Venom – Page 2 – Author Carlo Carrasco

A Look Back at Amazing Spider-Man #257 (1984)

June 21, 2024July 3, 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 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, Puma was introduced and quickly made an impact on the plot that connects the Rose with Spider-Man (who foiled the Rose’s criminal operation with the help of Black Cat). Puma is not a one-dimensional villain as he is quite principled. Ultimately, issue #256 served as an entertaining build-up of the conflict between Spider-Man and Puma.

With those details laid down, here is a look back at Amazing Spider-Man #257, published in 1984 by Marvel Comics with a story written by Tom DeFalco and drawn by Ron Frenz.

Early story

The story begins on top of a building in New York City. Puma grabs the head of the helpless Spider-Man (who just suffered the dislocation of his arm and endured the pain of shoving it back into place before eventually succumbing to the intense pain). He does not strike immediately as he finds the act of eliminating the webslinger almost too easy and he remembers the Rose promised him of a worthy foe.

Just as Puma starts his move to kill Spidey, Black Cat suddenly strikes him out of nowhere. Puma quickly recovers his balance and tells Black Cat to go away. Suddenly, Puma notices something in her. Using his heightened senses, he sees Black Cat’s aura then jumps at her. He quickly realizes he miscalculated with his movement and finds himself overshooting her. In a desperate attempt, Puma grabs a pipe but it quickly broke and causes him to slide on the rooftop and hit the edge.

As Puma picks himself up, the roof beneath him gives in and he falls down…

Quality

*Spider-Man’s 2nd encounter with Puma is action-packed and fun to read. Pay close attention to the details.*

There is no doubt that the story of this comic book is pretty much a big pay-off to the build-up of the previous issue. Not only that, the creative team continued to gradually develop Puma not only as a formidable foe of Spider-Man but also as a sensible and believable new addition to the Marvel Comics universe of the time.

Here, you will see Spider-Man in a truly vulnerable state which symbolically shows that wearing the alien costume has its limits when it comes to protecting and enhancing him. As seen in the final pages of issue #256, Spider-Man struggles a lot physically and, for the first time ever, struggles to command the symbiote (not realizing it is organic and has its own intelligence). With Spidey in a serious physical disadvantage, you will see Black Cat getting a nice share of the spotlight. Not only does she bravely face off with Puma, her concern for Spidey (note: she knows he is Peter Parker) intensifies in a very believable way. She still loves him but could not figure out why Peter prefers to live like a normal person when he could dedicate himself on being a hero every day as Spider-Man.

As for Puma, the creative team developed him even further both in his animalistic form and in his civilian identity as the head of Fireheart Enterprises. As the man Thomas Fireheart, he is a really intelligent man who analyzes a lot of details before making his next move. You will see more of his intellectual side as he deals with both his corporate affairs as well as his contracted service for the Rose (who in turn is serving the Kingpin).

The plot in this comic book is deeper and more elaborate. Without spoiling much, you will get to see the Puma-Rose-Kingpin connection and, more notably, you will see how complex and intense the situation becomes for Peter Parker when he encounters Puma for the 2^nd time. The story is very good, you just have to read it.

Conclusion

*Spider-Man, Black Cat and the alien costume.*

Like the previous issue, Amazing Spider-Man #257 (1984) is a great read but in the form of a great pay-off to the build-up that preceded it. The DeFalco-Frenz duo succeeded in developing the newcomer Puma into a significant Marvel Comics universe addition and their portrayal of an injured Spider-Man is very captivating. That being said, I encourage you all to pay close attention to the literary details revealed during the banter between Spidey and Puma which will resonate with you when you read the next issue.

Overall, Amazing Spider-Man #257 (1984) is highly recommended.

+++++

Thank you for reading. If you find this article engaging, please click the like button below, share this article to others and also please consider making a donation to support my publishing. If you are looking for a copywriter to create content for your special project or business, check out my services and my portfolio. Feel free to contact me with a private message. Also please feel free to visit my Facebook page Author Carlo Carrasco and follow me on Twitter at @HavenorFantasy as well as on Tumblr at https://carlocarrasco.tumblr.com/ and on Instagram at https://www.instagram.com/authorcarlocarrasco

A Look Back at Amazing Spider-Man #256 (1984)

June 14, 2024July 3, 2024carlocarrasco

The era when Spider-Man came back from deep space (refer to Secret Wars) with a new black costume (the symbiote that would later help form Venom) that itself had special abilities was indeed a very notable time in superhero comics history. As if Spidey’s troubled personal life was not enough, he had to deal with new villains that were formidable and tough to deal with.

With those details laid down, here is a look back at Amazing Spider-Man #256, published in 1984 by Marvel Comics with a story written by Tom DeFalco and drawn by Ron Frenz.

Early story

The story begins inside a warehouse when Spider-Man suddenly catches a lot of men by surprise. The men turned out to be doing something illegal with lots of stolen good contained in boxes. Quite fearlessly, the webslinger knocks out many of them while Black Cat takes pictures (assistance for Peter Parker) from a distance above. Black Cat eventually gets involved in the physical struggle and the bad guys all got defeated afterwards.

After the struggle, Spider-Man and Black Cat (who know each other personally) have a short sentimental talk before parting ways. As soon as he arrives home, Peter Parker starts developing the pictures in preparation for much-needed income from the Daily Bugle.

Elsewhere in New York (the next morning), the warehouse raid caused by Spider-Man and Black Cat makes immediate impact on the secret operations of the Rose who in turn wants the hero dead. The Rose (who reports to the Kingpin) then sends a message to New Mexico to contact the one person capable of killing Spider-Man…the Puma.

Quality

*Puma in his animalistic form deep within the harsh wilderness of New Mexico.*

I can state that within the age of Spider-Man wearing the alien costume, this particular tale has a strong debut of a new foe and the plot itself is quite intriguing. Tom DeFalco cleverly paced the introduction of Puma whose civilian personality is that of a very focused business executive. The creative team took the inspired approach of defining Puma with the harshness of the New Mexico wilderness contrasted with that of his civilian identity spending time in the bustling urban environment of New York City.

Not only is Puma very powerful and focused, he also has a high standard when it comes to accomplishing tasks showing no fear nor hesitation with regards to potential obstacles ahead of him. Clearly, Puma is not your typical super villain but a very principled and very capable figure. When compared to Wolverine, Puma shares some common animalistic elements with him but he consistently maintains control of himself. This makes him a dangerous force of opposition towards Spider-Man.

Spider-Man here is usual self. His personal problems and lack of a stable life are taking their toll on him just as he continues to keep doing good (example: fighting crime). It should be said that when Puma first strikes at him, the creative monotony with the webslinger suddenly got snapped causing a new series of unfortunate developments that test him. It is also revealed here that using the alien costume does not spare him from serious physical injury.

Conclusion

*These panels show how vulnerable Peter Parker really is as the alien costume comes to him willingly.*

Amazing Spider-Man #256 (1984) is a great read. The build-up with Puma is very powerful and his presence really made a huge impact on the reading experience. By the time the story ended, I was very convinced to read the next issue.

Overall, Amazing Spider-Man #256 (1984) is highly recommended.

+++++

A Look Back at Amazing Spider-Man #255 (1984)

June 7, 2024July 3, 2024carlocarrasco

Between the developments of 1980s Secret Wars limited series and the debut of Venom was the time when Peter Parker wore a black new costume as Spider-Man which happens to be the alien costume he gained while spending time with other superheroes in deep space (refer to Secret Wars #8). There was this gradual approach done by the creators to tell new tales of Spider-Man who has the symbiote attached to him most of the time.

With those details laid down, here is a look back at Amazing Spider-Man #255, published in 1984 by Marvel Comics with a story written by Tom DeFalco and drawn by Ron Frenz.

Early story

The story begins when a black costumed figure arrives at the balcony of a tall building during night time in New York City. He carefully makes an unlawful entry into the place to steal something. The figure was the Black Fox who intends to take valuables not to feed his greed but to properly subsidize his retirement. When he touches an exquisite-looking vase, it disappears and suddenly a monstrous ape appears from nowhere surprising him. Soon enough, he finds himself surrounded by more apes and faces their human leader (one who referred to the apes as pets).

Meanwhile at his apartment, a very tired Peter Parker washes his black costume (the symbiote), reflects on recent events he went through and then goes to bed. During the night, the black costume comes to life and slowly slithers its way into the bedroom wrapping itself on the sleeping Peter…

Quality

*The sneaky Black Fox has no chance of escaping Spider-Man (wearing the alien costume that would later lead to the start of Venom).*

I want to start with the force of opposition the creative team came up with. This is about the powerful villain the Red Ghost who has super-apes under his control and vast wealth and resources to organize criminal activities. Red Ghost here is not your typical villain as he is actually strategic, smart and even philosophical clearly knowing what he is doing and what he needs to keep on doing crime. The retiring old thief Black Fox happens to be the very criminal that Red Ghost needs for a special task involving the machine called the Cosmicizer which is essential to his need of vastly increasing his cosmic-ray induced powers.

The Red Ghost is struggling with certain limits which are related to his need of the Black Fox to accomplish something for him with the assistance of the super apes. That being said, the presentation of evil awaiting Spider-Man in this tale is a clever move by DeFalco and Frenz.

As for the iconic webslinger, you will see more of Peter Parker’s personal struggles balancing his life between real-world living and performing as Spider-Man to help people and solve problems. In this tale, his personal life is at a low point and it does not help that his has a strained link with his Aunt May. Even though he has the alien costume that is capable of aiding him a lot, there are still problems that the superhero simply cannot solve. The dramatization here is pretty good and the way the final conflict with the main villain turned out was a pretty nice pay-off.

Conclusion

*Peter Parker’s sleep has been disorderly since he brought home with him the symbiote.*

Amazing Spider-Man #255 (1984) is an entertaining and intriguing read. The creative team’s decision to have the established Fantastic Four foe Red Ghost as the definitive villain for Spider-Man turned out to be a smart move and what they did was fun to read. The presence of Black Fox (note: this comic book is his debut) added a layer of depth to the plot and his declared desire to retire from the life of crime made him an intriguing addition to the Spider-Man list of villains.

Overall, Amazing Spider-Man #255 (1984) is recommended.

+++++

A Look Back at Amazing Spider-Man #252 (1984)

May 29, 2024July 3, 2024carlocarrasco

By now, you readers should be aware that I reviewed a lot of comic books about Spider-Man and his deadliest enemy Venom. It is already established through comic book history that the iconic webslinger is responsible for the establishment of Venom as he brought into the world the alien costume (the symbiote) coming from deep space (as told in the Secret Wars limited series), and he also became responsible for the destruction of Eddie Brock’s career in journalism. Of course, Venom did not debut immediately after Spider-Man’s return from Secret Wars and there was a lot more about the symbiote when it was with Peter Parker.

With those details laid down, here is a look back at Amazing Spider-Man #252, published in 1984 by Marvel Comics with a story written by Roger Stern and Tom DeFalco, and drawn by Ron Frenz. This comic book marked the first appearance of the alien costume.

Early story

The story begins inside the New York headquarters of the Daily Bugle. It has been observed that several superheroes such as Captain America, Thor, Spider-Man, Iron Man, the X-Men and the Avengers have been missing this resulted in a rise of crime. Publisher J. Jonah Jameson and editor-in-chief Joe Robertson discuss the newest edition of their newspaper.

Meanwhile over at Central Park where police officers and others stand by an area that was closed off, a physical structure suddenly appears spreading bright light to onlookers. Suddenly Spider-Man (wearing a new dominant black costume) leaps out of the structure carrying Dr. Connor (the Lizard) surprising the people.

After realizing they have returned home at last after spending lots of time and struggle in deep space (Secret Wars), Spider-Man could not help but feel jubilant to be home. As the police officers don’t realize that they are talking with the same webslinger due to the new costume, one of them was about to draw his gun which prompted the superhero to use his web on him.

Suddenly, the Avengers, Captain America, Thor and Iron Man emerge from the physical structure which provided Spider-Man relief as he thought that only he and Dr. Connors made it home. With the people focusing on the other superheroes, Spider-Man and Dr. Connors slowly exited. Connors asked him what are they going to tell the world about all they have seen and experienced in deep space…

Quality

*Spider-Man’s first night in New York wearing the alien costume .*

I really like this story. I first read this a long time ago and I re-read it all over again for this retro review, and still this story engaged me a lot. There is a lot of richness in the script and you will get to see Peter Parker transitioning into a series of major changes that await him. Without spoiling the plot, there is no hero-versus-villain element here at all. It is all about Spider-Man who just arrived home from a major conflict (and also one of the most significant comic events ever published by Marvel Comics) and the alien costume saga truly began right here. The Venom debut did not happen until a few years later in reality.

In accordance to what was established in Secret Wars (not to be confused with the 2015 series of the same name) and the standards of then editor-in-chief Jim Shooter, the creative came up with a tale that not only showed a different Spider-Man but also portrayed him in ways that defied the tropes and creative ideas the preceded this comic book.

For one thing, Peter Parker is literally like a fish out of water here. As far as the whole world is concerned, only days passed when the superheroes went to deep space. But for the webslinger, a lot more time passed as so many battles, discoveries and intriguing events took place for him along with the others. That being said, Peter Parker’s perception of reality and track of time really got messed up and the weight of Secret War’s events really turned out overwhelming on him. This was well dramatized in the scene wherein Peter – who realized that so much time had passed – he had to call his aunt May fearing that she must be worried sick over him. There was also the moment when by walking down the street, he realized how much he missed not only his home but also the local surroundings.

It was also in this comic book when Peter started getting more oriented with the alien costume he first got in Secret Wars #8 (which was actually published after this comic book) and started to enjoy the benefits with the way it responds to his thinking. Of course, at this stage, he has yet to realize the unfortunate truth about the living costume he brought home and this story really kicked off a new and profound stage in the comic book history of Spider-Man

Conclusion

*When Spider-Man finally arrived home after spending so much time during Secret Wars.*

Amazing Spider-Man #252 (1984) is still a great comic book to read all over again. This was released during the time when Secret Wars (1984) was still being published and years before Venom’s big debut in the series’ 300^th issue. In my view, the alien costume saga was a big turning point in the literary history of Spider-Man and the creators who got involved in this comic book really sowed the seeds of compelling and intriguing events that followed. What is intriguing is that all of these significant developments started when a Marvel Comics reader from Illinois came up with the idea of a new costume for Spider-Man, wrote to them and the publisher responded to acquire his idea for over $200 (click here).

This comic book is also a reminder of how significant Jim Shooter’s rule at Marvel Comics really was and I can say that the Marvel’s literary universe of the 1980s should not be ignored.

Overall, Amazing Spider-Man #252 (1984) is highly recommended!

+++++

Retro Gaming Ads Blast – Part 9

May 20, 2024May 21, 2024carlocarrasco

Welcome back readers, fellow geeks and electronic gaming fans!

In this edition of the Retro Gaming Ads Blast (RGAB) series, we will take a look at another batch of retro gaming print ads from the 1980s and 1990s.

For the newcomers reading this, Retro Gaming Ads Blast (RGAB) looks back at the many print ads of games (console, arcade, computer and handheld) that were published in comic books, magazines, flyers and newspapers long before smartphones, social media, the worldwide web and streaming became popular. To put things in perspective, people back in the 1980s and 1990s were more trusting of print media for information and images about electronic games and related products.

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

1. Konami’s 3-in-1 sports games print ad

*Long before the advent of major league sports video games, Konami was prolific with sports video games.*

Back in the 1980s, Konami was a prominent gaming company as they released a lot of games that became hits in the arcades, on home computers and gaming consoles. Considering the limited amount of games publishers were allowed to release on the Nintendo Entertainment System in America, what Konami released were really fun games to play and their contributions of sports-based video games on the NES were significant. Possibly due to a lack of marketing budget at the time, they promoted Blades of Steel, Double Dribble and Track & Field II with this single-page ad showing the game box covers and screenshots. Ultimately, this print ad was sufficient in giving gamers a clear idea of what to expect with the three games.

2. The Adventures of Bayou Billy print ad

*Bayou Billy looks inspired by the cinematic hero Crocodile Dundee. This video game even had a comic book adaptation published by Archie Comics.*

Still with Konami, the Japanese publisher released in America the non-military adventure game The Adventures of Bayou Billy for the NES which was a revised version of their 1988 Family Computer game titled Mad City (see the differences by clicking here). This game really looked like it was influenced by Hollywood action/adventure movies of the era and it provided gamers gameplay styles of light gun shooting, beat-them-up action and racing. The titular hero looks very inspired by the cinematic hero Crocodile Dundee. This print ad is very stylish and also eye-catching. I think it has done a good job to make viewers interested in the video game.

3. Krull Atari video game print ad

*I never got to play this Krull video game on Atari 2600, nor its arcade game.*

Way back in 1983, I was fortunate to see the science fantasy movie Krull inside the movie theater here in the Philippines. When I saw this print ad, I easily got excited for the Atari 2600 video game adaptation but never got to play it. This print ad does its job showing what Krull’s game looked like and the ad makers cleverly used painted art reflecting the movie’s characters and the armored enemies from space. I should add that between the time I saw the movie and the time I first saw this print ad, I became aware of the existence of the Krull arcade game by watching an episode of Starcade on TV.

4. Rocket Ranger NES print ad

*Really great and detailed painted artwork in this print ad.*

When Rocket Ranger on the Amiga in 1988, it had fancy visuals and a strong cinematic vibe that worked smoothly with the game design. This game was developed by Cinemaware which developed a reputation of releasing games based on classic film genres. In 1990, a version of Rocket Ranger for the NES was published by Kemco/Seika and print ads using painted art were made to promote the game. This particular print ad made heavy use of painted art which was captivating to look at while conveniently keeping people’s minds off the downgraded visuals of the NES version.

5. Michael Jordan: Chaos in the Windy City print ad with contest entry

*Some gamers thought this was a basketball video game.*

Yes, it was all true. There definitely was a video game that NBA legend Michael Jordan endorsed. First released on Super Nintendo Entertainment System (SNES) in America in 1994, Michael Jordan: Chaos in the Windy City was a side-scrolling action game in which gamers play a digital version of Jordan who has to save his friends, fight enemies and move from one location to the next in order to progress. The fact that an image of Michael Jordan holding two balls was used in this print ad (as well as on the game cover) in a dominating fashion made some gamers think this was a basketball game. The display of screenshots was so small, it did not help the situation. Lastly, the available of a contest entry form in this print ad was meant to promote not only the game but also GamePro magazine.

6. Gun.Smoke print ad

*Gun.Smoke was indeed a fun game to play on NES. Therefore, the promotion is justified.*

This print ad of the NES port of Gun.Smoke has strong imagery and literary descriptions the strongly emphasize the Old West concept and setting. The screenshots displayed are too small but the descriptions more than made up for it. Ultimately, what this print ad emphasized was realized as the NES version of Gun.Smoke itself captured the continuous action and excitement of the arcade version and the graphical limitations of the console did not matter much. I myself played this game and it was a lot of fun.

7. Spider-Man and Venom: Maximum Carnage print ad

*This add appeared in my comic books and magazines I read in 1994.*

Back in 1993, Marvel Comics published the huge Maximum Carnage crossover storyline which covered many issues of the four monthly Spider-Man comic books and two issues of the quarterly Spider-Man Unlimited series. Considering the high popularities of Venom and Carnage at the time, it was not surprising that Marvel took advantage by having Maximum Carnage licensed to Acclaim to create a video game adaptation in the form of a beat-them-up.

Spider-Man and Venom: Maximum Carnage was released for SNES and Sega Genesis in 1994, and game developer Software Creations really adapted story to fit with their side-scrolling game design. Between playable stages are cutscenes that actually were digitized versions of actual comic book panels. This red-colored print ad had a dominating image of Carnage and screenshots with text descriptions. The ad makers even went the extra mile by inserting screenshot cut-outs showing individual characters such as Firestar, Venom, Spider-Man, Carnage, Cloak and Dagger, Iron Fist, Captain America and more. Whatever your opinion is about the Maximum Carnage storyline or the video game adaptation, there is no denying that this was a very eye-catching print ad.

+++++

A Look Back at Amazing Spider-Man #375 (1993)

May 15, 2024May 5, 2024carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1993 and examine a small part of the Marvel Comics universe through a tale of the Amazing Spider-Man monthly series.

In my previous retro comic book review, the insane murderer Venom returned to antagonize Spider-Man by targeting his parents. While it was a fact that Venom – who knew Spider-Man’s true identity – got into close contact with Aunt May (symbolizing the danger he poses on the Peter Parker’s family) a few years prior, going after the mother and father of Peter really raised the stakes.

With those details laid down, here is a look back at Amazing Spider-Man #375, published in 1993 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley. This comic book marked the 30^th anniversary of Amazing Spider-Man #1 (1963).

Early story

The story begins inside one of the facilities of the closed amusement park in Brooklyn. In his vicious form, Venom tells Richard and Mary Parker (both restrained) that they belong to him and declares that he would protect them from Spider-Man.

When Richard Parker asked why would he think that they would have anything to do with Spider-Man, Venom realizes that the couple does not even know their son is the webslinger. Venom tells the couple that their innocence is what he is sworn to preserve.

Over at Manhattan, Spider-Man swings back to the Daily Bugle building and discreetly changes his clothes before moving in as photographer Peter Parker. Inside one of the offices, J. Jonah Jameson reaches out to Silver Sable by telephone…

Quality

*Peter Parker had to commit a crime by trespassing into Anne Weying’s residence. His disguise as Spider-Man does not protect him from the law.*

I have mixed feelings about this follow-up to the great story of the previous issue. For one thing, David Michelinie’s script had a completely different tone and direction even though he intended this comic book to conclude what issue #374 started. Another thing is that this story has even more characters added in which clearly diluted the intensity of the Venom-Spider-Man rivalry that was so intense in the previous issue.

There are two sub-plots – one of which deals with someone from Eddie Brock’s past – that were emphasized with sufficient details and the creative team integrated them into the main story. It seems that the creators intended to make the main story look grander in scope while sacrificing the very elements that made issue #374 a great and intense reading experience.

Remember the suspense and danger that came with Venom targeting the older Parker couple? Those elements are almost totally absent in this comic book even though this story concluded the previous issue’s conflict build-up. Richard and Mary Parker are both present as captives of Venom but there really is no tension nor any sense of danger here due to the drastic change of tone and direction in the script.

I should also stress that the introduction of Anne Weying (previously Anne Brock) as Eddie Brock’s ex-wife looked and felt like an afterthought inserted into the story. While Anne’s presence brought out some traces of humanity and sanity from Venom during the 2^nd half of the story, it did not add much impact on the conflict between the webslinger and the symbiote-wearer murderer. Ultimately, the creative team had to do something to explain the story build-up on Venom’s part leading into the Lethal Protector limited series which is set in the city of San Francisco.

And then there was the presence of Silver Sable’s team called the Wild Pack. The Wild Pack is the result of J. Jonah Jameson’s agreement with Silver Sable with the objective of achieving a journalistic exclusive for the Daily Bugle. This particular sub-plot is really lousy and not even the dynamic looking action sequences involving the Wild Pack could hide lousiness.

If there is anything symbolic about the script, it is the emphasis on family as well as the impact that comes with elements of the past emerging unexpectedly. In this very comic book, you will get to see Eddie Brock/Venom react like a sane person in response to the sudden re-appearance of his former wife. No matter what the creative team did here, I can say that the Spidey/Venom conflict did not really intensify (note: the dynamic action scenes did not solve the shortcomings) and there was no reason to worry about the captive Parker couple.

Conclusion

*The insane murderer Venom with the parents of Peter Parker.*

Considering the great stuff and raised stakes that made issue #374 a very compelling read, Amazing Spider-Man #375 (1993) is clearly a disappointing conclusion. This is not a terrible comic book as it has some good stuff for fans to enjoy but the overall presentation of the creators here is not too great due to their approach with the storytelling (with two sub-plots that did not add much). Overall, I am glad I never bought this comic book (with flashy cover and more pages) at full price in 1993.

Overall, Amazing Spider-Man #375 (1993) is satisfactory.

+++++

A Look Back at RoboCop 2 #1 (1990)

May 10, 2024April 28, 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 comic book adaptation of the movie RoboCop 2 (1990).

Before getting to the new retro comic book review, I should state that my friends and I had a fun time watching RoboCop 2 in the cinema shortly after it opened here in the Philippines. Back then, I was not yet a comic book collector and I rarely visited comic book specialty stores. That being said, I was unaware that Marvel Comics actually published an adaptation in the form of a 3-issue mini-series.

With those details laid down, here is a look back at RoboCop 2 #1, 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 where the cops are run by corporations and the streets have turned into red-alert war zones. Crime is overwhelming the city and the highly addictive narcotic poses the greatest threat facing societies. The surgeon general who made the public warning about nuke was killed and the crime boss Cain (leader of a cult of nuke addicts and pushers) claims responsibility. Through the news media, Cain tells the public that nuke will make people’s problems go away and people want its paradise.

Under the management of Omni Consumer Products (OCP), several of Detroit’s police officers go on strike demanding better terms from their employer. The City Government of Detroit under Mayor Kuzak missed a payment (in relation to them owing $37 million) and OCP begins to move to foreclose the city and its assets in accordance to the terms of the contract. Mayor Kuzak accuses OCP of engineering the police strike which made crime rampant.

Elsewhere in the evening, the cruel activities of the thugs got disrupted by the arrival of a police car. Even though the police car got destroyed by the thugs, RoboCop emerges and begins to fight back…

Quality

*There is simply no holding back for RoboCop when it comes to doing police work at a time when many police officers are on strike while crime has turned more rampant in Detroit.*

This opening issue of the mini-series sticks close the basic plot of the movie (right until after Cain’s gang dismantled RoboCop) although there were a few notable differences with the sequence of events and there were scenes that showed the creative team took liberties to make the story suitable with the literary format in mind. That being said, don’t expect to see the key moments of the movie look exactly the same in this comic book and don’t expect to see the characters here looking like the actors who played them on the big screen. In terms of visual and literary presentation, this adaptation has a lot in common with the Total Recall comic book adaptation which coincidentally was released the same year.

For me, this is indeed a really readable comic book that has its stylized approach on telling the movie’s concept. OCP is the most powerful entity in the story while Cain and his gang are clearly the force of evil that strongly pose danger not only to Detroit’s people but even to the very divided police force. Nuke as the dangerous object of the plot clearly was inspired from elements of the real life war against drugs in 1980s America which made this story socially relevant.

*Very clearly these villains look nothing like actors Tom Noonan, Galyn Görg and Gabriel Damon.*

Like in the movie, RoboCop here performs his law enforcement duty in an uncompromising manner even though memories of his past life as officer Murphy re-emerged deep inside. That being said, there are a few moments in which you might sympathize with the titular hero as this comic book pays close attention to the conflict between humanity and technology.

The action scenes here are sufficient but clearly don’t come anywhere close to the intensity of the film in terms of violence. Still, there is enough action for readers to enjoy.

When it comes to the visuals, the artwork done by Mark Bagley eerily looks comparable with Tom Lyle’s art in the Total Recall comic book of 1990. For the newcomers read this, Bagley became a popular artist through the Amazing Spider-Man monthly series and the Venom: Lethal Protector comic books that were released after years after this one. Having seen many of Bagley’s works published in 1992 to 1995, I can hardly recognize his art style in this comic book adaptation. The way he drew people’s faces in this comic book looks very different from those seen in Amazing Spider-Man issues. At the same time, Bagley’s own take on RoboCop has that balanced approach on depicting humanity with machinery while also making the hero look less bulky compared to the movie’s version.

Conclusion

*Julie Faxx of OCP sure talks like a woke nut and rabid feminist in this scene.*

RoboCop 2 #1 (1990) is clearly not a faithful adaptation of selected parts of the movie but that’s not necessarily a bad thing. This is more about the Grant-Bagley team doing their own visual presentation of the movie script copy they had and ultimately they succeeded in making this comic book a stylized and worthy reading experience. This is indeed a surprisingly entertaining read and I can say that I am looking forward to reading the next issue.

Overall, RoboCop 2 #1 (1990) is recommended.

+++++

A Look Back at Amazing Spider-Man #374 (1993)

April 24, 2024April 11, 2024carlocarrasco

In early 1993, the supervillain and murderer Venom was in very high demand among Marvel readers and comic collectors. The Venom: Lethal Protector mini-series launched with issue #1 selling a lot of copies and it portrayed Spider-Man’s greatest enemy as a very twisted and violent makeshift hero who dedicated himself to protecting what he (Eddie Brock specifically) to innocent people. As Venom was one of the few supervillains who knew Spider-Man’s true identity, the creative team behind the Amazing Spider-Man series decided to raise the stakes temporarily by having him encounter Peter Parker’s parents (the ones that appeared in Amazing Spider-Man #365).

With those details laid down, here is a look back at Amazing Spider-Man #374, published in 1993 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley.

Early story

The story begins inside the bunker beneath the grounds of the deserted Brooklyn amusement park. As Eddie Brock struggles to lift a very heavy piece of equipment, the symbiote forms over his body helping him lift it up above the head. Venom is obsessed with killing Spider-Man and Eddie Brock remains totally bitter over the webslinger’s responsibility on destroying his career. Eddie sees a page of the Daily Bugle on the wall and it contains a news photo of Peter Parker with his mother and father.

At New York’s famous Central Park, Peter, wife Mary Jane and his parents enjoy quality time skating on ice. Aunt May is standing on a wooden platform watching them…

Quality

*Lots of intense action scenes in this comic book for fans and readers to be entertained with. The action scenes are not mindless as they serve as reflections of Venom’s powerful quest for revenge.*

To begin with, I can say that this tale by David Michelinie is a very intense and dramatic read and it added a new layer of depth into the enduring rivalry between Spider-Man and Venom. At this point in Marvel Comics’ shared universe history, the two icons have encountered each other so many times, the time was right for Michelinie to raise the stakes and have the elderly Parkers (note: Aunt May excluded) as the new targets of Venom (already made obvious on the cover which in turn added tremendous stress on the part of Spider-Man and his wife.

For the newcomers reading this, Eddie Brock’s journalistic career was destroyed over the Sin-Eater story as a result of Spider-Man’s public revelation of Stanley Carter as the said figure (note: Brock’s Sin-Eater article series was based on interviews with Emil Gregg who actually turned out to be a delusional neighbor of Carter’s).

As Brock’s life went way downhill with his reputation destroyed, his hatred of Spider-Man grew and so did his quest for revenge. That being said, what happened in this particular comic book was a very reflective extension of what happened years prior. Anyone who has basic knowledge of the origin of Venom and early appearances of Brock in comics will be able to understand the intensified rivalry in this tale.

Apart from the great story, this comic book has lots of superhero spectacle for readers to enjoy. That being said, the smashing action of the fight between Spider-Man and Venom was clearly made to be more violent which suitably reflected the supervillain’s lust for revenge. Spidey, meanwhile, had no choice but to avoid causing any more damage or harm as Venom goes after him in public surrounded with lots of bystanders. Along the way, you will see a key moment of the insanity of Venom which served as a useful pause of the fight. Finally, when it comes to the art, this comic book has some of the finest artworks I have seen from Mark Bagley.

Conclusion

At the time of this comic book’s publication, Venom was one of the few supervillains who knew Spider-Man and Peter Parker are one and the same person. The inclusion of Peter’s parents only added to the raising of the stakes.

Amazing Spider-Man #374 (1993) is undeniably a great read complete with intense action scenes, lots of intrigue and, most notably, a rock solid development of the Spider-Man-Venom rivalry. This is the kind of story that will compel long-time Spider-Man fans to revisit Venom’s origin as well as Spider-Man’s involvement with the Sin-Eater. At the same time, this tale will help readers understand the insanity and murderous mind of Venom that took place not only in the Venom: Lethal Protector mini-series in also other mini-series about the symbiotic killer that Marvel published throughout the 1990s.

Overall, Amazing Spider-Man #374 (1993) is highly recommended!

+++++

A Look Back at Wetworks #1 (1994)

November 29, 2023November 26, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, and comic book collectors! Today we go back to the mid-1990s to explore the comic book launch of a notable fictional team co-created by the Whilce Portacio and Brandon Choi…Wetworks.

For the newcomers reading this, Whilce Portacio was one of the highly talented illustrators who left Marvel Comics and co-founded Image Comics in the early 1990s. While his fellow co-founders Todd McFarlane, Jim Lee, Rob Liefeld, Marc Silvestri, Jim Valentino and Erik Larsen were able to launch their respective dream projects (creator-owned properties) during Image’s first year of publishing, the launch of Wetworks was delayed by two years due to a death in Portacio’s family.

As a very young comic book reader in those days, I remember hearing rumors about Wetworks inside comic book stores I visited. There were rumors of business negotiations, solicitations and scheduled launches (ranging from October 1993 to January 1994). I also noticed some comic book enthusiasts who bought old copies of X-Factor and Uncanny X-Men that Portacio illustrated while waiting for Wetworks to debut.

In the middle of 1994, Wetworks was finally launched under the Image Comics label and I still remember the day when I saw lots of copies of issue #1 displayed on the shelves and windows of comic book stores.

With those details laid down, here is a look back at Wetworks #1, published in 1994 by Image Comics with a story written by Whilce Portacio and Brandon Choi. The art was done by Portacio with ink work by Scott Williams.

Early story

The story begins when a covert operations team working under International Operations (IO) travels to eastern Europe to infiltrate and destroy the base of operations of a certain warring faction and retrieve a biological agent (highly contagious) no matter what the cost. As it turns out, this new mission for the team (led by Colonel Jackson Dane, one of the pioneers of Team 7) started less than twenty four houses after their previous mission and their female member Pilgrim (reconnaissance specialist) pointed out that the demolition charges they are carrying are strong enough to wipe out an entire city block. Another teammate called Grail (the Filipino named Salvador Joel Alonday) stated that they are supposed to be a hostage rescue team.

Meanwhile deep inside the command center of IO in Washington, D.C., Admiral Halsey tells Miles Craven that Team 7 (the team led by Dane) are under his command and states that his sources tell him that there is more to the mission than just a group of ethnic nationalists obsessed on a biological terror campaign. It turns out, Craven sent the team to eastern Europe without fully informing them of what they are going up against. Craven insists that Team 7 are paid to put their lives on the line and to die if necessary just to get the job done. Craven then reveals to Halsey the true nature of the mission. The admiral then realizes Craven is right and certain sacrifices must be made for the greater good.

Craven and his team arrived at the location in Transylvania. They started seeing signs that someone else arrived ahead of them…

Quality

*One of the team members looks at a symbiote.*

I’ll start first with the fantasy concept and the storytelling. Whilce Portacio and Brandon Choi’s joint creation of Wetworks is indeed an inspired move with connections to real-life military influences the creators had. The Wetworks team – initially referred to as Team 7 – started looking and acting like typical military squad in the world of fiction but the major twist that happened drastically redefined and refined them into the most unique military team in the world of superhero comics. It’s the closest thing to seeing G.I. Joe fused with living symbiotes (another inspired move most likely influenced by a certain Marvel murderer with a symbiote whose origin is linked with one of the most iconic superheroes ever) there is and I can say Wetworks remains relevant and stands out nicely among superhero comic book teams to this day.

With regards to the plot, it looks cliched on face value. I’m talking about the trope in which a team is sent by their powerful superiors on a mission without knowing all the crucial details needed (because the superiors hid it from them) and they eventually encounter immense danger. As mentioned earlier, the major twist in the plot not only completed a major transformation of Dane and his teammates but also ramped up the fantasy aspect of the tale to much higher levels.

Still on the plot, Portacio and Choi came up with a solid structure for the narrative. The build-up of details and tension was very good and the pay-offs (lots of spectacle plus twists) were great. As the story moved on, the suspense grew stronger and the narrative succeeded in making me care about the team led by Dane.

*Meet the team members who would later become Wetworks.*

When it comes to the art, Portacio’s work here (with ink by Scott Williams) still looks great and, more notably, it is a fine departure from the superhero visuals he worked in years prior. As with his past works, you will see the artist’s stylized approach on visualizing the narrative related to how he implements the panels per page.

Portacio did a very good job with the military look of Wetworks and he drew their guns with a high amount of detail that should be seen (you should try using a magnifying glass on this comic book). Not only that, his art on military hardware such as the gunships, the interiors plus equipment all have that detailed appearance. When it comes to action, I believe that Portacio took a lot inspiration from Hollywood action flicks (most notably Predator) on portraying Wetworks members using their guns and positioning during battle.

Of course, the spectacle is not totally limited to military stuff. There is a touch of fantasy and horror visuals involved which is directly related to what was set-up for Wetworks to encounter in the near future. To realize what I am saying here, you must read this comic book until the intense end.

Conclusion

*Wetworks #1 from 1994 is still great to read!*

I can say without a doubt that Wetworks #1 (1994) remains as gripping and as entertaining as when I first read it decades ago. In short, it has aged well and reading it all over again today is compelling and a lot of fun to do. If you ask me, this is one of the finest works ever by Whilce Portacio in terms of art and storytelling. As one of the many comic books Image published during its first few years in the industry, Wetworks #1 (1994) clearly stands out with its military theme and fantasy concept. Lastly, Wetworks is set within the WildStorm universe as dramatically symbolized with the presence of International Operations (the team’s superiors).

Overall, Wetworks #1 (1994) is highly recommended!

+++++

A Look Back at Spider-Man 2099 #41 (1996)

August 31, 2023August 28, 2023carlocarrasco

Welcome back superhero enthusiasts, 1990s culture enthusiasts and comic book collectors! Today we go back to the year 1996 and explore a part of the Marvel 2099 comics universe through a tale of the Spider-Man 2099 monthly series.

In my previous retro review, the futuristic webslinger encountered Goblin 2099 (note: the futuristic take on Green Goblin) who proved to be very dangerous not with weapons nor physical attacks but with influence members of the local society to rebel against him believing that he is a corporate asset. How much influence Goblin had on the people at the expense of Spider-Man is just waiting to be discovered.

With those details laid down, here is a look back at Spider-Man 2099 #41, published in 1996 by Marvel Comics with a story written by Peter David and drawn by Andrew Wildman

Early story

The story begins with Miguel O’Hara visiting a ruined place with armed personnel escorting him. It turns out the site was the White House and Doom 2099 has already fallen as President of the United States. Miguel seeks closure as he spends time at the ruins and eventually finds the name plate from the office of Tyler Stone (Miguel’s biological father).

Meanwhile at Alchemax, corporate personnel got surprised to see Tyler Stone return confined to a hovechair due to his fragile and weakened state. This turned out to be his first time to be at work since he got shot.

Inside the laboratory, Tyler sees his deranged son Kron (Venom 2099) contained behind solid glass like a mere scientific specimen for study. After learning key details about the symbiote and how it affected his son, Tyler gives the order to have Kron executed…

Quality

*Even though Goblin 2099 was not present, this scene shows how much the said villain poisoned the minds of people to harm Spider-Man.*

Let me start with the writing by Peter David. It is clear to me that David confidently wrote this story to maintain the flow of intrigue, emphasize how local society’s changing, how the external events affect others and, most notably, managing to push Spider-Man 2099 to the edge complete with a brewing conflict with the very powerful Tyler Stone.

At this stage of the monthly series of the 1990s, Miguel O’Hara’s rise within the corporate structure of Alchemax got emphasized again and Peter David inserted growing tensions for the protagonist effectively blurring the boundary that separates personal life from the corporate career. That being said, the futuristic Spider-Man in his civilian identity literally entered a gray area which will compel readers to speculate if he was still in control of matters or if he was slowly becoming evil as he gains power (this makes him comparable with the tycoon Tyler).

Still on the character development aspect of this comic book, Miguel here still showed his fragile side as the death of Dana left him with a lot of pain deep inside (which was dramatically emphasized by Andrew Wildman through his art in one very particular page). This furthers adds to questions about the sanity and mental stability of the protagonist who already wields so much power as Spider-Man and as an Alchemax executive.

Speaking of Alchemax, Tyler Stone here appeared more sinister than before and being unable to stand did not hinder him at all. His cold-hearted move to have his own biological son Kron (the futuristic Venom and the same guy responsible for the deaths of Punisher 2099’s family) executed clearly shows not only his sadistic nature but also the fact that he is living with pure worldly beliefs. His believes are so worldly, he does not really care about his own offspring. Ironically, this suggests that Tyler could be as twisted and evil as his murderous son Kron. Lastly, the connections between the late Dana and Tyler and Miguel is indeed morally disturbing.

While the cover art showed Goblin 2099, the new antagonist is nowhere to be found in this comic book. However in a very symbolic fashion, Goblin’s influence remained lively through a number of people who condemned Spider-Man 2099 so much, they went as far as actually hurting an idolater of the webslinger. This part of the story is a strong reminder that idolatry is unholy and foolish, that religion is corrupted and will never lead believers to salvation, and that socialism attacking capitalism remained a social disease in the far future.

Conclusion

*Tyler Stone and his son Kron (Venom 2099) are both very evil. They have different ways of being evil.*

Spider-Man 2099 #41 (1996) is indeed a great comic book to read from start to finish. Not only will you get to see the futuristic Spidey struggle with the tension both personally and professionally, you will see the big impact of Dana’s death on him too. The portrayal of negative changes in the local society (at least the society Spider-Man is part of) is pretty dramatic and what Peter David imagined about Marvel 2099 still remains socially relevant to this day. Lastly, this comic book ended very powerfully and was enough to convince me to see what happens next.

Overall, Spider-Man 2099 #41 (1996) is highly recommended!

+++++

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