 1993 with a story written by Steve Gerber and drawn by Aaron Lopresti.
The cover.
Early story
The story begins with Sludge still lying down at the dock after just being defeated by Bloodstorm. Suddenly a mob of chaotic people (driven mad by the effects of Break-Thru that just happened) lift him up and throw him into the water without any regrets whatsoever. In hiding, Bloodstorm witnesses their act and thought to himself that he should avoid the madness happening. Suddenly, other mad people ganged up on him forcing him to react by firing his gun and set himself free from their grip. He safely makes it to his car and speeds away, even bumping off a few people on the way.
As Bloodstorm speeds away, another man in hiding who knew him and the boss Marcello was found by the mad people. Out of desperation he runs away and jumps into the water. He realizes that the people are so obsessed with going up to the sky (the Break-Thru effect), they did not bother to follow him at all.
Deep down the water, Sludge finds himself alone and getting relieved of the pain he experienced above. Feeling hopeless, he waits for the river to wash him away…
Quality
Sludge in trouble!
Being a standalone story set during the events of Break-Thru, this comic book focuses more on the protagonist while simultaneously raising the stakes with regards to the evil forces as the elements of crime gang combined with the supernatural took effect. To be clear, fantasy elements were added to this series which had darkness and grit dominating the plot of the first two issues.
This comic book has an early appearance of “lord” Pumpkin (AKA The Pump) who is the element of sorcery and, more notably, serves as the Ultraverse’s very own Satanic figure. Not only does the Pump have vast powers to take life away from others and has evil pawns to wield, he also leads and guides an apprentice (the kid gangster called Pistol) with pure wickedness, crafted plans of evil, is cunning in his ways of manipulating others to do evil, and he makes promises or deals with others who will receive some rewards but ultimately will be disregarded and lose a lot. This Ultraverse super-villain, as recorded in Malibu Comics’ publishing history, went on to become a walking symbol of pure evil, corruption, sins and danger in other UV comic books.
While there is indeed more focus on Sludge in this issue, it is the Pump who overshadows him. As for Bloodstorm, his presence has been drastically reduced here which is kind of jarring to read as he was the dominant and heavily emphasized in issue #2. Speaking of characters, the gang boss Marcello (who is Bloodstorm’s client) makes a short appearance but his connections not only with criminals but also with para-military forces emphasized his influence in the city.
More on the plot itself, this comic book is pretty loaded and the stakes were really raised high. In key scenes, Sludge finds himself in the middle of gangsters, the people driven mad by the Break-Thru effect, the para-military forces and the Pump’s ugly and evil pawns. Steve Gerber crafted a story that expectedly built up a lot and paid of strongly since the stakes were raised. I should state that Aaron Lopresti’s art here showed signs of improved creativity
Conclusion
The gang boss Marcello and Bloodstorm talk during the events of Break-Thru.
Sludge #3 (1993) is a more engaging and more intense comic book on its own complete with the literary debut of the Pump who is clearly the Ultraverse’s most evil villain. If issue #2 was twisting with the way it presented its characters, this comic book has more of its protagonist who went on to face new elements of evil while the story of Break-Thru transpired. I also noticed the Pump’s offer to Sludge symbolizes Satan offering a troubled soul a place in his force of evil. How did Sludge react to the offer from the evil one? You will have to read this comic book.
If you are seriously planning to buy an existing hard copy of Sludge #3 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $16.
Overall, Sludge #3 (1993) 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. 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/
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 revisit the Ultraverse of Malibu Comics and examine one of its many stories through the Sludge comic book series.
For the newcomers reading this, I published my retro review of Sludge #1 back in December of 2020. I really enjoyed that Ultraverse comic book and now is a good time to revisit that series and find out what will happen next to Sludge, the UV’s most notable monster protagonist. I should state that Steve Gerber (Man-Thing) and Aaron Lopresti made a solid creative duo in Sludge #1.
With those details laid down, here is a look back at Sludge #2, published by Malibu Comics in 1993 with a story written by Steve Gerber and drawn by Aaron Lopresti.
The cover.
Early story
The story begins with a quick flashback of a young blonde boy who got bullied by other kids due to his unusual appearance and the way he expresses himself. Fast forward to the present day, an armed man (the same kid in the flashback) fires his guns on a man who was on his bed inside his residence.
After finishing the killing, the armed man enters his unusual looking car and leaves in high speed. After passing through the city streets, he drives his vehicle into his secret hideout filled with several weapons. Shortly after cleaning himself, he takes his seat in his private study and starts communicating with Mr. Barnett who tells him that bad news that something happened to his father. The killer then states, “Payment is due.”
Somewhere in lower Manhattan, a man is being beaten by two men who are enforcers of a man wearing a trench coat in their presence. The beaten man named Mikey swears he will get the money to pay off his debt but the coated man tells him that he is a week late and will be penalized.
Suddenly out of nowhere, Sludge comes out and grabs the two enforcers which frees Mike whose ear just got cut off by the coated man. Sludge then calls the coated man by his nickname…
Quality
The situation only gets more intense whenever Sludge comes in.
I’ll go straight to the point on the storytelling by Steve Gerber. The biggest surprise is here is that the focus was shifted from the titular protagonist Sludge in favor of the first appearance of Bloodstorm who is more than just a typical villain. Gerber heavily emphasized Bloodstorm’s personality as one who enjoys inflicting violence or death to others (and get paid for it) as a result of his painful childhood and his eventual acceptance of the beliefs that violence itself is always part of life. Even so, this comic book shows that Bloodstorm does not believe in inflicting misery for money and he calls it a cowardly way of earning money. Even as he finds his client’s business appalling, he still proceeds to do the dirty work to make money. This, of course, puts Bloodstorm in the dark work organized, target-focused mobbing which also puts him on the same course as Sludge.
As with issue #1, the violence here is pretty intense and adulterated which goes along almost perfectly with the story’s dark and gritty tone. There is a fine mix of suspense, shock moments and the revealing of key details. I assure you all reading that that even though Sludge himself was not so dominant as the centerpiece of the story, the payoff for all the build-up was still worth reading.
Conclusion
Get to know Bloodstorm through this comic book.
Sludge #2 (1993) is a pretty surprising comic book. One might think that it would become the natural progression of what was established in issue #1 (which itself was the first appearance and origin of Sludge) but ultimately it took a completely different approach. I should also state that the duo of Steve Gerber and Aaron Lopresti continued to deliver compelling stuff in this comic book. While the fact that Sludge is not the dominating force in the story might turn off some readers, I can say to you that Sludge #2 (1993) is still a very worthy read and it builds up on something waiting to be revealed in succeeding issues.
If you are seriously planning to buy an existing hard copy of Sludge #2 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $16 while the near-mint copy of the newsstand edition costs $48
Overall, Sludge #2 (1993) 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. 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/
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 revisit the world of 2099 within the universe of Marvel Comics back in the 1990s, specifically through the Spider-Man 2099 monthly series.
Today we will look back at the early development of futuristic Spider-Man as published way back in 1993. The first three issues (read also my reviews of issue #2 and #3) formed a solid foundation on establishing Miguel O’Hara as his era’s Spider-Man thanks mainly to the high-quality writing done by Peter David. What issue #4 will deliver, we will find out here.
With those details laid down, here is a look back at Spider-Man 2099 #4, published in 1993 by Marvel Comics with a story written by Peter David and drawn by Ricky Leonardi.
The cover.
Early story
The story begins with Gabriel O’Hara (Miguel’s brother) and Kasey Nash trying to have a good time together inside a vehicle until a man armed with a sword interrupts them and tries to take the lady with him. As Gabriel makes his move to help Kasey, the swordman throws two sharp projectiles at him and moves away with the lady.
Over at the Babylon Towers residence, Miguel O’Hara gets visited by his boss Tyler Stone accompanied by armed personnel. Not realizing that Spider-Man 2099 and Miguel are one and the same person, Tyler tells him that the sudden appearance of the crawler put Alchemax on edge.
Tyler proposes peace between him and Miguel, offering him more of the hyper addictive substance Rapture. He tells him that Aaron Delgato was identified as the mysterious Spider-Man…
Quality
Miguel O’Hara and his brother Gabriel ride and talk.
The plot really thickened in this comic book resulting a few very interesting sub-plot branches as well as more depth on the development of Miguel O’Hara. I really like the way Peter David explored the corporate side of Miguel’s life here creating suspense about Tyler’s limited knowledge of the Alchemax incidents that happened in issues #1 and #2 which actually involved the protagonist witnessing the fall of his corporate rival Aaron (the same guy responsible for the genetic manipulation of Miguel into Spider-Man). This comic book also focuses on the strained relationship Miguel has with his brother Gabriel who clearly lacks the will to be personally responsible.
I also enjoyed the way Miguel reacts to the classic Spider-Man expression of “with great power comes great responsibility” as he struggles to set things right even as being a civilian and a superhero in his society has major hassles.
The anticipated battle between Spider-Man and the sword-wielding Specialist was structured nicely. Instead of being the typical good-versus-evil conflict, what was presented started with nice moments as Spider-Man still struggles to make the best out of his capabilities. Be aware that the fight does not conclude in this issue.
Conclusion
Miguel getting ready for work while having his Spider-Man costume worn.
Spider-Man 2099 #4 (1993) is a solid comic book to read. It had a nice balance of character development, plot with twists here and there, as well as a good amount of action and thrills. Its best feature, as expected, was the further development of the protagonist and you will see more of Miguel than Spider-Man. By the end of this comic book, I really felt I got to know Miguel more as a person, and not a mere character.
If you are seriously planning to buy an existing hard copy of Spider-Man 2099 #4 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $30 while the near-mint copy of the newsstand edition costs $90.
Overall, Spider-Man 2099 #4 (1993) 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. 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/
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 revisit the world of 2099 within the universe of Marvel Comics back in the 1990s, specifically through the Spider-Man 2099 monthly series.
This time around, we take a look back at the early stage of the futuristic Spider-Man’s story and learn more about Miguel’s struggle in becoming something he was not ready for. On my part, the 3rd issue of Spider-Man 2099 was the first-ever hard copy of the monthly series I bought.
With those details laid down, here is a look back at Spider-Man 2099 #3, published in 1993 by Marvel Comics with a story written by Peter David and drawn by Rick Leonardi.
The cover.
Early story
The story begins immediately after the ending of issue #2 with Miguel O’Hara in disguise as Spider-Man facing off with Venture who has been working for Alchemax’s head to find precisely him. The presence of idolaters of Thor view Venture as an enemy and Spider-Man (who knows he is being hunted by the cybernetic guy) tells them to get back to stay out of danger.
Instead of listening to him, the idolaters did the foolish thing by physically attacking Venture who is just too proficient in combat and his high-tech weapon hurts them. With great risk, Spider-Man leaps to Venture to try to convince him to leave him alone. Unfortunately he loses his balance and gets touched by Venture’s weapon which leaves his right arm numb.
Venture tells Spider-Man that Alchemax wants him…
Quality
Even though he has a numb right arm, Spider-Man 2099 still got up-close and personal with Venture.
This comic book is one action-packed thrill ride laced with solid character development. While issues #1 and #2 showed how Miguel O’Hara became Spider-Man of 2099, this story shows him in his first-ever battle with someone who happens to be doing a mission for Alchemax (Miguel’s employer no less).
Peter David carefully structured the story and the result were lots of moments in which Spider-Man 2099 witnesses the unexpected happenings which readers can relate with. As Spider-Man learns more about the enhancements within him (better reflexes, ability to leap far, etc.), he gets to do the unbelievable which is a classic superhero trope done but within a futuristic, science fiction setting. What he does with his abilities, he does his best to adjust himself. I also like the fact that Spider-Man of 2099 does not have the Spider Sense of the classic Spider-Man (Peter Park) which in a creative way adds to the suspenseful moments in this comic book series.
As for Venture, he is not your typical villain nor is a one-dimension character designed to merely provide opposition to the protagonist. He is a cybernetic bounty hunter on a mission and does not harbor any personal grudge nor hatred against Spider-Man. On his own, Venture is deadly and is clearly one of the best villains to ever take on Spidey 2099.
Conclusion
The idolaters and worshipers of Thor take on Venture which Spider-Man witnesses.
Spider-Man 2099 #3 (1993) is a very solid read and it succeeded in further defining the futuristic Spider-Man’s personality as well as his origin. The first time I read this comic book, I got very immersed in learning about the protagonist and how he does his best to save himself and overcome the opposition while finding out ways to ensure that bystanders and witnesses will not get hurt. This comic book also has an immersive sci-fi setting and shows more of the society of 2099. I can clearly say that this is one enjoyable and compelling comic book which aged nicely to this day.
If you are seriously planning to buy an existing hard copy of Spider-Man 2099 #3 (1993) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $30 while the near-mint copy of the newsstand edition costs $90.
Overall, Spider-Man 2099 #3 (1993) is highly recommended.
+++++
Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. 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/
Disclaimer: This is my original work with details sourced from watching V: The Final Battle 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.
With a very engaging story, memorable characters, intriguing concepts and innovative marketing, the $13 million production V: The Original Miniseries (simply called V back then) became a major TV hit in America over two nights in May, 1983. I personally loved watching the said mini-series back in the 1980s and I still love replaying it in this age of high-definition and Blu-ray discs. For me, at least, it is a timeless classic and it carries several lessons about the fragility of society, the rise of fascism, the spread of evil in many forms and the human desire for freedom from oppression.
The cover and the title that did not live up to its purpose.
Early story
The story begins with Mike Donovan (Marc Singer) having a nightmare of him and his son Sean (who was abducted during the events of V: The Original Miniseries) in a desperate escape attempt while inside one of the motherships of the Visitors. He wakes up in the presence of Julie Parrish (Faye Grant) and realizes they have a dangerous mission to execute at a local facility used by the red-uniformed Visitors. It turns out, the Resistance movement led by Julie has been losing ground to the alien humanoids and Mike has been helping them out while prioritizing the state of his son who has been in captivity in one of the mother ships.
During the night, a truck carrying many local civilians inside its trailer arrives at a local factory controlled by the Visitors with officer Steven (Andrew Pine) watching over. After the civilians got directed to enter the factory, it turns out they got processed and came out in the form of food cocoons. The sight shocks Julie watching from a distance with her armed teammates waiting on stand-by.
Easily the most engaging shot in this sequel. A clear reminder about the fascist takeover by the aliens from outer space.
After causing damage on the nearest fence, the Resistance begins their attempt to raid the facility and free their fellow cocooned people but the tide turned against them. It turns out, the Visitors’ troops are wearing stronger armor and bright lights were installed on the top of the facility to forcing Julie, Marc and the rest of their team to retreat. They lost some members along the way. During a closed-door meeting with the Resistance stakeholders, Mike Donovan says a key event is needed to make a significant gain against the Visitors.
Over at the mothership hovering over Los Angeles and in the presence of Diana (Jane Badler), the leader John (Richard Herd) tells Kristine Walsh (Jenny Sullivan) that a major medical announcement will be held in the form of an organized special event very soon and that she will be part of the presentation for the global TV audience…
Quality
Marc Singer as Mike Donovan with Michael Durrel and Michael Wright as Robert Maxwell and Elias Taylor near him.
I’ll star first with the presentation here. This sequel mini-series was composed of three episodes totaling over 270 minutes. In what looks like to be attempts to ensure more spectacles for the viewers’ enjoyment, each episode of V: The Final Battle has a battle near the end and the creative team succeeded in not only providing on-screen action but also scored well in making the spectacle more varied while still making sense within the main narrative. For the most part, this sequel is indeed a natural progression of what was established in V: The Original Miniseries and that is something to admire given the fact that V creator Kenneth Johnson left this production early.
On the storytelling, V: The Final Battle expands a bit on the Visitors’ dictatorship of Los Angeles and its surrounding areas while the Resistance led by Julie Parrish and supported by close companions Robert Maxwell (Michael Durrell), Elias Taylor (Michael Wright) and Caleb Taylor (Jason Bernard) are shown to be struggling on taking down the alien humanoids even though they secured noticeably more weapons and equipment. The storytelling and the dramatization about the Resistance changes dramatically with the addition of Ham Tyler (Michael Ironside) and partner Chris Farber (Mickey Jones) in the 2nd episode and from that point on, you get to see a human opposition that becomes more flexible with their operations.
Michael Ironside as Ham Tyler is the most significant new addition to the cast.
As mentioned earlier, Kenneth Johnson’s involvement in this sequel was minimal and it is seen on the presentation. The symbolism Johnson implemented in the original mini-series that established parallels between 1980s America to the Nazi occupation of Europe did not continue here which results a more straightforward presentation of details, character moments and story progression. There was also a noticeable lack of suspense when it comes to executing big scenes with big reveals. The pacing, like in the 1983 mini-series, moves smoothly at a moderate pace throughout and there were no boring moments at all.
The quality of script is still good. For the most part, the writers managed to capture the essence of the established characters from the original mini-series as they told the further developments of this sequel. For example, Caleb and Elias’ father-and-son moments quickly remind me of what I saw in V: The Original Miniseries. Robert Maxwell’s struggle to help his troubled daughter Robin (Blair Tefkin) while assisting Julie and the Resistance is a very natural progression of what was shown in 1983. The friendship between good natured alien Willie (Robert Englund) and Harmony (Diane Cary) got developed a lot more than expected eventually adding to one particular side of the conflict. The local collaborators Daniel Bernstein (David Packer) and Eleanor Dupres (Neva Patterson) developed further with their treason towards their fellow humans as they enjoyed further the power they gained from the Visitors. These two characters will surely get on the nerves of viewers rooting for the Resistance.
Denise Galik as Maggie is a fine new addition to the cast.
David Packer returns as Daniel Bernstein.
Sarah Douglas as Pamela, a superior of Diana’s.
When it comes to new additions to the cast, Ham Tyler and Chris Farber are not the only new players to add depth to this sequel. There is also Maggie (Denise Galik) who is an attractive, brave and strategic Resistance member whose contribution makes an impact. On the downside, there is also Andrew Doyle (Thomas Hill) who is bad choice the creative team came up with as the on-screen representative of faith when he in fact represents religion, idolatry, rituals and distortion. On the side of the Visitors is Pamela (Sarah Douglas) who is a higher-ranking officer than Diana and even John. Pamela is the more militaristic type of leader who is more focused on achieving goals while keeping things in order.
If there is anything flawed about the characterization, it is the romantic relationship of Julie Parrish and Mike Donovan which starts in the first episode. Considering how dramatic the performances of Faye Grant and Marc Singer were in this sequel, Julie and Mike still don’t make a believable pair of lovers in my view. While this romantic relationship opens up new dimensions within Julie and Mike and offer viewers something new to focus, it brings down the former’s value as Resistance leader somewhat while also setting aside the hinted personal connection between her and Elias in the 2nd episode of the 1983 mini-series.
Faye Grant as Julie Parrish in the conversion process scene watched closely by Jane Badler’s Diana.
More on Faye Grant, her performance here is more varied. Not only does she play the brave and struggling leader who is talented in fighting, science and medical practice, she also portrayed Julie as an even more vulnerable character this time around. Her act as the traumatized Julie during the conversion process (read: mental and psychological torture using a more detailed form of virtual reality or nightmare generation) scenes under the watch of Diana is very dramatic and compelling to watch. Just seeing Julie in the conversion process will make grip you with despair and you will eventually feel sorry for her. I should state that the nightmare scenes of Julie were presented with a clear touch of horror.
Marc Singer as Mike Donovan is no longer the reluctant action hero but rather a driven man with a mission to get his missing son back while maintaining a secret connection with Martin (Frank Ashmore) of the Fifth Column (secret dissenters among the Visitors) hoping to achieve breakthroughs for the Resistance and their friends among the dissenting aliens. Singer did the best he could with the script provided to him and he remain likable all throughout. Other than the unbelievable romance with Julie as well as his past encounters with Ham Tyler, there is not much new to expect from the way Mike Donovan was written here. What I should point out, however, is that Mike Donovan’s support for the unholy act of abortion (along with the so-called right to abort) is very wrongful, highly immoral and makes the hero having a sinister presence within him even though he is a father searching for his son.
Jane Badler’s performance as Diana deserves admiration here. Not only did she successfully recapture the charismatic and sinister nature of her character in the 1983 mini-series, Badler was very convincing in showing the more desperate side of Diana, especially when it comes to power struggle within the ranks of the Visitors. You can clearly see the desperation and struggle as soon as Pamela appeared. This sequel also showed a lot more of Diana when it comes to personally supervising her conversion process which is much more elaborate here (note: the conversion process in the 1983 mini-series was limited to the showing of a chair with torture devices). Being the very symbol of charisma and evil in the V franchise, Diana’s place in pop culture is solid and her real-world comparative counterparts would be none other than Hillary Clinton and Kamala Harris.
Jane Badler as the ever charismatic yet very wicked Diana.
As mentioned earlier, Michael Ironside’s Ham Tyler is the most significant addition to the cast and the script. Ironside had that excellent mix of toughness, cruelty and sarcasm portrayed in here and at the same time Ham Tyler brought out very interesting and intriguing interactions with the more established Julie and Mike. As seen in entertainment history, Ironside went on to climb up the ranks in Hollywood with Total Recall (1990), Starship Troopers (1997) and in the Splinter Cell video game franchise. Ironside’s Ham is easily the fourth major character of the V franchise of the 1980s.
Going into the spectacle part of this sequel, the action is more varied as mentioned earlier and the 3-episode structure was a factor. You will see lots of shooting with the use of guns and laser blasters here and there, and with the in-story locations and props as key factors, there are action sequences that are uniquely done. There is a lot to enjoy for any V fan and casual viewers watching this sequel.
As for the special effects part of the spectacle, this one is a mixed bag similar to what was presented in the 1983 mini-series. To put things in perspective, the use of in-camera effects, practical effects and optical effects for TV back in the 1980s was ambitious. That being said, certain effect shots here did not age well such as the miniature shots looking fake (because the camera used did not have a special lens to capture visuals that would have made the miniatures look believable). I should also state that there were certain effects shots that were recycled and reused in key sequences in this sequel which remains embarrassing to see. What is even more embarrassing to see here is the very poor-quality monster effects used during the nightmare scenes (conversion process) of Julie and, more notably, the presentation of Robin’s other child. The monster effects are so fake, they are laughable to watch.
On the bright side of the special effects, the quality of the laser blasts remains good to watch right down to the precise timing with the explosions that were simulated on-set and in-camera.
Conclusion
The Visitors and Resistance key characters in the sequel.
While it has its strengths and weaknesses, V: The Final Battle is still engaging and enjoyable to watch, and at the same time it is a worthy addition for your Blu-ray collection when it comes to HD viewing (note: this is the sequel with the best visuals yet albeit with black borders on the sides). Even though creator Kenneth Johnson was not too involved on the production side, the creative team managed to deliver a long story that proved to be a natural progression of the original mini-series while providing more spectacle (especially action), developing the established characters and resolving key plot threads that started in 1983.
The lack of Kenneth Johnson’s personal touch on the presentation was noticeable and somewhat brought this sequel down a bit in terms of style. What brought V: The Final Battle’s quality down were the overall cheaper looking visual effects, the Julie-Mike love relationship and the climax of the final episode which seemed executed with desperation on the part of the creative team (note: giving a little new character instant purpose). In fairness, this sequel still succeeded in showing what fascism in America (or California specifically which is now dominated by Commies) would look like and it built up on its predecessor’s themes such as the deception of power and the collaboration with foreign enemies. This mini-series even added themes of teenage pregnancy and abortion (note: someone from the creative team wanted to promote the wrongful Roe v. Wade Supreme Court decision of 1973) to its narrative.
Does V: The Final Battle live up to its title? Absolutely not because a regular TV series that deteriorated in quality followed. In retrospect, it’s clear that this sequel marked the beginning of the decline of the V franchise in pop culture. What more, V: The Final Battle was never counted as canon in Kenneth Johnson’s 2008 novel (and sequel to the 1983 mini-series) V: The Second Generation. On its own, V: The Final Battle still has more positive stuff than negative ones and in my experience, it remains enjoyable and compelling to watch from start to finish. Compared to V: The Original Miniseries, I can say this sequel falls short. It is good, not great.
Overall, V: The Final Battle (1984) is recommended. That being said, let this 1984 mini-series remind you that there is so much evil in the real world in the forms of Iran, the terrorists of Palestine, the social justice warriors (SJWs), the Black Lives Matter (BLM) movement and liberal media to name some. Always keep in mind to avoid becoming evil no matter how tempting power in this divided world becomes to you. You also do not want to let the evil ones take over your government and have authority over you, your family members and your community. Push back against evil and stand up strong by faithfully taking sides with the one true Savior whose name is Jesus!
+++++
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. 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/
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 revisit the world of 2099 within the universe of Marvel Comics as published back in the 1990s, specifically through the Spider-Man 2099 monthly series.
Back in 2020, I reviewed the three key issues of Spider-Man 2099 (click here, here and here) particularly with the entry of Venom 2099. While tragedy happened in issue #37 (a very powerful story), the futuristic Venom was still on the loose.
With those details laid down, here is a look back at Spider-Man 2099 #38, published in 1995 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman.
The cover.
Early story
The story begins with Spider-Man 2099 grieving over the death of Dana in the presence of Xina and two armed law enforcers. As one of the law enforcers approach him, Spider-Man hits and damages his helmet. The other law enforcer tells his companion to give Spider-Man some room. The grieving web-slinger asks where Venom 2099 is.
Meanwhile at another location, Miguel O’Hara’s mother saw the breaking news on TV about what the tragedy and Dana’s death. Her son Gabriel comes in and gets updated about what happened. As soon as he heard Dana’s name, he becomes concerned and focuses on the TV screen. As images of Spider-Man and Dana appeared, Gabriel begins to make a connection between them and punches the TV screen hard…
Quality
A very angry Miguel O’Hara using his corporate authority to find and get Venom 2099.
If you enjoyed the storytelling, tension and payoff that happened in issue #37, I can confirm to you that great stuff from that comic book continued smoothly in this comic book. As before, Peter David’s writing remains very engaging and gripping. So much so, issue #38 is a very believable and natural continuation of the events of the previous issue. In fact, the tension that started even as far as issue #35 continued in this comic book and at the same time David succeeded in developing the key characters further. Here, the death of Dana impacts not only Spider-Man/Miguel O’Hara, but also those connected with him.
Apart from the impact Venom 2099 left behind on those whom he victimized, the key selling point in this comic book was the portrayal of Miguel O’Hara wanting not only vengeance but also craves for the death of the vicious supervillain. I really find it very gripping to see Miguel using his authority as a high-ranking executive of his company to not only find Venom but also use company resources to get him. There was also the scene in which Miguel wants the captured living piece of Venom’s symbiote become dead which reflects the rage burning in him.
The way Peter David wrote Miguel’s rage is compelling not only because of the dramatics involved but also because it raises new questions about the personality and heart protagonist of the Spider-Man 2099 monthly series. I found myself wondering the following: Is Miguel O’Hara on the way to becoming a villain? Does he realize he is going off-track and could become a danger to others once he gets his way with Venom 2099?
When it comes to the visuals, Andrew Wildman did a really good job her. Not only was his art more detailed than what Rick Leonardi came up with, Wildman also brought to life the emotions of the characters through detailed facial expressions. Wildman also showed how skilled he is with pacing the story as well as being strategic on visualizing the spectacle.
Conclusion
Spider-Man 2099 in a very emotional state over the death of Dana.
I can clearly say that Spider-Man 2099 #38 (1995) is a great comic book to read. It is indeed a very worthwhile follow-up to the powerful and tragic story of issue #37 and the tension that started in issue #35 continued strongly in this comic book. Very clearly, Peter David carefully planned to shake up the Spider-Man 2099 series of the 1990s even as he built up Venom 2099 as the deadliest foe the futuristic Spider-Man faced. I should also state that the Spider-Man 2099 – Venom 2099 rivalry has a distinct style and flavor of its own, and there was simply nothing ripped off from the 20th century Spider-Man – Venom (Peter Parker and Eddie Brock) rivalry.
If you are seriously planning to buy an existing hard copy of Spider-Man 2099 #38 (1995) be aware that as of this writing, MileHighComics.com shows that the near-mint copy of the regular edition costs $80 while the near-mint copy of the newsstand edition costs $240. Spider-Man 2099 #38 (1995) also comes with a Venom 2099 cover edition which costs $200 for a near-mint copy.
Overall, Spider-Man 2099 #38 (1995) is highly recommended!
+++++
Thank you for reading. If you find this article engaging, please click the like button below and also please consider sharing this article to others. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. 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/
Author Carlo Carrasco 