Doom 2099 2nd arc (issues 5 – 10)

Written by: John Francis Moore
Pencils by: Pat Broderick
Inks by: Various

The load of doing an introductory story already done in the first arc and with most things established already, this particular story arc is admittedly better, more exciting and kudos to series writer John Francis Moore, even more interesting and quite gripping in my humble opinion. In here we are introduced to a few more future recurring and somewhat can be described as supporting characters, all the while even developing more the previous ones. It was handled in a way though with such an organic manner, further establishing and fleshing out more the world of Doom 2099. This time showing more of its cyberspace world and a somewhat formidable villain destined to fall to showcase Doom’s skills, character and cunningness. A slight twist of fate and serendipity added to provoke a sense of adventure and make our protagonist not too seemingly invincible. Doom may be honorable and driven (or at least he is convinced of himself) of good intention, but he is not a good guy and pretty much selfish and full of himself. Those said descriptions is really what makes this series interesting, whenever I had been lulled into being comfortably reading this as just another superhero comic, he makes such annoyingly selfish actions/decisions that grounds you from totally admiring him. This is no sci-fi version of The Godfather as there are no full blown romanticizing of his exploits. Admittedly, stories of men in power are really quite alluring or at least men radical enough to force their own way into society and show how far it could work (a thought that brings to light how thin a line can be between being a hero and a villain is sometimes).

Personally I found this story quite sexy, with a big thanks to a certain computer program gone sentient turning into a somewhat demigoddess of this reality’s cyberspace. I’d tell you more but I honestly don’t want to spoil anything as one of the big assets of this arc is being captivated while stuff are introduced and seeing them unfold and run. All I can say is that by the end of this story, Doom has grown more powerful through smart and devious dealings giving him even more awesome amount of resources, in the “real world” that is. He has tasted godhood in cyberspace and obviously he will go back there sometime in the near future to even at least try and reclaim what he has once tasted and had. You know he has too as it is typical of him and is his very nature.

This story is near perfect (though not groundbreaking nor profound) in its execution. It is a great genre entertainment that only had trouble in the flow of continuity thanks to the fill in issue by legendary cartoonist Ernie Colon in issue 9. I don’t know if they were having scheduling problems at the time or that they just really wanted to have him work on an issue, but it was obvious that even though Ernie had knowledge of where the plot is going and did competently set a bridge to fill the gap between the issues he has slipped in, the issue after him has not been done and so he has no idea how to perfectly fit it. Same with regular writer J. F. Moore, he probably had an idea on where Ernie Colon was ending his story and what took place in it but he has not seen how it was executed and the details that were presented, it really made for a clunky transition to the audience. I honestly don’t think it is that aggravating unless one is totally anal retentive of course. It’s just that I found it a pity to have such a blemish in such a decent story that was flowing so smoothly for quite a while since its beginning. I can only hazard that it probably wasn’t that big of a deal at the time as this was done in the early ‘90s, way before trades of story arcs were even a consideration, at least for most regular series. I would assume then that the transition would have not been so jarring with a month wait in-between each issue.

With all that said I will have to give credit to the writer for being able to produce a very entertaining story despite its limitations and a great flowing story blemished only by circumstances and the standard practice of its time. The work still holds up pretty well, again in my opinion and found it honestly inspired, especially in comparison to most of the stuff put out by its publisher at the time noting more importantly all the flagship properties. Again I say, this series needs to be released in trades in today’s market so that new set of audience can enjoy for what is in my eye a delightful and intriguing work unpretentious of what it really is.

Ghost Rider 2099 the first 5 issues

Writer: Len Kaminsky
Artists: Chris Bachalo, Mark Buckingham, Peter Gross and others

I remember fondly when this used to be my favorite 2099 title from Marvel. That didn't last and I'm reminded now after reading it again for this review. I don't think I can ever motivate myself to review the entire run of this series following it per story arc like I promised to do with Doom 2099. It isn't just that compelling anymore.

Looking back, it wasn't the gimmick cover of the first issue that convinced me to buy this comic like so many else did back when I was a teenager. It was the original art team. Back then my favorite artists in comics were Joe Quesada and Chris Bachalo. Later on through the years, I realized that it was actually more the tandem of Bachalo and Mark Buckingham that I liked. Both are very talented and good artists in their own right, but working together the art they produced were an amalgam of great artistry only possible when the strength of both artists are combined.

Now see the story in this arc was decently good and probably bordering on great at the start. The more it moved and was fleshed out, the more it's mediocrity was revealed. The premise was simple in that this new Ghost Rider is in no way related to the older iterations, more far removed from how the Danny Ketch version was from the Johnny Blaze one even. This newer version is technology based compared to the old mystical version. This is not a Spirit of Vengeance incarnate but a man turned robot by sentient computer programs in a quest for personal vengeance and trying to be a symbol of destruction for the current social inequality prevalent at the 2099 universe timeline. Basically it's just a new take on the property meshed with all the other established premises of the other 2099 titles of evil corporations running society, the cyberspace (internet) as some sort of a separate new world interlinked with the real world and the borrowed societal hierarchy from Magnus: Robot Fighter.

Now mind you, I really personally find this comic a blast to read. The somewhat mediocre story is negligible to complain about when the way it is presented blows your socks off with it's killer gritty art. Well at least for this story arc, and you can see it dwindling down until the fifth issue. As the original art team starts to depart from the series one by one, so did my interest. The first 3 issues were the most awesome simply for the fact that those were the ones done by the Chris Bachalo and Mark Bucking ham tandem. The 4th issue pencilled by Peter Gross was still satisfying because Buckingham still embellished it and the art still resonates enough familiarity with the first three. I was thankful enough that Buckingham almost did the majority of art in issue 5 which at least ensured the flow of the artwork until the closure of this initial storyline. No offense to Kyle Hotz who had since took over starting at issue 6, I know he is a talented guy and all but it was Bachalo and Buckingham that made this comic for me. Without them, it's just wasn't the same ever again.

I have to admit though, the tease at the end of this story is quite intriguing. The hinted conspiracy from the sentient programs' (AKA The Ghostworks) conversation that served as an epilogue, displayed that the events that had happened and triggered the origin of the main protagonist Zero Cochrane's transformation into Ghost Rider was not out of serendipity nor the noble pure intentions that they claimed to have. Still, as I've said too many times already, I can't muster enough of the enthusiasm without the original art team. Have I beaten that point to death already?

Doom 2099 the first 4 issues

Written by: John Francis Moore
Penciled by: Pat Broderick

I was honestly planning on reviewing the entire series in one big swoop, but then decided otherwise. I felt that it wasn't fair to all the contributors and creators of the entire run of this great series. Instead in the near future, expect more reviews for individual story arcs of this title. This effort is an attempt to raise awareness for this forgotten and under appreciated title and hopefully if possible, convince Marvel to release trade collections for this particular title.

When the concept of the 2099 line of comics was first announced, I was just about to become a teenager and I thought that this was a bad idea that would eventually flop. The fact that most cover prices of comics back then still enabled me to have a bit more elbow room with my impulse purchase, my curiosity still got the better of me and I still ended up trying some of the titles in it. Three titles particularly managed to impressed me big time (Spiderman 2099, Doom 2099 and Ghost Rider 2099) and one got my cursory attention (Punisher 2099).

Now to be more specific. The story of Doom 2099 was one great big elaborate tale who I'm guessing was not really much planned out entirely as with most cases of ongoing comic titles at the time. However each particular storyline was compelling enough to suck you in while the inherent uniqueness of the premise for its time piques the interest.

The comics was a series on the exploits of a villain, not an anti hero but an actual villain. A well rounded villain with logical motivation but a villain nonetheless and quite unapologetic at it. A story of a man whose resolve that his way is the only way, egocentric, ambitious, manipulative, power hungry and driven. It makes no bones in showing the ugly side of idealism granted set off in a backdrop of a futuristic sci-fi setting. Those along with the passion displayed and global political intrigue albeit a fictional one at that is what catches the audience.

The premise of the first and introductory arc is simply that, an introduction. It shows how a time displaced Doom arriving at his current setting with a slight amnesia preventing him from remembering how and why he got there. Seeing his future country in a sense of disarray and poverty he decided to make his primary mission taking the leadership back from those currently in power. Along the process seeds of doubt of whether he was the real Dr. Victor Von Doom are presented, but ultimately that did not deter him. Showing the resolve, cunning and arrogance of the actual 20th century villain, he successfully managed to accomplish his initial goals. Doom was once again ruler of Latveria, however plenty of mysteries are still left unsolved and treachery foreboding from all directions. It was a very simple but satisfying conclusion and set up for all the remaining stories to come.

Azrael Ash

Written by: Dennis O' Neil
Art by: Joe Quesada and Jimy Palmiotti

I' going to take step back in giving attention to the obscure and generally ignored works for this entry, in place I'm going to focus for now a forgotten one instead. This prestige format one-shot comics is basically a relic of the '90s. A non-consequential, irrelevant, crossover story simply done for the money and perhaps as a bit of fan service for the die hards. The character Azrael is not used by DC, it's parent company anymore and Ash and it's publisher ceased when creator Joe Quesada became the EIC for Marvel Comics.

This comic is quite especial for fans like me in that this one shot reunited the original team and creators of the character Azrael pairing him with Joe Quesada's other most famous creation, Ash. Back in high school as a teen, when I was just dreaming of becoming an artist and starting to hone my skills, Joe Q was one of my heroes. The guy whose works I look up to for inspiration. Times have changed and so has my sensibilities, still whenever I see his art, it reminds me of my younger days and simpler times. I have always considered his style as one of the best fit for the action genre, including superheroes and especially the street level ones.

I have also always wanted him back then to have a decent run on Batman, a dream tandem of my favorite character back in high school along with my favorite artist. It never happened because he really didn't wanted to. The closest it ever was, outside of the occasional covers he did for the character that was of note was this one-shot comic (and Batman was just a cameo here) and the original Sword of Azrael mini series.

Like I've said, time has moved on and things have changed. The audience climate and perception has totally changed, the character Azrael who once was heavily tied to the Batman mythos has been almost totally forgotten and many relics from the time period is looked at with disdain by many. I call shenanigans though, I had a blast back then and that's all I care about. This comic was basically an end of an era for me as I've never looked back with fonder memories to superhero comics after this one. My sensibilities and priorities have changed, for better or for worse.

In the grand scheme of things, this comic is irrelevant. I love it though as a personal reminder for the stuff I liked as a kid. Besides, as a throwaway entertainment, this one is pretty good in my humble opinion.

Monkey vs. Robot

Created by: James Kochalka
Published by: Top Shelf Productions
One of cartoonist's James Kochalka's earliest and famous works. It kind of became a phenomenon in a niche circle. I would not necessarily classify this as a silent comic as it did feature some words and special effects sound, but it is more of a visual story. The basic premise is simple, a group of monkeys fought a factory of robots for their jungle. I cant really spill much because you need to see it to actually get the story more fully, and it is such a short one even if the book does clock up 160 pages. It's the visual telling and not verbal saying of the story aspect of it that makes it so.

The story is basically an allegory of the "Nature vs. Technology" concept presented through simple yet beautiful and some might say in a crudely elegant art drowned in a sea of whimsy. All in all, this book is a great short read for all ages.