A Look Back at Spider-Man 2099 #35 (1995)

When Marvel Comics first launched the 2099 imprint of comic books showcasing many futuristic versions of their present-day characters – like Spider-Man, Ravage and Dr. Doom – it was inevitable that the same treatment will be applied to their popular supervillains.

In 1993, the 2099 version of Vulture was introduced and he sure proved to be one tough opponent for Spider-Man 2099. Even back then, there already was clamor for a futuristic version of Venom which at the time was riding high with readers being the featured anti-hero in several limited series (starting with Lethal Protector) of comic books.

Then in 1995, after doing a creative teaser in issue #34, Marvel formally introduced Venom 2099 by releasing Spider-Man 2099 #35. This is my review of the comic book written by Peter David and drawn by Andrew Wildman (X-Men Adventures).

Cover
The cover drawn by Rick Leonardi.

Early story

Picking up from the events of issue #34, the story begins in Washington, DC with Dana freeing herself only to find out that Alchemax’s CEO Tyler Stone was down suffering from a gun shot and losing blood. Minutes later, emergency personnel take Stone’s body for immediate treatment.

Meanwhile, Spider-Man 2099 (Miguel O’Hara) encounters the SHIELD flyboys in New York. After almost getting into trouble together, Spidey gets informed that US President Doom 2099 ordered them to leave him alone for a period of seventy-two hours while he considers a cabinet offer. Back in Washington, Dana gets interrogated by one of the authorities. President Doom enters the scene telling Dana that she will join Tyler Stone immediately in the medical center.

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Andrew Wildman’s take on Spider-Man 2099 and the future was really nice to look at.

In New York, two guys sitting on the sidewalk witness a moving black liquid coming out of the sewer. The thing turns out to be a living symbiote (or alien costume) forming into a human-like shape – Venom 2099!

Quality

As with other comic books of this particular series, the writing by Peter David is pretty deep and engaging. The usual balance between dramatization, character development, plotting and spectacle is here once again but with a slight touch of horror in relation to the introduction of Venom of 2099. Speaking of dramatization, the portrayal of Venom 2099 as a vicious villain is similar to the 20th century Venom (Eddie Brock) but with a very powerful obsession to kill Miguel O’Hara and Tyler Stone.

Here’s an excerpt from the dialogue of Venom of 2099: Miguel O’Hara…and Tyler Stone…together again. We…I get to kill you…at the same time…how awfully…awfully…considerate. To show my appreciation…I’ll kill you slowly.

What makes this comic book unique is the artwork by Andrew Wildman who temporarily replaced regular illustrator Rick Leonardi. For comparison, I find Wildman’s art style a welcome thing in this comic book mainly because he draws with a lot more detail per panel and per page than Leonardi ever could. Instead of seeing the usual sketch-like art style of Leonardi, Wildman’s style is livelier and more expressive to look at. I also enjoyed Wildman’s visual take on Spider-Man 2099/Miguel O’Hara, Lyla, Tyle Stone, and the other established characters. Their facial expressions are also livelier to see.

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Venom 2099 appears! Take note of the “liquid” at the edges of the page.

More on visuals, Wildman’s take on Venom 2099 is unforgettable. Like 20th century Venom, he has a dark suit, elongated jaw with rows of sharp teeth and an elongated tongue but with green acid dripping all the time. There are also those tentacles-like things that stretch from his body until the arms. Also his white-colored mask with large eyes make him look horrific.

Conclusion

Despite being shorter than the usual 22-pages, Spider-Man 2099 #35 is still a very engaging and fun old comic book to read. Its purpose was to build-up anticipation leading to the introduction of Venom 2099 was achieved nicely and the respective qualities of the writing and visuals are very good even by today’s standards. More on the presentation of Venom of 2099, it seems like Peter David took inspiration from movie director James Cameron on building-up tension and suspense before showing the villain. That’s a move I enjoyed in this comic book.

Overall, Spider-Man 2099 #35 is highly recommended. If you plan to acquire an existing and legitimate hard copy, be aware that the near-mint copy of it is over $100 for the newsstand version while the Rich Leonardi-drawn “Venom 2099 AD” cover version is priced at over $80 at MileHighComics.com as of this writing.


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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back at Mantra #1 (1993)

If there is any intriguing way of utilizing fantasy concepts to introduce a superhero (or superheroine) to readers, Mantra #1 from the Ultraverse published in 1993 by Malibu Comics is one fine example.

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The cover of Mantra #1.

Early story

Written by Mike W. Barr with art by Terry Dodson, Mantra #1 was an Ultraverse launch comic book that follows Lukasz who is an eternal warrior belonging to a group of other warriors which had been fighting another group (led by eventual Ultraverse villain Boneyard) for several centuries.

How did that conflict last that long? As told through the views of Lukasz, any individual warrior who dies will eventually be placed in a new body (often that of an existing person) and take control of it effectively displacing the its soul. Behind it all, Archmage, the leader of the warriors’ group that includes Lukasz, uses magic to ensure that each member will be reincarnated after dying.

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A page for your viewing pleasure.

The story takes a major turn for the shocking and intriguing when something unfortunate happens to Archmage and that the protagonist himself gets killed again. Fortunately for him, he gets to live one more time but there is one major difference – Lukasz occupies the body of a woman named Eden Blake (and the revealing scene remains shocking).

At this point, I don’t want to spoil the rest of the story. If you want to find out how Mantra came to be, you just have to read the comic book yourselves.

Quality

From an analytical view, I still find Mantra’s concept very intriguing to this day. In terms of mysticism, it reminds me a little bit of George Perez’s take on Wonder Woman in the mid-1980s and in some cases Mantra/Eden Blake herself reminds me bit of Wonder Woman/Diana albeit in a more motherly way.

When it comes to storytelling, Mike W. Barr’s script is very solid and made very good use of the twenty-eight (28) pages of the comic book. Unsurprisingly, there was a good amount of expository dialogue and narration but it was handled efficiently. The first-person views of Lukasz/Eden Blake are truly immersive to read. Along the way, there were several scenes that were intriguing to read and there were some nice moments of unintentional comedy which helped balance the overall tone of the story.

To say the least, Mantra’s concept about dead warriors’ souls entering bodies of existing people to live again sheds light on the moral or psychological implications of such events. If you were a warrior who just died and eventually got a new lease on life by occupying the body of let’s say a software company’s chief executive officer, would you not be concerned as to what happened to the soul (of the body) you displaced? Would you not think about how your control of that displaced soul’s body would affect not only the person’s established life but also the personal association with other people? Truly Mike Barr’s writing got me hooked and Terry Dodson’s art really brought his concepts to life.

Conclusion

So what else could I say? Mantra #1 is highly recommended not only because of its story and concepts but also because this particular series lasted several issues more and, for the most part, Mantra’s adventures and misadventures have often been fantastic and fun.

Even though it is fact that the Ultraverse remained in limbo and Marvel Entertainment showed no intention to revive the franchise, Mantra is still a fun and engaging comic book series to read and this comic book is the golden start of it. Mantra #1 itself is one of the most defining superhero comic books of the 1990s ever published and its mature themes combined with strong fantasy concepts made it stand out among all of those other superhero comic books I spotted on the shelf of a BF Homes comic book store that I visited in July 1993.

You guys can order copies Mantra #1 online at ComicCollectorLive.com, at MileHighComics.com (a near-mint holographic cover version of the comic book is worth over $40) or by visiting your local comic book retailer selling old issues.

Author’s Note: This article was originally published at my old Geeks and Villagers blog. What you just read on this website is the most definitive version.


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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

What’s The Best Darna Costume Design for Jane De Leon?

It has been several months since ABS-CBN formally announced it hired actress Jane de Leon as the new cinematic Darna for their ongoing movie project. Since that time, there has not been much details about the Darna movie. To put things in perspective here, De Leon came in as a replacement for Liza Soberano.

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A Darna figure I photographed on the left, Jane de Leon on the right. (Jane de Leon picture from Belomed.com)

Apart from the news that De Leon met with TV Darna star Marian Rivera (who works for a rival TV network), took physical training consistently, confirmed filming will happen this year and responded to those who bashed her for just being a pretty face who cannot act, the filmmakers have so far kept details of the Darna movie secret.

Are they revising the script to accommodate De Leon’s talent? Are they rendering the visual effects with computers ahead of time? Is the production team having trouble scheduling filming with the many actors they hired? Are the filmmakers consulting with local comic book artists and writers to find ways to make the Darna movie fun and engaging?

So far, nothing could be confirmed. And this leads me to the next point – what will be the best Darna costume design for Jane de Leon?

In this ABS-CBN news video posted on November 27, 2019, De Leon confirmed that she has been working out for the role, read the script and stated the costume was being arranged. No details about the design of the costume were revealed.

For starters, it is easy to imagine De Leon wear the traditional Darna costume which has always been a two-piece swimsuit with a head dress (in recent times, a helmet), superhero boots, arm braces and a frontal cloth. Check out the photo I took of a Darna statuette during the 2019 Toycon below.

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I took this during last year’s Toycon.

If the filmmakers prefer to show the cinematic Darna with a new look of much less skin exposed while still maintaining the feminine figure, the lady’s armor design could be a useful alternative. Take a look at the armor of Faora in Man of Steel.

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The armored Faora in Man of Steel. (photo sourced from IMDB.com)

An armored Darna just might work in modernizing the look of the Philippine superhero icon with the 21st century in mind. While it can cover a lot of De Leon’s skin, it could use a little less metallic parts (compared to Faora’s armor in Man of Steel) to show more of the actress’ figure. Having the armor painted red with some parts in gold can help maintain the Darna look.

As of this writing, we don’t know yet what the filmmakers have in mind with the Darna costume for Jane de Leon. But once new updates about the costume and the film itself have been released, I’ll share and discuss them right here.

For the meantime, visit the Darna (2020) movie page right here.

For those of you who read this, what do you think is the best Darna costume design for Jane de Leon? How should it look? Feel free to post your answers with the comment tool below.


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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

 

A Look Back at Superman #100 (1995)

While this old comic book may not be the best-selling Superman story of the 1990s, it is for me the most significant one as well as creator Dan Jurgens’ best work ever on the Man of Steel. I’m talking about Superman #100.

Cover
The cover.

Released in 1995 by DC Comics, Superman #100 came out with a special cover that highlighted the title “The Death of Clark Kent”. It was released with a hefty cover price of $3.95 for the United States and was pretty thick. It was written and illustrated by Dan Jurgens, the same man who worked on the best-selling Superman #75 (The Death of Superman climax).

Early story

The story begins with Clark Kent carrying a deformed Superman object (with makeshift glasses and a knife “stabbing” the letter S) and just feet behind him was his officemate Jimmy Olsen. Hidden mostly from Olsen’s view, the object signifies that someone knows that Clark Kent and Superman are one and the same person. Carefully, Clark hides it away and starts chatting with Jimmy who is very concerned of him.

Clark recently has been struggling over the fact that someone knows his secret identity. After carefully dismissing Jimmy, he moves out as Superman to take of business before the madman (who knows his identity) makes his next move.

Superman visits his parents Jonathan and Martha Kent at their home in Smallville. He expresses to Jonathan that he believes that the madman is someone he knew from his past: Kenny Braverman (Conduit).

Quality

If there is anything that defines this comic book, it is the in-depth storytelling done by Dan Jurgens complete with intense character development as well as exploration of people from his past (all connected to Smallville).

The plot structure is quite simple. Conduit knows Superman/Clark Kent personally and is always at least a step ahead of the superhero complete with strategies mess with him personally. Superman, who came back from the dead and has been struggling to fit in with the times, finds himself at his most vulnerable state not as a super-powered guy but as a human being. To analyze things here, Superman is about to get suffer and lose a lot again but not with the temporary death he got from fighting Doomsday, but rather the demise of his personality as Clark Kent.

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Truly one of the best Superman dialogue and characterizations ever thanks to Dan Jurgens.

Think about it. As Clark, Superman has a career, a social life, grew up the American way, intends to spend his life with Lois Lane and has ambitions of simple living that mean more to him than being with the Justice League America (note: writing the next great American novel).

The great thing here is that writer-artist Dan Jurgens humanized Superman a whole lot in this comic book and his work is excellent. Superman #100 opens up the discussion about what life would be like for the Man of Steel once his identity as Clark Kent gets ruined. The story also connects with Superman’s past (within the post-Crisis universe of DC Comics) and sheds light on his relationships with not only his parents but also with Pete Ross and Lana Lang (Clark’s ex-GF). When it comes to putting Superman in danger, Conduit’s approach is more convincing than Doomsday’s unstoppable power of destruction.

By the time I got immersed with Dan Jurgen’s storytelling and character development, the action scenes involving Superman felt justified. More importantly, this comic book shows the famous superhero being pushed to the limits in terms of personality tolerance and determination.

Conclusion

We live in an age in which established entertainment franchises get ruined by sequels or spin-offs or reboots which were mishandled by creators who tried to reinvent stuff only to fail and disappoint the fans.

Look at Star Wars Episode VIII: The Last Jedi. Director Rian Johnson had complete creative control on telling an engaging and fun Star Wars tale but ended up deforming it (disregarding Star Wars’ most defining elements), focused mainly on subverting people’s expectations and left many long-time fans disappointed and angry.

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Superman going after Conduit.

Going back to Superman #100, Dan Jurgens succeeded in redefining the American icon while maintaining respect of the established past of the character and kept the elements that defined Superman. His story about the demise of Superman’s secret identity was a very fresh concept and, for a time, it paved the way for opportunities to take the Man of Steel into new creative directions without disappointing fans.

Personally, I would love to see Warner Bros. produce a new standalone Superman movie with Henry Cavill as the superhero and adapt the core elements of Jurgens’ work in Superman #100 into the screenplay. Cavill already proved he could portray Superman/Clark very humanly in Man of Steel.

Overall, Superman #100 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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

Wonder Woman 1984 First Movie Trailer is Impressive

Hey readers, moviegoers and geeks! Were you able to watch the official, first movie trailer of Wonder Woman 1984? It was released globally today online and, in case you have not seen it, here is the movie trailer for your viewing pleasure.

That movie trailer, which was released around the time the Wonder Woman 1984 special event at the CCXP in Brazil ended, was a blast and having seen it, I am more excited for the movie’s June 2020 release. I plan to watch it on an IMAX screen by then.

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Official movie character poster for Wonder Woman 1984.

What can I say? It does not only have the 1980s setting (hence the year on the movie title), but the said time setting was made to be very lively in terms of visuals, fashion, style, music and feel. When it comes the decade in real life, it was the same decade when DC Comics published the maxi-series Crisis on Infinite Earths. Following Crisis, a major relaunch of the entire DC Comics universe followed and along the way Wonder Woman was reintroduced under the creative direction of George Perez. The George Perez-era of Wonder Woman, at least seen in the trailer, is looking like a big influence on the new movie starring Gal Gadot and Chris Pine (whose character Steve Trevor returns somehow) and directed by Patty Jenkins. This brings me to my next point.

Early in the trailer, Diana/Wonder Woman was shown talking with archaeologist Barbara Ann Minerva (played by Kristen Wiig). What’s so significant about Minerva? She is none other than the super villain Cheetah, specifically the 3rd version of the character that debuted in the comic books during the George Perez-era of Wonder Woman!

Here are some images from the pages of Wonder Woman #9 from 1988.

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All of the above images are properties of DC Comics.

As I mentioned before, the involvement of Cheetah in the movie is alone a great attraction. As far as the trailer goes, we only see Cheetah in her normal human form with Kristen Wiig. The way I see it, we will eventually see the super villain in her terrifying, animal-like form. I am speculating the filmmakers will save that for the movie’s release and will only show very brief, body part shots in the next two movie trailers leading into June 2020. It’s much better this way especially under the watch of Walter Hamada.

Regarding the return of Steve Trevor, I don’t want to speculate as to how he returns given what happened in the acclaimed Wonder Woman movie of 2017. Still, it sure is nice to Chris Pine return as Diana’s romantic partner because he and Gal Gadot have solid chemistry together and there is indeed a need to present more cinematic adventures of them together just like in the comic books!

As seen in the trailer, some shots showing Wonder Woman and Steve traveling together in a foreign land (with a desert environment) where they encounter military hardware operated by some group (or a government perhaps?). This is clearly a Cold War reference although which particular setting or historical event the movie is emphasizing remains to be revealed.

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Maxwell Lord.
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Barbara Ann Minerva/Cheetah.
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Steve Trevor.

The Cold War setting is the new era emphasized for Wonder Woman 1984. Story details are unintentionally light but what was shown in the trailer made the movie very promising.

As for other elements like the cinematic Maxwell Lord, shots of Themyscira, Wonder Woman’s armor and others, I’ll discuss those next time. Right now, things are looking great for Wonder Woman 1984 and we’ll see more what the filmmakers have left to offer in the next two movie trailers.

If my sources are correct, the creative synergy of director Patty Jenkins combined with passionate work implemented by Gal Gadot on playing the Queen of Superheroes should result a great Wonder Woman cinematic story as well as a solid superhero movie. On the part of Warner Bros. Pictures, it seems the studio and its creative teams are now in more solid footing when it comes to making new DC Comics superhero movies. The DC Comics cinematic stuff will resume on February 2020 with the release of Birds of Prey.

Wonder Woman 1984 will open in cinemas around the world on June 2020.

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Wonder Woman 1984 star Gal Gadot with cosplayers and fans during the CCXP in Brazil. (photo source – Wonder Woman Facebook page)

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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

A Look Back At Spider-Man 2099 Meets Spider-Man

When Marvel Comics launched its 2099 franchise back in 1992 with Spider-Man 2099, clamor for having the futuristic hero meet up with the classic Spider-Man (Peter Parker) quickly followed.

Back in those days, crossovers were already popular and sold nicely with collectors. The Infinity Gauntlet of 1991 was an epic, universe-wide crossover done nicely by Jim Starlin, George Perez and Ron Lim. That limited series sold well, Marvel followed it up with The Infinity War (1992) and The Infinity Crusade (1993).  Even the disjointed The X-cutioner’s Song crossover of the X-Men comic books of 1992 kept the fans coming back for more.

For the 2099 universe, the franchise had strong launches with the respective first issues of Spider-Man 2099, Doom 2099, Punisher 2099, Ravage 2099 and even the first latecomer series X-Men 2099. Back in 1993, having the said 2099 heroes mix together was realized in the 5-part crossover The Fall of the Hammer.

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The cover by Rick Leonardi with ink work by Al Williamson. 

No matter what the trends back then, Spider-Man 2099 proved to be the most engaging series of the 2099 line of comic books arguably due to the in-depth storytelling of Peter David. Back in the 1980s, David worked at the direct sales team of Marvel Comics before moving into the editorial team as a writer. And, yes, he got to write for the Spectacular Spider-Man (originally titled Peter Parker, The Spectacular Spider-Man). Early on, Peter David made quite an impact with readers with the 4-part story The Death of Jean DeWolff in the said monthly series.

Many years later, David joined other comic book creators – including the late Stan Lee – on launching the 2099 franchise with Spider-Man 2099. He created a lot from scratch to establish the futuristic Spidey and made his mark on the 2099 universe.

“I don’t remember exactly which aspects of the 2099 were already part of the initial setup when I came aboard. I do know, though, that there was almost nothing specific for Spider-Man other than that he was, well, Spider-Man and (I think this was part of what I was handed) an employee of Alchemax. I was the one, though, who came up with his identity, the way his powers worked, the supporting cast, all of that. I even had a hand in designing the costume; not that I could draw a lick, but I sat there with Rick Leonardi during the first 2099 get together and described to him what I wanted, and he executed it perfectly, building upon what I suggested and improving it. I watched that costume come to life for the first time under Rick’s pencil. It was one of the single best collaborative moments in my life,” David said in a CBR.com interview.

This brings us back to the year 1995 when Marvel published the one-shot special crossover comic book designed to attract Spider-Man 2099 fans and the many millions of followers of the classic Peter Parker Spider-Man. That comic book was Spider-Man 2099 Meets Spider-Man written by Peter David and drawn by Rick Leonardi.

Let’s take a close look.

The comic book

The story begins in the far future of 2099 wherein Spider-Man (Peter Parker) from the 20th century finds himself lost in time and chased by the floating law enforcers who saw him as a danger to the public. Even though his costume is different, one of the law enforcers mistook him for Spider-Man 2099. Predictably, Spider-Man struggles to overcome and get away from them.

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Spider-Man in 2099!
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Spider-Man 2099 inside the Daily Bugle.

Meanwhile in the 20th century, Miguel O’Hara mistakenly arrives “home” only to find himself (naked no less) on the same bed as Mary Jane Parker (Spidey’s wife) who is also naked. This only confirms to him that he is lost in time. He immediately decides to get away from MJ and explore the city of New York which does not have the futuristic society he grew up with.

In an attempt to deal with the new reality, Spider-Man 2099 visits Peter Parker’s workplace – The Daily Bugle. He encounters Peter’s boss J. Jonah Jameson who mistook him as their time’s Spider-Man just wearing a new suit.

“You think you can fool me with a wardrobe change, you wall-crawling freak? Whatever your demented plan is, it won’t work,” Jameson told the disguised Miguel O’Hara who reacts by putting web on his mouth in front of the employees.

While the two superheroes struggle with being lost in time, Tyler Stone of Alchemax and Hikaru-Sama discuss something sinister.

Quality

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Spider-Man with Miguel O’Hara’s brother and Layla.

In terms of storytelling, Spider-Man 2099 Meets Spider-Man is messy even though there were efforts to have the two superheroes switch time settings that would allow them to explore different societies and mix up with their past supporting characters (example: Peter Parker Spidey meeting with Miguel’s brother and artificial intelligence Layla). What also hurt the storytelling was the lack of a very engaging antagonist. The futuristic Green Goblin the creators came up with was very lame.

The art by Rick Leonardi was barely satisfying and the sad thing is that none of his visuals – including the 2-page shot of the two superheroes together – delivered any impact. As Leonardi worked regularly on Spider-Man 2099, his art style of 20th century New York did not give me much immersion. J. Jonah Jameson was barely recognizable with Leonardi’s drawing.

To get straight to the point, this comic book is a major disappointment. It failed miserably to bring the two main characters together in a satisfying manner as there was an overabundance of build-up. By the time the two superheroes met, it was way too late for the comic book to be engaging and fun to read. With only seven pages available for the anticipated encounter, there was way too little of having Spider-Man and his 2099 counterpart together. So much could have been done to make the two superheroes interact and work together with a lot of impact but I suppose Marvel did not give the creative team enough time (and pages) to work with which resulted this disappointment.

By comparison, I found Spider-Man 2099’s encounter with Venom much more satisfying to read. Spider-Man’s encounter with Vulture 2099, meanwhile, was satisfying. Sometimes I felt that it would have been better for Marvel to publish a Spider-Man 2099 versus Venom standalone crossover comic book than this 1995 crossover disappointment!

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This is the BEST thing about this disappointing comic book. 

If you are determined to risk wasting your money by actually getting a physical copy, then be aware that a near-mint copy of Spider-Man 2099 Meets Spider-Man will cost you, believe it or not, over $40 at MileHighComics.com

Financial value aside, this comic book’s entertainment value is pretty low. It’s not a badly made crossover comic book but it sure remains a big disappointment considering its concept. Ultimately, Spider-Man 2099 Meets Spider-Man is not recommended. You have been warned.


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. Also my fantasy book The World of Havenor is still available in paperback and e-book format. 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 as well. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me at HavenorFantasy@twitter.com

Carlo Carrasco’s Comic Book Review: 2099 Alpha #1

Hey comic book fans! It is finally official! The 2099 universe of Marvel Comics has been revived with the release of 2099 Alpha #1 which I bought at the local comic book store here in Alabang, Muntinlupa, Philippines. The comic book that was available had a Spider-Man 2099 variant cover and it carried a hefty $4.99 price!

So you must be wondering…is the comic book any good? Does it capture the look and feel of the 2099 universe that first appeared in comic books back in the 1990s? Any significant changes in terms of storytelling and visuals?

Here is my review of 2099 Alpha #1.

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The variant cover showing Spider-Man 2099 with Spidey and related characters from the past.

Written by Nick Spencer with art by Viktor Bogdanovic (colors provided by Marte Garcia), the comic begins in The Ravage (note: this is NOT the failed 2099 hero of Stan Lee and Paul Ryan) where a little boy finds Thor’s hammer but abandons it as he saw some monsters coming. The story then shifts to Brooklyn where Jake Gallows (Punisher 2099) gets into a violent encounter with a man before finally meeting the backup he called for. Then they see a sign that their god, Thor, is now in a merciful mood.

In Nueva York, Miguel O’Hara (Spider-Man 2099) talks with Tyler Stone inside an Alchemax tower. Tyler examines what Miguel brought to them and he mentions an incoming threat. Elsewhere, Conan appears struggling in battle with some people. From a distance, Doom 2099 watches and he has the Watcher captive.

Quality

To put it short, 2099 Alpha #1 is really a set-up type of comic book designed to immerse readers into the 2099 universe which now looks darker, grittier and more twisted than the way it was first presented back in the 1990s. Because the spotlight shifts from one place to the next, showing multiple characters, there really is not much meat in the storytelling. Really, thirty pages of art and story were made but ultimately ended up being not so engaging.

The art of Viktor Bogdanovic shows the 2099 universe to be a depressing setting and his art on classic characters like Spider-Man 2099, Punisher 2099 and Doom 2099 make them look unrecognizable. I remember Jake Gallows being huge and buff but in this comic book, he looks like he lost a lot of muscle and ended up looking ordinary.

Conclusion

Overall, 2099 Alpha #1 is an expensive disappointment and it is easily the weakest new comic book I bought all year long. There is a lot of suspense, expository details and even some horrific imagery, but ultimately there is no real fun to experience here. At $4.99, this is too expensive and it is a waste as it failed to engage and entertain me. Let me add that I lowered my expectation for this revival of the 2099 universe since the teaser announcement was made months ago. Back then, I anticipated that the new guys handling the 2099 universe of comics will take it to a new direction (move far away from what made the 2099 universe in the 1990s memorable and distinct) and this overpriced comic book is an early confirmation of it.

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Recognize any of these characters?

Of course, there are still several other 2099 comics from Marvel that will be launched next month, including Spider-Man 2099 #1, Venom 2099 #1, Ghost Rider 2099 #1 and more. We will find out soon enough if those comic books will share the same dark and gritty style of 2099 Alpha #1 or not.

Ultimately, 2099 Alpha #1 is not recommended. As long as it is sold at cover price, avoid it.

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If you are nostalgic of the 1990s 2099 universe, check out my reviews of Spider-Man 2099 #1 and #25, Ravage 2099 #1 and X-Men 2099 #1.


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