What If – Author Carlo Carrasco

A Look Back at Amazing Spider-Man #387 (1994)

December 12, 2025December 7, 2025carlocarrasco

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

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

In my previous retro review, Spider-Man had a match-up with his arch-enemy the Vulture who returned with a strong obsession within. The rematch is significant not only because it the two have a rivalry that lasted decades in reality, but also because the story was structured to function as a light reintroduction of Adrian Toomes (Vulture) for new Spider-Man fans of the 1990s.

With those details laid down, here is a look back at Amazing Spider-Man #387, published in 1994 by Marvel Comics with a story written by David Michelinie and drawn by Mark Bagley.

Early story

The story begins with the Vulture absorbing energy and the youth of Spider-Man using the Juvenator in front of Dr. Sanchez. As a result, Adrian Toomes/Vulture physically turned much younger with rejuvenated skin, cancer getting health, a stronger body and his hair grown back. He declares himself as the new vital Vulture. Spider-Man is down on the floor clearly weakened and with a change of his body’s shape.

Instead of taking the opportunity to kill Spider-Man, the Vulture decides to fly away knowing that his long-time rival will have to deal with brittle bones of old age. As Dr. Sanchez tries to help him, Spider-Man feels exhausted, his lungs feeling gummy and his ears ringing. Knowing that police officers are coming, the webslinger decides to get away and leave Dr. Sanchez behind.

Moments later at the top of the building, the weakened Spider-Man takes his mask and glove off realizing that he has turned into an elderly man…

Quality

To get straight to the point, this continued rematch between Spider-Man and the Vulture is so outlandish (backed with the science fiction approach to life energy and the so-called fountain of youth), it almost felt like it was a story crafted for the What If series of comic books. In fact, the sudden aging of Peter Parker into an actually elderly man getting into close calls with two notable family members made this tale even more suitable for the What If series (note: What If #4 of 1989 had a severely aged Peter Parker in it).

Still on the storytelling aspect of this comic book, the creators used the fountain of youth concept to pull off a significant twist on the enduring Spider-Man/Vulture rivalry. As Spider-Man grew so old, the Vulture became much younger which in turn convinced him he could reinvent himself and put his genius of electro-magnetism to great use.

To make things clear, this tale is not purely a Spider-Man/Vulture rivalry with sci-fi twists. In fact, there is more to the plot than meets the eye here as the Juvenator machine becomes an important element of the story (leading to something intriguing in the next issue), and a sinister revelation concluded this comic book.

Conclusion

*The Vulture rejuvenated into a young man at the expense of Spider-Man.*

Amazing Spider-Man #387 (1994) is a solid follow-up to the previous issue and it also was a radical attempt to twist the Spider-Man/Vulture rivalry a lot reaching to the point of making it look and feel like a What If story. There is a good amount of suspense, character development and enough superhero spectacle that paid-off the build-up nicely. Ultimately, this tale is actually a part of a short storyline leading to the intriguing events of issue #388.

Overall, Amazing Spider-Man #387 (1994) is 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 What If #33 (1982)

August 25, 2025August 19, 2025carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1982 to examine alternate stories of the Marvel Comics shared universe chronicled through the original What If monthly series.

Back in the early 1980s, Dazzler quickly became popular among comic book readers and a standalone monthly series was launched no so long after her debut in Uncanny X-Men #130. Earl on in her monthly series, Dazzler eventually encountered Galactus (the classic nemesis of the Fantastic Four) in a wild tale involving the galaxy. On the other hand, Marvel Comics published a wild tale of the conflict of Iron Man and Dr. Doom (also the nemesis of the Fantastic Four) involving time travel and the presence of King Arthur in Iron Man #150. Eventually, Marvel decided to make alternate tales of the mentioned stories of Dazzler and Iron Man and publish them through an issue of What If.

With those details laid down, here is a look back at What If #33, published in 1982 by Marvel Comics with a Dazzler story written by Dan Fingeroth and drawn by Mike Vosburg, and the Iron Man story written by Steven Grant and drawn by Don Perlin.

Early story

What if Dazzler had become the herald of Galactus? – The story begins with Dazzler standing in the presence of Galactus, Terrax and Drone R-II. After Galactus renders his judgment on Terrax by banishing him to the depths of a black hole, he tells Dazzler she has proven herself worthy to become his new herald. As Drone R-II reminded his superior of the fact that previous heralds were forced to leave service due to their own moral codes and added that Dazzler will do the same, she questions them and stated that she does not belong in deep space and wants to go home. Galactus tells her that Earth is a planet he has sworn to devour and by becoming his herald, he will perhaps spare her home world. Dazzler finds herself cornered and reluctantly joins Galactus as his new herald. Immediately, Galactus sends her out to deep space for her first task…

What if Iron Man had been trapped in King Arthur’s time? – The story begins in the past wherein Doctor Doom and Iron Man found themselves during the time of King Arthur. After separating themselves by taking different sides – Iron Man with King Arthur and Doom with Morgana LeFay – they decide to set their differences aside for the common goal of creating a crude time machine to return to the future. Instead, Doom takes advantage of the time machine by shocking Iron Man and leaving him behind in the past. With Doom back in the future, Iron Man struggles moving on the ground only to encounter Morgana LeFay. Believing that there is no pleasure in breaking a helpless man, Morgana spares Iron Man and tells him to return to King Arthur with her pledge…

Quality

*After doing advanced work, Dazzler can only watch and witness the loss of life as her master Galactus consumes the planet.*

I can start with the good news for you all…the two featured stories in this What If comic book are great to read from start to finish!

With the Dazzler tale, I enjoyed how Danny Fingeroth told the alternate reality story of the dazzling heroine becoming Galactus’ herald and working immediately to serve him. Not only does Dazzler carried tremendous powers she did not have before, she was able to quickly travel through deep space and visit planets that are suitable for her master’s consumption. Even as she wielded tremendous power, Dazzler still retains her conscience and does some analyzing of situations.

Of course, she still retained her human nature throughout and there are moments when she felt defeated or shocked which alone made her a questionable herald. Galactus himself is pretty much in character in this tale and it is very engaging to see how his actions impact not only the beings of the cosmic realm of the Marvel universe but also on Dazzler herself. Without spoiling the plot, I can say the ending is captivating and truly is worth the build-up.

*The stranded Iron Man makes an impact on a battle favoring King Arthur.*

Regarding the Iron Man tale, the creative team came up with the concept of having the armored superhero actually stranded in time (left behind by Doctor Doom) and getting burdened by many factors. With Doom gone early in the plot, this effectively made Iron Man the main focus and his involvement in the conflict between King Arthur and Morgana really raised the stakes.

Not only does Iron Man have to deal with conflicts, he also became vulnerable as the era of King Arthur had very low forms of technology which made the superhero’s desire to return to the future an effort against the impossible. As the story went on, Iron Man makes impact on the conflicts between the forces of King Arthur and Morgana and the good news here is that the creative duo of Steve Grant and Don Perlin made it all believable and serious to follow.

Conclusion

*Tony Stark struggles initially with being stranded in the past.*

I can say that What If #33 (1982) is a great read! The respective tales of Dazzler and Iron Man are captivating, intriguing and enjoyable to read. The creative teams of each story succeeded in building up their respective concepts, moved the established superhero to daring creative directions, and delivered powerful conclusions. This issue of the old What If series has to read as it is a true escape from reality!

Overall, What If #33 (1982) is highly recommended!

+++++

A Look Back at What If #85 (1996)

August 18, 2025August 14, 2025carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1996 and explore a part of Marvel Comics’ universe through the reimagined tales emphasized in the What If monthly series.

Back in 1993 – the year that Marvel Comics celebrated the 30^th anniversary of the X-Men – the definitive rival of the X-Men, Magneto, made a major comeback and he was so resourceful as a threat to everyone. With the massive space station Avalon as his lair, Magneto sent out Exodus to lure mutants to join him. As time passed, Magneto’s own force grew and arrogantly disrupted the funeral of Illyana Rasputin in the presence of the X-Men, X-Force, Excalibur and X-Factor (as told in Uncanny X-Men #304). As the conflict went on, Colossus betrayed the X-Men to join Magneto.

Can you just imagine what would it be like had Magneto became the ruler of mutants?

With those details laid down, here is a look back at What If #85, published in 1996 by Marvel Comics with a story written by David Michelinie and drawn by Arnie Jorgensen.

Early story

The story begins inside Avalon with Magneto and Colossus watching recorded footage of Charles Xavier announcing his decision to stop opposing the ascension of Avalon. It turns out, Xavier’s decision paved the way for mutants to relocate to Avalon (orbiting Earth) in return for assurance that those who remain in it will do so unmolested. With the intention to let Avalon’s residents achieve their full and glorious potential, Magneto allowed the mutants to rule themselves without any dictatorship by him.

Through the years, division between Avalon’s mutants – Acolytes who believe in isolation and the Acolytes who believe in annihilation – intensified and proved that the spirit of mutant unity has faded away. As violence between the mutants went on, the number of explosions inside Avalon kept increasing…

Quality

*A magnificent view for Magneto, Colossus and the readers.*

What I like most about this What If tale is its core concept exploring what would have happened had Magneto ruled the mutants specifically those living in his own realm (Avalon). Writer David Michelinie (best known for writing Amazing Spider-Man stories) wrote a really inspired script that emphasized Magneto’s vision of mutant utopia isolated from the twisted and complicated societies of Earth (which still has lots of people who are afraid of and hostile towards mutants) while leaving room for conflict in the form of ideological division between mutants on Avalon. As the growing division and violence are shattering Magneto’s vision of mutant utopia, the birth of an infant whose presence adds to the tension and fear of Avalon’s inhabitants.

The good news here is that Michelinie’s script is pretty solid and Arnie Jorgensen did a good enough job visualizing it all. The characters, mainly Magneto, Colossus and Beast, were portrayed clearly in character and to see the master of magnetism struggling with maintaining order on Avalon is a nice portrayal of his human side which makes him have a lot more in common with his opposite Professor X when it comes mutant matters. Considering Magneto’s long history of intense evil and obsession with leading humanity, his portrayal of insecurity, doubt and weakness is very believable to read.

Colossus, whose betrayal of the X-Men in Uncanny X-Men #304 remains unforgettable, is the loyal and sensible servant of Magneto. Beast, meanwhile, remains the very bright and insightful mutant scientist as he has always been which makes Michelinie’s writing really impressive.

Also at the heart of the story is mutant order. Apart from the division between Avalon mutants who want full separation from humanity and those who want to conquer Earth by eliminating all human beings, the very fabric of mutant society got shaken all because of an infant who was born there on Avalon (Avalon’s first natural birth ever). I like the way this sub-plot added tension to the mutant division because it is, in some ways, socially relevant to this day. It will remind you that certain groups of people out there who would go as far as committing murder only because they are so obsessed with their foolish, worldly beliefs. Look at the Palestinian terrorists, the Iranian terrorists and the woke mobs in many parts of the world.

Conclusion

*Remember Fabian Cortez and the Acolytes?*

With a very solid script filled with intrigue, social relevance and portrayals, What If #85 (1996) is a pretty engaging read. As it is strongly focused on Magneto and his mutants on Avalon, this comic book gives readers a fine dramatization of its core concept as well as developments on what would have happened had mutant utopia been realized far away from human society. I should state that for every build-up in the story, the payoff is fortunately solid. Consider this comic book a dramatic portrayal of mutants of Magneto without the involvement of the X-Men.

Overall, What If #85 (1996) is recommended.

+++++

A Look Back at What If #23 (1991)

August 13, 2025August 7, 2025carlocarrasco

Welcome back superhero enthusiasts, 1990s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1991 and explore a part of Marvel Comics’ universe through the reimagined tales emphasized in the What If monthly series.

If you are not aware of the extensive literary history of the X-Men, the mutant franchise of Marvel Comics had its turning point in the mid-1970s with the release of the 68-page Giant-Size X-Men #1 which introduced a newer lineup of mutants (Wolverine, Cyclops, Nightcrawler, Thunderbird and Storm). It has been argued that Giant-Size X-Men #1 marked the starting point of the bronze age of comics in America and creatively it sparked a new chain of X-Men stories that captivated the fans and attracted new readers.

But what would have happened had the newer lineup of the X-Men did not even exist?

With those details laid down, here is a look back at What If #23, published in 1991 by Marvel Comics with a story written by Kurt Busiek and drawn by Rodney Ramos.

Early story

The story begins when the original X-Men (Cyclops, Jean Grey, Angel, Beast and Iceman) members, Havok and Polaris arrive on the island of Krakoa. A huge green monster suddenly appears and attacks them. Guided by Professor X’s mind, Marvel Girl/Jean Grey helps Polaris by overriding the mental blocks that prevented her from using her full magnetic might. With a lot more power in her, Polaris takes action and helps the X-Men not only overwhelm the monster but also hurled the entire island of Krakoa into space.

As the X-Men were never captured by Krakoa, there was no reason to recruit a new team. The X-Men returned home and proceeded with other matters. On the other hand, Charles Xavier experiences a series of intense nightmares of conflict in outer space. As the nightmares took its toll on him, Professor X decides to take a vacation. Before he could leave, the X-Men are suddenly attacked by Eric the Red, Proudstar and Nightcrawler…

Quality

*Without the existence of the 2nd X-Men team (from Giant-Size X-Men #1), the original X-Men’s first encounters with Dazzler, Kitty Pryde and the Hellfire Club turned out totally different.*

This What If tale exploring an alternate chain of events involving only the original X-Men is not only a daring piece of work by the creators but it is also highly ambitious as seen through the scope of the plot. I’m not just talking about the non-existence of the 2^nd X-Men lineup of Giant-Size X-Men #1 but also alternate realities of real X-Men developments such as the encounter with the Phoenix, Lilandra and Professor X’s first encounter, the X-Men’s encounter with the Hellfire Club, and more. Truly, the alterations were executed and the consequences were quite intense.

By focusing on the concept of the original X-Men proceeding as the 2^nd X-Men team did not materialize, the Busiek-Ramos team really went all-in exploring the different possibilities and most of them were intriguing and entertaining to follow. The reading experience can be jarring because of the sudden change of scope that happens when the narrative suddenly shifted from one plot development (of local conflict) to another (a conflict on a galactic scale). Indeed, the narrative can be challenging to follow and to really enjoy it, you should pay strong attention to the details as you read on.

When it comes to character development, there is very little to find here which is not surprising given the way the script was written and also because the spotlight had to be shared by so many characters. Still, I enjoyed the character moments between Cyclops and Jean Grey, particularly during important points in the 2^nd half of the story.

If there were any weak spots in the presentation, it is the fact that a lot of exposition had to be done and there were certain parts of the narrative that felt crammed with an excessive amount of details. Not only that, there is also an excessive amount of characters that go beyond the X-Men such as Lilandra of the Shi’ar Empire, the Starjammers, Alpha Flight, the Avengers and other beings of science fiction mixed in which make following the narrative challenging at certain points.

Conclusion

*The original X-Men team plus Polaris and Havok.*

What If #23 (1991) has more than enough advantages that outweigh the disadvantages. It’s story is very intriguing and enjoyable to read even though there were some bumpy parts on the narrative. Still, it is great to see what would have happened had the newer X-Men team never materialized and this comic book’s ending is very impactful to see.

Overall, What If #23 (1991) is recommended.

+++++

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 #129 (1974)

October 17, 2023October 12, 2023carlocarrasco

Welcome back superhero enthusiasts, 1970s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the year 1974 to examine a highly significant tale from Marvel Comics’ shared universe – the first appearance of the Punisher and his first-ever encounter with Spider-Man.

To put things in perspective, Punisher’s literary debut was told within the Amazing Spider-Man comic book series and it happened not too long after the legendary tragedy of Gwen Stacey. During the 1970s, Hollywood made and released several action movies and crime thrillers that were violent, gritty and highlighted vigilantes and assassins. Some of that influence somehow made it into Marvel’s shared universe which was symbolized creatively through the Punisher who debuted as an assassin.

With those details laid down, here is a look back at Amazing Spider-Man #129, published in 1974 by Marvel Comics with a story written by Gerry Conway and drawn by Ross Andru (the same creative duo behind Superman vs. The Amazing Spider-Man crossover).

Early story

The story begins inside a private facility an assassin wearing black with a huge skull on his upper body heavily damages a solid statue of Spider-Man using a powerful rifle. This impresses the hideous villain called the Jackal who tells him that if he does well with the real Spider-Man, he would have performed a great service for the world. Knowing he impressed the Jackal, the Punisher states that he will only kill those who deserve killing and he expresses his belief that the webslinger deserves to die.

Elsewhere, Spider-Man swings into action and successfully stops an armed robbery from happening. Along the way he managed to capture photographs, changes into his civilian clothes and enters the Daily Bugle’s office ready to submit the roll of film as Peter Parker. Unfortunately, his superior J. Jonah Jameson disregards Parker’s submission and points out that the Punisher made waves with New York’s readers via the Bugle’s competitor The New York Star. For Jameson, the Punisher is only the most newsworthy thing to happen to New York and tells Parker he wants photos of the assassin…

Quality

*This is a scene from the first of two encounters between Spider-Man and the Punisher who was introduced as an assassin.*

To make things very clear about storytelling without spoiling plot details, this is a tale about intrigue and the darker side of society that involves vigilantes and murdering. The Punisher here did not debut as a crime-busting vigilante but rather an assassin who accepts assignments from clients as long as the jobs fall in line with his personal philosophy that focuses on taking the lives of those who deserved to be killed. That being said, it is clear that Hollywood’s vigilante flicks of the 1970s influenced the presentation and I can say that whenever the story focuses on the Punisher, there definitely is a grim tone which contradicts the tone of Spider-Man’s scenes.

Spider-Man here continues to struggle somewhat with his personal life having recently lost Gwen Stacey while remaining disturbed about the identity of the Green Goblin. The webslinger also has to live with the heavy situation in which a lot of people in New York were convinced that he killed Norman Osborne which was the result of his own boss’ handling of the Daily Bugle. These elements along with his civilian involvement with his newspaper creatively added to the build-up of Spider-Man’s eventual encounters with the Punisher. The build-up was structured nicely and the pay-off was worth it.

There was also the introduction of Jackal. While he has a hideous appearance, his participation was more about scheming than action which contrasted him with the Punisher. For the newcomers reading this, Jackal is actually Miles Warren in a more monstrous form. From this comic book, it was clear that Jackal was created to be a recurring for of Spider-Man and this was strongly executed in the controversial Clone Saga of the 1990s.

Going back to the Punisher, he symbolically uses guns with designs that were more grounded in reality (inspired by real-life guns in looks) instead of taking influence from science fiction. As an assassin living with a strong code, the Punisher is truly determined to eliminate Spider-Man whom he even referred to as a murderer. The perception of Spider-Man as a criminal on the part of the Punisher clearly reflected the defamation caused by the Daily Bugle on the webslinger. Gerry Conway established the assassin to be a strong believer in fighting evil by using violence and killing.

The build-up of the Punisher is very solid and the pay-off in the form of battles with Spider-Man is tremendous and very satisfying to read. There is a lot of action to enjoy here and most notably Gerry Conway maintained a strong narrative throughout.

Conclusion

*Have you ever worked in a newspaper before?*

I can say out loud that Amazing Spider-Man #129 (1974) is truly a great read and a true illustrated literary classic of Marvel Comics. This tale alone added a touch of darkness and grit (in the form of vigilante and assassins cultures) into the Spider-Man legacy. Apart from its status as a comic book classic, this one paved the way for the rise of the Punisher in terms of more comic book appearances and the publishing of new comic book series featuring him. While the Punisher’s legacy as a killer is obviously not something worth believing in, Marvel Comics took the risk of having him as one of their primary characters in the decades that followed. This particular story is so significant, Marvel Comics revisited it with What If #58 (1994). Check out my other Punisher-related retro reviews by clicking here, here, here, here and here.

Overall, Amazing Spider-Man #129 (1974) is highly recommended!

+++++

A Look Back at What If #7 (1989)

October 4, 2023October 2, 2023carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the late 1980s to examine an alternate universe portrayal of Wolverine and S.H.I.E.L.D. told through an issue of the 2^nd What If comic book series.

While Wolverine has always been identified with the X-Men, the famous mutant spent time with the Canadian team Alpha Flight and his early encounter with the Hulk remains a highly significant chapter of Marvel Comics’ superhero universe.

With those details laid down, here is a look back at What If #7 published in 1989 by Marvel Comics with a story written by Joe Valentino and drawn by Rob Liefeld.

Early story

The story begins with the Watcher looking back at Wolverine’s encounter with not only the Hulk but also the Wendigo (as recorded in Incredible Hulk #180 and #181). A short time later, Wolverine is alone in the forest and gets visited by Nick Fury (S.H.I.E.L.D.) and Hudson (Alpha Flight) who arrived by helicopter.

Hudson tells Logan that an agreement has been made to loan him to the United States which prompts a response – Wolverine claims he is nobody’s property and tells Fury to reveal the details.

As it turns out, Wolverine joined Fury at the helicarrier of S.H.I.E.L.D. for a briefing. Fury reveals to him that the internal security of S.H.I.E.L.D. has been breached by an advanced model of Hydra LMDs (life model decoys) and their sensors cannot even detect them. An agent with top security clearance was recently caught trying to transmit classified data. The said agent blew up…

Quality

*Wolverine, Nick Fury, Black Widow and some S.H.I.E.L.D. personnel take on Hydra!*

I can say that I am very impressed and entertained with what Valentino and Liefeld came up with in this comic book. The story has a pretty strong structure designed to engage readers, pull off some surprises here and there, while also emphasizing the legacy of conflict between S.H.I.E.L.D. and Hydra with efficiency.

With regards to this comic book’s subject matter, Valentino succeeded in exploring the concept of Wolverine becoming an agent of S.H.I.E.L.D. complete with great interactions between the characters. While Wolverine has his ideological differences with Nick Fury, the story went on to show great chemistry between them when S.H.I.E.L.D. operates (with the clawed mutant involved). Wolverine and Black Widow make a solid duo in action and the writer managed to dramatize the conflict between Fury and Baron Strucker (Hydra). For the newcomers reading this, Baron Strucker is Marvel’s super villain with a Nazi heritage and he first appeared in the 1964 comic book Sgt. Fury and his Howling Commandos #5. Strucker here is very intimidating and powerful and Hydra’s use of LMDs symbolically reflect his ruthlessness.

When it comes to the visuals, Rob Liefeld’s art here is really great to look at and it truly is one of the best looking Marvel comics I have read with his artwork as well as the most distinctive looking What If story. Great not only because of his stylized take on the established characters (note: the Hulk and Wendigo looked very visceral) but also because Liefeld truly brought Valentino’s solid script into life from start to finish. The action scenes drawn were excellent, the facial expressions were lively and detailed to look at (note: Wolverine’s got some very visceral faces here) and most of all, Liefeld managed to make the established characters look recognizable.

Conclusion

*Really nice action of Wolverine and Black Widow against many drawn by Rob Liefeld.*

Thanks to Jim Valentino and Rob Liefeld’s combined works, What If #7 (1989) is a great comic book and easily one of the best tales of the 2^nd volume of What If that I have ever read. The way it emphasized Wolverine as an agent of S.H.I.E.L.D. was highly imaginative, compelling and fun to read from start to finish. There is so much enjoyable stuff here that should appeal strongly to fans Wolverine, Nick Fury and S.H.I.E.L.D. In retrospect, this comic book was published just a few years before Valentino and Liefeld left Marvel Comics to establish Image Comics and right here you will see the great creativity from their younger days. Lastly, I can say that this What If tale has a strong conclusion which should compel you to read specific Marvel comic books to realize the connections

Overall, What If #7 (1989) is highly recommended!

+++++

A Look Back at What If #27 (1981)

March 8, 2023March 3, 2023carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the early 1980s and examine an alternate universe portrayal of the X-Men and the Dark Phoenix saga itself as told in one of the comic books of the first volume of the series What If.

So much has been discussed about the Dark Phoenix saga of the Uncanny X-Men series through the decades. A lot point to it as the greatest X-Men ever told while some called it the true X-Men epic story that Chris Claremont and John Byrne came up with. Considering its deep impact and significance on the Marvel Comics shared universe, it was only a matter of time before the publisher decided to revisit the said storyline but explore other outcomes through the What If series.

With those details laid down, here is a look back at What If #27 published in 1981 by Marvel Comics with a story written by Mary Jo Duffy and drawn by Jerry Bingham.

Early story

The story begins with the Watcher looking back at the events that led to the Dark Phoenix saga, who got impacted and how Jean Grey used a weapon of alien origin to end her own life and prevent the Dark Phoenix from raging.

Suddenly, an alternate reality begins when Jean Grey survives and Cyclops reacts by using his optic blasts on incoming enemies until he got overwhelmed. The X-Men have been defeated and are brought to the imperial flagship of Lilandra’s grand fleet where the Shi’ar scientists prepare for the destruction of Phoenix.

Jeay Grey remains alive, floating above the X-Men and the others as Lilandra’s people prepare to start the process of the psychic lobotomizer on her. Their intention is to act upon Jean Grey’s brain and destroy certain parts of it in order to neutralize the Phoenix power within her. The operation turned out successful and Jean Grey survives once more. She and her fellow X-Men return to Earth…

Quality

*This conflict between Phoenix-powered Jean Grey and Galactus is a must-see.*

This early, I can say that this is a very great exploration and portrayal of the concept about Phoenix (within Jean Grey) not dying during the Dark Phoenix saga. The script of this comic book is so great (note: solid plot structure, consistent portrayals of the characters, strong build-up with solid pay-off and more), it’s almost as if Mary Jo Duffy and Chris Claremont worked together behind the scenes.

The protagonist in this story is Jean Grey and this comic book examines her struggle with adjusting her personal life and her effort to fit in once again within the X-Men while remembering fully that as Dark Phoenix, she still remains guilty of destroying an entire solar system and committing the mass murder of five billion people.

Unsurprisingly, due to the emergence of a tremendous crisis deep in space, Jean Grey gets involved with her team going to the site on a mission. This easily puts her into a situation that makes her revive the power of the Phoenix deep within herself. While the use of the tremendous power of the Phoenix to help the X-Men looked sensible at first glance, it only signified the beginning of a chain of destruction and unfortunate developments. As expected, Jean Grey can only go so far with her good nature and her free will while having the magnificent powers of the Phoenix.

While the conflicts were portrayed well, Mary Jo Duffy’s script raises key questions about the red-head X-Men member: How can Jean Grey ever achieve a normal life and level with her X-Men teammates knowing that she carries powers that make her god-like? How can she ever forget the tragic fact that as Dark Phoenix, she murdered billions in deep space? What can Charles Xavier do to lead and guide the X-Men knowing that Jean is way too powerful? Could the love of Cyclops be helpful for Jean Grey’s personal efforts to control the Phoenix power within?

Another highlight of this story is the final seven pages. The ending is very impactful and definitely something you must see.

Conclusion

*This happened after Jean Grey’s survival.*

What If #27 (1981) is a classic alternate reality portrayal of the Marvel Comics universe and it surely works as a companion piece to what was established in the Dark Phoenix saga. Mary Jo Duffy’s script really captured the spirit of Claremont’s X-Men and the dramatic stuff and all the build-up led to a very tremendous ending that can disturb you or even satisfy you in the most unusual way. Most notably, this comic book really answered the question about what would happen had Phoenix did not die. The 2^nd tale of this comic book – the Kree Encounter – is an interesting additive.

Overall, What If #27 (1981) is highly recommended.

+++++

A Look Back at What If #31 (1982)

March 3, 2023March 1, 2023carlocarrasco

Welcome back superhero enthusiasts, 1980s arts and culture enthusiasts, Marvel Comics fans and comic book collectors! Today we go back to the early 1980s and examine an alternate universe portrayal of Wolverine and some other characters as told in one of the comic books of the first volume of the series What If.

Wolverine is one of the most iconic characters of Marvel Comics and he has been part of some of my retro reviews (click here, here, here, here, here, here and here). Wolverine made his first appearance in comics in Incredible Hulk #181 which was published way back in 1974 which marked the first conflict of the two Marvel icons. Years later, Marvel decided to revisit that event with a What If story.

With those details laid down, here is a look back at What If #31 published in 1982 by Marvel Comics with a story written by Rick Margopoulos and drawn by Bob Budiansky.

Early story

The story begins with Wolverine and the Hulk in combat with each other in a forest within Canada. It turns out, Wolverine was sent by Canadian authorities to capture not just the Hulk but also the Wendigo.

With the Wendigo down on the ground, Wolverine and the Hulk struggle with each other. The Canadian’s speed helped him dodge the green giant’s powerful punches and as the fight goes on, so does the impulse and emotion from within. Suddenly, Wolverine decides to deliberately disobey his orders by deciding to kill the Hulk. In a few but strategic strikes with his Adamantium claws, Wolverine kills the Hulk. The Canadian authorities eventually got rid of the corpses of the Wendigo and the Hulk.

Soon enough, news about the Hulk’s death spread like wildfire all over America catching the attention of Spider-Man, the Avengers, the Fantastic Four and General Ross and his daughter Betty…

Quality

*Wolverine gets abducted not by aliens from outer space but by Magneto and his Brotherhood of Evil Mutants.*

To start with, I can say that I immensely enjoyed this alternate portrayal of the events that happened in relation to Wolverine’s first-ever appearance in comics. For one thing, the concept of Wolverine actually killing the Hulk is not only shocking on its own, it also set a chain reaction of events that involved or affect a whole lot of other characters within the Marvel Comics shared universe.

Let me start with Wolverine himself. As the story was set before he joined the X-Men, you will see Wolverine as a super-powered agent of Canada whose career really goes down as he failed to restrain his wild self from killing not once but twice. This results in a Wolverine who is deeply troubled with guilt and becomes desperate believing that running away and hiding will somehow solve his dilemma.

Wolverine’s entry into a gang of evil mutants led by Magneto (note: this comic book’s main villain) is itself worth getting this comic book. This shows Magneto – always obsessed with his belief that mutants are superior to humans – putting his diabolical plan into action with Wolverine as the key participant. This itself led to Wolverine’s encounter with the X-Men (the one team he was destined in reality to be with).

The creative team clearly exerted a lot of effort to not only ensure the plot made sense but also have a solid structure that can accommodate twists, intrigue and superhero spectacle altogether complete with enough room for character development. Lastly, I should say that this comic book’s climax is both compelling and shocking to read.

Conclusion

*Wolverine’s 2nd kill in this comic book.*

What If #31 (1982) is indeed a great Marvel comic book to read. It has a very engaging alternate universe portrayal of Wolverine and this paved the way for a new and fresh approach on showcasing how the X-Men and Magneto’s gang reacted with the clawed Canadian. While the scope of the consequence of Wolverine’s killing of the Hulk ultimately ending up narrowing on Marvel’s mutants could be disappointing for those who seek a bigger impact on other Marvel universe characters, what was shown here in this comic book still made sense and ultimately turned out believable. This comic book also has another tale exploring what if there was no Fantastic Four which ultimately ended up as a decent additive.

Overall, What If #31 (1982) is highly recommended.

+++++

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