Reviews – Page 7 – Author Carlo Carrasco

A Look Back at Web of Spider-Man #31 (1987)

September 27, 2024August 25, 2024carlocarrasco

Disclaimer: This is my original work with details sourced from reading the comic book and doing personal research. Anyone who wants to use this article, in part or in whole, needs to secure first my permission and agree to cite me as the source and author. Let it be known that any unauthorized use of this article will constrain the author to pursue the remedies under R.A. No. 8293, the Revised Penal Code, and/or all applicable legal actions under the laws of the Philippines.

Welcome back superhero enthusiasts, 1980s culture enthusiasts and comic book collectors! Today we go back to the year 1987 to explore a part of the Marvel Comics shared universe through the Web of Spider-Man monthly series.

In this review, we will examine the opening chapter of one of the more significant storylines of the entire publishing history of Spider-Man… Kraven’s Last Hunt. Behind the scenes, writer J. M. DeMatteis came up with a concept about a limited series featuring the Marvel hero Wonder Man getting buried and returning from the grave. After getting rejected, the writer redeveloped his concept, proposed it to DC Comics (with Batman in mind), got rejected again and pitched the concept again to Marvel (with Spider-Man in mind) with a new villain who would really define the storyline. Marvel accepted the proposal and DeMatteis proceeded to write it while adding more Spider-Man elements to it.

With those details laid down, here is a look back at Web of Spider-Man #31, published in 1987 by Marvel Comics with a story by J.M. DeMatteis and drawn by Mike Zeck.

Early story

The story begins with Kraven The Hunter moving and attacking like an animal interacting with life-sized figures of animals inside his castle. Afterwards, he slows down, gets a drink and walks into another large room that has an open coffin. He pulls out a black costume that carries the design of Spider-Man’s own costume. Kraven, who was a child when his parents arrived in America shortly after the overthrow of the Czar in Russia, is convinced that the world seem to have followed Russia’s sad example and he found dignity in the jungles instead of the cities. He found honor in the primal, not the civilized. He knows he will die soon and Spider-Man is the central part of his final pursuit in life.

Meanwhile in another part of New York City, Spider-Man discreetly attends the private gathering of several men in a bar who pay their last respects to the late Joe Face (a helpful friend of Spidey). As soon as he revealed himself, the men got scared of him and tension intensified. The webslinger pays his respect to Joe Face and puts several Dollar bills into the collection of funds.

Spider-Man then swings his way home…

Quality

*As Spider-Man travels, Kraven the Hunter pursues him obsessively.*

I want to state first that this Spider-Man tale has a dark and gritty presentation. The story feels really grounded with reality and it has an almost perfect atmosphere for the concept about Kraven getting ready to eliminate Spider-Man and do something very ambitious afterwards. The pacing of the storytelling moved at a medium pace and most notably, the build-up is really great to follow.

Without spoiling the plot, Kraven is truly the most featured character of this comic book as Spider-Man was written to be his moving target. DeMatteis invested a lot of creativity to build up Kraven not only as the definitive menace but also as a human being. Through the rich writing, Kraven is a man who developed and heavily prepared himself to achieve his goal. You will realize what he thinks about modern society, how he views life and why he is acting as if each day would be his last. As a villain, the evil of Kraven is very subtle yet he emerges as the deadliest foe of Spider-Man. This is truly a major development of the hunter when compared to his first-ever appearance in Amazing Spider-Man #15 (1964).

Through the views of Kraven, you will realize his own perception of Spider-Man which is intriguing to read as we readers know the webslinger’s true identity while the obsessed hunter does not. In relation to his obsession with Spider-Man, Kraven truly immerses himself with what he knows and does things that all other people would never do. I should also state that the hunter’s intense preparation has strong parallels with Batman’s approach on preparing himself for a major encounter.

As mentioned earlier, the webslinger is the target. Spider-Man appears as a disturbed and vulnerable figure and there is nothing that his powers can do to help him overcome his problems. As the build-up grows, the troubles of Spider-Man intensified which made the reading experience captivating.

Conclusion

*People getting spooked by Spider-Man’s sudden appearance.*

Web of Spider-Man #31 (1987) is truly a great read and it is also a very powerful opening of its storyline. By having Kraven as the definitive character and Spider-Man as the target, this comic book really subverted expectations backed with powerful writing by DeMatteis. Along the way, Mike Zeck’s artworks truly captured the dark and gritty tone of the script and this resulted in a very captivating visual presentation.

Overall, Web of Spider-Man #31 (1987) is highly recommended.

+++++

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A Look Back at Action Comics #456 (1976)

September 20, 2024August 20, 2024carlocarrasco

Welcome back superhero enthusiasts, 1970s arts and culture enthusiasts, DC Comics fans and comic book collectors! Today we go back to the year 1976 to take a close look at a part of the DC Comics universe through a tale of the Action Comics monthly series.

If you know your entertainment history, you should be aware that Steven Spielberg’s Jaws made a tremendous impact on millions of people who saw the film in cinemas in the mid-1970s. The massive success of the movie caused some people to become afraid of sharks which in turn convinced them to avoid swimming alone at sea. Over at DC Comics, it just so happens that they have a super villain who is actually a highly evolved shark called The Shark (Karshon).

With those details laid down, here is a look back at Action Comics #456, published in 1976 by DC Comics with a story written by Cary Bates and illustrated by Curt Swan.

*The cover inspired by Steven Spielberg’s Jaws.*

Early story

The story begins inside the Metropolis Aquarium where Captain Strong, young boy Jayson, young girl Jill and others closely watch a tiger shark swimming. What the viewers do not realize is that the tiger shark they are watching is a super shark (The Shark) whose evolution jumped by eons as a result of a freak nuclear accident from the previous years.

The Shark is a highly evolved mutant (half-fish and half-human) endowed with fantastic mental powers. The Shark previously encountered Green Lantern (Hal Jordan) who caused him to devolve back to his primitive form as a tiger shark.

At the aquarium, The Shark moves closely towards Captain Strong and Jayson with strong glass separating them. Suddenly, Jayson is turned into a pool of jelly on the floor and The Shark uses its power to form a large stream of water to break the way out of the Metropolis Aquarium and into the air.

Meanwhile, Lois Lane and Clark Kent are riding the metro-island ferry. A giant water sprout emerges near them…

Quality

*The struggle between Superman and The Shark starts.*

While it was clear that DC Comics took a creative stab on people’s awareness of the movie Jaws, the Bates-Swan duo came up with a rather fantastic way of having Superman deal with The Shark. For one thing, the creators efficiently came up with exposition to keep readers informed about who The Shark is, why he exists and what his background was within the DC Comics shared universe. Next, the creators managed to make The Shark an actual threat to the people of Metropolis which serves as an efficient build-up for the inevitable conflict with Superman. The good news here is that Bates-Swan combined efforts turned out to be gripping and believable.

When compared to the many battles Superman had against the other powerful villains, the traditional collateral damage is pretty light in this story. This is because the creators used science fiction concepts and a little bit of real-world science to explain The Shark’s powers, how the water streams used by him got formed and why he has key advantages over Superman. These creative methods more than made up for the lack of hard action and there are explanations that made sense just before the story ends.

This comic book also contains a short, standalone Black Canary tale that ultimate served as added amusement that is not related with the Superman story at all. It should interest fans of Green Arrow.

Conclusion

*The Shark’s menacing face and power overwhelms Lois Lane.*

Do not let the Jaws-inspired cover art fool you. Action Comics #456 (1976) is actually an entertaining read thanks to the combined efforts of the Bates-Swan team. The Shark was a believable threat and the story was well written. To say that this comic book was just a cheap way of exploiting the popularity of Jaws by coming up with shark-related tale of Superman is not true. This old tale is a fun ride free from the politicized science and woke garbage that dominate modern-day entertainment.

Overall, Action Comics #456 (1976) is recommended.

+++++

A Look Back at RoboCop 2 #2 (1990)

August 23, 2024August 15, 2024carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1990 to take a close look at the 2^nd part of the comic book adaptation of the movie RoboCop 2 (1990).

In my previous retro review of Robocop 2 #1, I pointed out that the comic book was not a faithful adaptation of the movie but more of the creators’ creative interpretation of the movie script they had which resulted in a stylized presentation. It was a surprisingly enjoyable reading experience for me.

With those details laid down, here is a look back at RoboCop 2 #2, published in 1990 by Marvel with a story written by Alan Grant and drawn by Mark Bagley based on the movie screenplay by Frank Miller and Walon Green.

Early story

The story begins in Detroit with RoboCop reduced into a very bad condition with most of his parts missing. The cops are still on strike and the ultra-addicting drug Nuke continues to spread through the city causing social problems. Cain and his gang are still on the loose, and his video statement (which emphasizes his gang’s defeat of RoboCop) spreads through the news cycles.

Inside a hideout, Cain and his loyal companions terrify and killed traitorous police officer Duffy for betraying them. Meanwhile at police headquarters, the support crew bumps heads with the Omni Consumer Products (OCP) executive who does not see RoboCop’s poor state as a problem. As far as OCP is concerned, getting replacement parts for RoboCop is very expensive.

Over at OCP, the psychologist executive Dr. Juliette Faxx begins researching criminals for the new RoboCop project…

Quality

*The motorized encounter between RoboCop and Cain here is shorter and much inferior compared to what the movie showed.*

As with issue #1, this comic book followed the events and scenes of the film but left enough room for the creative team to make their stylized version suitable with the literary format. Mark Bagley, who is best known for drawing Spider-Man and Venom in the 1990s, came up with nice artwork that brought Grant’s script to life. There were a few shots here that were pretty graphic or brutal to see at the time of publication which makes me wonder why did the Comics Code Authority (CCA) give its approval to this comic book.

Without spoiling the plot, I can say that the creative team and editor Gregory Wright did a good job adapting scenes of the movie script to (fill up the pages) while also succeeding in setting up readers for the final conflict in the 3^rd and final issue.

As a standalone reading material, this comic book will lead readers deep into the crisis of the police force as well as into the developments behind the closed doors of OCP. Due to the selected scenes of the film’s script, RoboCop has sufficient presence but lacked his normal personality. That being said, the movie’s comedic look of RoboCop acting very out-of-touched (hint: OCP tampered with his mind digitally) did not translate well into literary format. If you’re hoping to see solid storytelling with a consistent tone, you won’t find it here.

When it comes to action, there is just enough of it to keep the reading experience entertaining. Again, this comic book does not have the final conflict and the selected action scenes are rather limiting in terms of impact. If you want to see the police raid of the Nuke facility as well as RoboCop’s motorized chase with Cane, you are better off replaying the movie.

Conclusion

*There definitely is something wrong with RoboCop here.*

Considering the selected movie script scenes for adaptation, RoboCop 2 #2 (1990) lacks impact compared to the first issue. In fairness, this comic book was clearly meant to set-up readers for the next issue. If there is anything worth looking at within the 2^nd issue’s pages, it would be the details that were highlighted during the internal developments at OCP and the police. As mentioned earlier, RoboCop is not his usual self for a significant portion of this comic book. While the engagement and fun factor are lower this time around, I’m still interested to read the next issue.

Overall, RoboCop 2 #2 (1990) is serviceable.

+++++

A Look Back at What If #19 (1980)

August 16, 2024August 2, 2024carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1980 to examine an alternate story of the Marvel Comics shared universe chronicled through the What If monthly series.

Spider-Man is clearly Marvel Comics’ greatest icon. He is the one Marvel superhero who is easily recognized around the world through the many comic books published, the animated TV shows and the big-budget Hollywood movies released. Given Spider-Man’s real-life fame as a pop culture and American icon, one has to wonder what would it be like had the webslinger decided to have a career in showbiz instead of fighting bad guys. How can Spidey realize that with great power comes great responsibility if he is so focused on being an entertainer?

With those details laid down, here is a look back at What If #19, published in 1980 by Marvel Comics with a story written by Peter Gillis and drawn by Pat Broderick.

Early story

The story begins far into Spider-Man’s past when he started as an entertainer. Spider-Man sees a police man chasing a thief down the hallway (note: this was a key moment in the life of Peter Parker who went to become a crime fighter as Spider-Man). Instead of letting the thief get away, Spidey uses his web to stop him which enabled the police officer to apprehend him.

The next day, the Daily Globe published a front page story showing Spider-Man (described as a TV star) stopped the crook which established him as a heroic entertainer. The story bothered J. Jonah Jameson (The Daily Bugle) so much not only because the rival newspaper reported it but also because he perceived it as a glorification of so-called superheroes.

Elsewhere, Spider-Man and a famous film producer talk about making a movie about him that can really entertain a lot of people…

Quality

*As Spider-Man makes waves on television as an entertainer and endorser, J. Jonah Jameson tells the media the difference between real heroes and the costumed ones with super powers.*

Considering the history of Spider-Man, it is both difficult and risky to come up with a new reality that diverged from the key moment of the icon’s past (letting a crook get away from the chasing cop) resulting in a completely new version of him – Spider-Man as an entertainer. The good news here is that Peter Gillis’ script is solid and its scenes were nicely arranged to make this new version of the icon believable.

As shown on the cover of this comic book, the tale shows Spider-Man as a celebrity who found success and wealth in showbiz. Along the way, the classic Peter Parker gradually transforms into a new version who is not only focused on entertaining people but also engaging in publicity wars without ever becoming journalist. Since Marvel’s most famous icon does not fight crime, you will see him as an entertainment entrepreneur, a fighter through publicity, and as someone who enjoys the high life that most Americans don’t have.

In relation to the concept of the story, J. Jonah Jameson and Daredevil became the next important players to Spider-Man. Jameson is the rival of the webslinger but not necessarily the villain. Through Jameson, you will not only witness how he misuses his power at The Daily Bugle but also his interactions with criminal elements as he searches for ways to deal with Spidey. When it comes to Daredevil’s role, I encourage you to read the comic book to find out.

The story by Gillis moved at a medium-to-fast pace and for each build-up done, pay-offs were satisfying to read. When it comes to the scope of the story, this alternate reality is actually captivating to follow from start to finish.

Conclusion

*Can you just imagine how different superhero comics would have been in real life had Marvel actually depicted Spider-Man as a showbiz figure?*

What If #19 (1980) is a very solid and captivating comic book to read. The creative duo of Peter Gillis and Pat Broderick succeeded in selling the concept of what would happen had Spider-Man became an entertainer instead of fighting evil figures that hound society. Apart from showing a drastically different version of Spidey, the story will compel you to think about the relevance of superheroes in society, why becoming a major player in showbiz is chaotic, and how could Peter Parker be responsible with the power (related to showbiz) he has without combating evil.

Overall, What If #19 (1980) is recommended.

+++++

A Look Back at What If #62 (1994)

August 9, 2024August 2, 2024carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1994 to examine an alternate story of the Marvel Comics shared universe chronicled through the What If monthly series.

There is a lot to be said about the origin of Wolverine. There was the tale of his Canadian origin and being born with claws inside him. There was also the tale of him encountering the Hulk in Canada. And there was also the famous storyline Weapon X (written and drawn by Barry Windsor-Smith in Marvel Comics Presents #72 to #84).

With those details laid down, here is a look back at What If #62, published in 1994 by Marvel Comics with a story written by Kurt Busiek and drawn by Ron Randall.

Early story

The story begins in the when Logan (Wolverine) encounters armed men who try to overwhelm him. Logan easily knocks most of them out and leaves them behind by car. It turns out the armed men are agents of a secret organization called Weapon X which has been targeting Logan for their series of unethical experiments on abducted humans (the Weapon X Project).

The organization is already dealing with problems regarding their live experiments. One living subject (with adamantium claws on his arms and some machinery on his head and shoulders) became a murderous berserker who cannot be reasoned with anymore. The subject is former Mounted Police Officer and Marine Guy Desjardins and Weapon X dropped him off at Department H.

James Hudson of The Flight took him in and officially refers to him as “Weapon X”. The live subject eventually broke loose, killed Dr. Langkowski and went to Kenora where he starts a killing spree…

Quality

*Logan arrives at the scene where the Weapon X biological experiment killed several people.*

I want to point out that Kurt Busiek came up with the very believable portrayal Logan who is not Wolverine, not a member of the X-Men and not even the violent fighter in the plot. This is a story about a major scientific experiment of Weapon X that went terrible wrong resulting in their living subject (with adamantium claws and other features identified with Wolverine in the mainstream Marvel universe storyline of Weapon X) going way beyond their controller and impacting Canadian society negatively. The good news here is that the story by Busiek is very well written and nicely structured.

In his civilian form as Logan, Wolverine (as we often identify him) is not the fierce slasher he is often known as. Rather he is a former tool of the Canadian government who previously resigned and decides to get involved in response to the rampage caused by the Weapon X killing machine (Desjardins).

As Logan is no slasher (note: Wolverine #75’s big revelation about Logan’s claws had no influence on this comic book’s concept), he fights with guns and a knife backed with his extensive experience in grounded combat. In relation to this comic book’s concept, you will a captivating portrayal of Logan who is truly unconnected with the X-Men and there are certain character moments that you really have to read.

Along the way, Kurt Busiek’s story not only dramatizes the classic trope about man tampering with nature but also the potential scandal of Canada’s government having top secret unethical science experiments while developing their own superhero project in the form of The Flight. Back to Wolverine, the story pounced on the conflict between being human and being animalistic with sheer believability.

With regards to the artwork, Ron Randall exerted effort to recapture some of the aesthetics of Barry Windosor-Smith’s work on the Weapon X storyline of the Marvel Comics Presents comic books. As required by the script, the visual display of action is brutal to look yet does not go over the top (with regards to graphic violence) as the creators implemented restraint restraint on the display of blood and killing blows.

Conclusion

*A new Weapon X biological experiment gone wrong.*

What If #62 (1994) is truly a great alternative tale to the established Weapon X storyline and it is also one of the more engaging portrayals of Wolverine unconnected with the X-Men. You will see Logan being more grounded with reality and you will also witness how he sees himself as a Canadian citizen who actually gets involved again with the government which he previously served. This a really compelling work by the Busiek-Randall duo.

Overall, What If #62 (1994) is highly recommended.

+++++

A Look Back at Amazing Spider-Man #320 (1989)

July 26, 2024July 11, 2024carlocarrasco

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

For this particular review, we will explore the first chapter of The Assassin Nation Plot storyline that took place within the Amazing Spider-Man series.

With those details laid down, here is a look back at Amazing Spider-Man #320, published in 1989 by Marvel Comics with a story written by David Michelinie and drawn by Todd McFarlane.

Early story

The story begins inside Empire State University where Peter Parker – working as an assistant in the science lab – takes advantage of the free time and resources to create web fluid using a new formula. He notices that the acetylene torch does not even leave a smudge on the new web he made.

To his surprise, his boss doctor Evan Sloan catches him doing an interesting experiment. Parker comes up with a convincing excuse for the experiment which spares him from getting into trouble. After promising doctor Sloan he will get on the neutron project first thing in the morning of Thursday, Parker leaves, secretly changes into Spider-Man and equipped his brand new web. He then leaves the university and moves deep into the city…

Quality

*Peter Parker and Mary Jane having a discussion.*

I really like the story David Micheline came up with as the start of The Assassin Nation Plot storyline. This is clearly not your typical good-versus-evil superhero tale starring the webslinger. Instead, there are layers of secrecy, suspense and intrigue that involves a powerful private organization, private armies and diplomats.

Instead of facing off with super villains, Spider-Man finds himself in the middle of something very big brewing behind the scenes, and that puts him in deep danger. That being said, Michelinie’s approach on building up the details of the plot moved very smoothly and the payoff for each buildup was executed on a timely manner. The buildup of details was never boring nor too slow to absorb, and Todd McFarlane excelled with visualizing the plot while still delivering dynamic superhero action.

I should mention that the character Paladin has a strong presence in the story and there were moments when he outweighed Spider-Man in terms of importance.

Conclusion

*Spider-Man and Paladin targeted by armed guards.*

Amazing Spider-Man #320 (1989) is indeed a very solid story to read and a powerful start of The Assassin Nation Plot storyline. With the way the core concept was presented, this comic book symbolically showed that there are high stakes and other matters that are clearly too overwhelming for Spider-Man to deal with. The story is nicely paced and the creative team knew when and how to execute worthy payoffs for each buildup. By the time I reached the end of the comic book, I became convinced to read the next chapter of this storyline.

Overall, Amazing Spider-Man #320 (1989) is highly recommended.

+++++

A Look Back at Amazing Spider-Man #262 (1985)

July 19, 2024July 5, 2024carlocarrasco

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

For this particular review, the Amazing Spider-Man comic book does not involve Tom DeFalco and Ron Frenz. Instead, we will see the creative contribution of Bob Layton who already established himself within Marvel Comics on the Iron Man monthly series. Layton is the same guy who co-founded Valiant Comics with former Marvel Comics editor-in-chief Jim Shooter.

With those details laid down, here is a look back at Amazing Spider-Man #262, published in 1985 by Marvel Comics with a story written and illustrated by Bob Layton.

Early story

The story begins as Spider-Man arrives at the Newark International Airport in New Jersey distracting a few air traffic control operators. As he makes his way into a deserted baggage room, Peter Parker intends to change clothes as he has a journalistic assignment from the Daily Bugle to photograph President Ronald Reagan who is set to arrive soon. For Peter Parker, the assignment is crucial as he needs to earn money.

Elsewhere within the airport, the sleazy tabloid news photographer D.J. Jones makes his way through and he intends to photograph something unusual or embarrassing about Reagan. He accidentally bumps into a lady whose items fall down. Jones pretends to be kind to her as he secretly takes her wallet while helping her collect her belongings.

As Jones decides to take the lady’s money, he goes into one of the baggage rooms to get rid of the wallet. Inside, he accidentally spots Peter Parker (still wearing the upper half of his Spider-Man costume) changing clothes and quickly photographs him. Jones starts to run away compelling Parker to chase him knowing that his secret identity will get exposed if he fails…

Quality

*This is what happens when you carry very valuable information with you which the mob wants.*

I really like this Spider-Man tale crafted by Bob Layton. For one thing, it tackles the concept of having your secret identity being discovered by someone who has a record of unethical behavior as well as the opportunity of using the acquired confidential information (the secret identity) for financial gain (at the expense of the affected person). Layton’s story also reconnected Spider-Man to a significant part of his legacy (the death of his Uncle Ben and the identity of the man who killed him) which opens up moral and ethical challenges on his part.

Character development of Spider-Man in this story is short yet substantial to read. As he recalls the painful lesson he learned about his uncle’s death, he remembers how guilt (by previously allowing a crook to get away who later turns out to be the same person responsible for the death of Uncle Ben) overwhelmed his early desire for revenge and this compels him to re-evaluate the responsibility he carries with his superhuman abilities.

Instead of utilizing a super villain, Layton presented D.J. Jones as the antagonist that Spider-Man has to overcome somehow. Jones is not exactly evil, he’s just unethical and sleazy. As a human being, Jones is a turn-off but he is not murderer nor a bank robber. The sleazy photographer is an ordinary man who, like Peter Parker, is trying to survive with his occupation which in turn makes him determined to get the big scoop to rise high.

Conclusion

*Spider-Man ended up having to save the lives of many innocent people resulting in losing track of the man he was chasing.*

Amazing Spider-Man #262 (1985) is a very inspired work by Bob Layton who clearly researched the history of Spider-Man and tackled the crucial themes (note: power, responsibility, morality and ethics) through the story. The plot is simple yet engaging to follow and the character development is really solid. This is great writing by Layton and his approach on superhero spectacle (the action scenes) works well within the narrative.

Overall, Amazing Spider-Man #262 (1985) is highly recommended.

+++++

A Look Back at Amazing Spider-Man #259 (1984)

July 12, 2024July 3, 2024carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1984 to examine a small part of the Marvel Comics universe through a tale of the Amazing Spider-Man monthly series.

In my previous retro review, additional stress in Peter Parker’s life was realized when Mary Jane revealed to him that she knows he and Spider-Man are one and the same. Some time later when things calmed down, Spider-Man went to the headquarters of the Fantastic Four eventually finding out the shocking truth about the alien costume he has been wearing since the events of Secret Wars.

With those details laid down, here is a look back at Amazing Spider-Man #259, published in 1984 by Marvel Comics with a story written by Tom DeFalco, and drawn by Ron Frenz.

Early story

The story begins in New York City where Peter Parker and Mary Jane casually spend time walking within a large park. Knowing that Peter is already feeling uneasy about her knowing his secret identity as Spider-Man, Mary Jane reveals to him stories of her past and the domestic challenges that she, her sister and their parents went through.

Elsewhere in the city, the Hobgoblin makes his moves expressing his intention to engage with the business side of crime…

Quality

When it comes to developing a supporting character with sheer depth, this comic book really stands out as Spider-Man literally got pushed to the side. The main story here focuses closely on Mary Jane whose experiences with her family from the past got dramatized big time. You will see flashbacks of her youth, her closeness with her sister and mother, and tension she went through when her father became stressed and resentful. The DeFalco-Frenz duo really set up the blocks of past developments that built up Mary Jane’s personality and her portrayal here is clearly a major character turning point in Spider-Man’s corner of the Marvel Comics shared universe of the time.

As for her relationship with Peter Parker/Spider-Man, Mary Jane here is less of a romantic partner and more of a friend looking for a shoulder to cry on. While it is a fact that several comic books in the 1970s showed Mary Jane and Peter romantically linked, her portrayal in this comic book marked a major turning point of her personal development and her destiny with the webslinger. The writing by DeFalco here is very rich with drama and believability.

Conclusion

*Flashbacks from Mary Jane’s past with her family.*

Amazing Spider-Man #259 (1984) is still significant to read after all these decades. Mary Jane, who eventually got married to Peter Parker, has been redefined very heavily in this tale and she eventually became one of the most essential Spider-Man-related characters in the years that followed. Looking back at this old story (which happened shortly after Spider-Man separated from the alien costume), it was clear that Marvel Comics decided Mary Jane would be the definitive leading lady of Spider-Man.

Overall, Amazing Spider-Man #259 (1984) is highly recommended.

+++++

A Look Back at Amazing Spider-Man #258 (1984)

July 5, 2024July 3, 2024carlocarrasco

In my previous retro review, Puma had encountered Spider-Man not once but twice. During the first encounter, Black Cat got in the way to defend her beloved webslinger. A short time later, Mary Jane Watson gets involved unexpectedly and the story ended with something that struck Peter Parker very deep inside.

With those details laid down, here is a look back at Amazing Spider-Man #258, published in 1984 by Marvel Comics with a story written by Tom DeFalco and drawn by Ron Frenz.

Early story

The story begins inside Peter Parker’s apartment in New York City. He is struggling deep inside as he is shocked by Mary Jane’s revelation that she knows he and Spider-Man are one and the same person. She tells him that she knew his secret for years. Peter then begins to think that this is all Puma’s fault.

As Mary Jane begins to leave, Peter tries to talk with her. She tells him that he will deny everything and that she cares about him. She added that knowing his secret identity is why she originally left New York. She had to get away from him (and Spider-Man).

Suddenly, Black Cat arrives through the window. Her presence causes Mary Jane to realize something about them…

Quality

*Very clearly the alien costume has its own intelligence and is the main reason why Peter Parker remained exhausted and sleeping too long.*

I really like the writing of this comic book. Tom DeFalco showed strong consistency with developing the newcomer (and a formidable foe) Puma and his rivalry with Spider-Man, while also leaving sufficient room to develop Peter Parker who is now in deeper stress dealing with the complexities of his connections with Mary Jane and Black Cat.

What is most notable about the plot is the finally crafted resolution to Peter Parker’s use of the alien costume (the symbiote from Secret Wars that would later bond with Eddie Brock to form the murderous Venom) by having the Reed Richards and Johnny Storm of the Fantastic Four involved in a captivating manner. I won’t reveal what happened but I can assure you readers that this particular plot element alone makes this comic book very worthy of your time and attention. That being said, Spider-Man’s saga took a serious turn from here.

As with the previous issues, Ron Frenz’s fine art really brought DeFalco’s script into life here and this includes Spider-Man’s crossover with the mentioned Fantastic Four members, dynamic shots of the webslinger and fine dramatic expressions on characters’ faces.

Conclusion

*With Black Cat and Mary Jane both present with Peter Parker, the tension and uncertainty grew only stronger.*

Amazing Spider-Man #258 (1984) is yet another great read from the DeFalco-Frenz duo. The stakes were raised higher and the pay-offs were really solid in this comic book. As mentioned earlier, this story marked the resolution of Spider-Man’s bond with the alien costume, and also paved a new path for future tales of the webslinger. Spider-Man’s crossover with Reed Richards and the Human Torch (which lasted several pages) is easily one of most crucial scenes of entire Marvel Comics stories of the year 1984 and its significance would be realized in relation to the origin and further tales of Venom.

Overall, Amazing Spider-Man #258 (1984) is highly recommended.

+++++

A Look Back at Wolverine #87 (1994)

June 28, 2024August 12, 2024carlocarrasco

This particular tale shows were Wolverine went and what he has been doing since he decided to leave the X-Men in Wolverine #75 (1993). Since Magneto removed the Adamantium out of him in X-Men #25 (1993) and Wolverine discovered that his claws were made of pure bones (part of him all along), he has been very determine to search for answers and the truth about himself.

With those details laid down, here is a look back at Wolverine #87, published in 1994 by Marvel Comics with a story written by Larry Hama and drawn by Adam Kubert.

Early story

The story begins in the Southeast Asian city of Madripoor (fictional) where Wolverine and his former teammate Gambit are reunited. As they walk, Gambit tells him that Sabretooth (Wolverine’s long-time rival) is staying in Charles Xavier’s mansion (refer to X-Men #28 and #29). As they talk, Wolverine notices something odd at the Princess Bar which he previously visited and there seems to be something wrong. The two decided to break in, causing damage and expecting the worst. It turns out, a lot of people are inside (including those who became friends of Logan) who prepared a surprise celebration for Wolverine.

As the celebration goes on, ninjas at the top of the building watch Wolverine carefully as they prepare to go down and kill him…

Quality

*Amazingly, Wolverine managed to slash the two falling guys with his bone claws and impressed Gambit.*

If you are familiar with Team X (revealed in flashbacks in X-Men #5 and X-Men #6) composed of Wolverine, Sabretooth and Maverick as black ops operatives, then the story of this comic book will really become relevant with you. In fact, reading the mentioned comic books is a must.

Without spoiling the plot, I can say that creative duo of Hama and Kubert came up with their own contribution to the Team X mythos (with flashbacks visualized in similar style to those in the above-mentioned X-Men comic books of 1992) while emphasizing how the past affects Wolverine, Sabretooth and Maverick in the present day.

What Hama-Kubert came up with was not the typical good-versus-evil superhero tale but rather a believable expansion of the Team X legacy, what the three former members have in common, and what uncertainties are they dealing with as surviving mutants. In the case of Wolverine, this tale adds depth to his solo exploits since leaving his team behind in search for answers.

Conclusion

*Wolverine dancing with a pretty lady while two guys above watch them.*

Wolverine #87 (1994) is a fine character exploration and also a nice revelation about Team X. Considering how good the contributions from Hama and Kubert are, they would not be so relevant if you have never read Team X’s flashbacks in the two specific X-Men comic books published in 1992 and that alone makes this one a tricky read.

Overall, Wolverine #87 (1994) is recommended.

+++++

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