Marvel Month: The New World Saga: Generation X

Emma Frost and Banshee, two of three recognizable X-Men in this movie (Not pictured: Jubilee)

PLOT

The movie begins with a prologue, using the in-universe definition for Mutation. This was later emulated in the X-Men movies four years later with similar defining quotes on mutation and evolution, respectively.

Rebellious teenager Jubilation Lee finds herself in trouble after her mutant “fireworks” power manifests itself at a local arcade. She is rescued from her predicament by Emma Frost and Sean Cassidy, the headmasters of Xavier’s School for Gifted Youngsters. They recruit “Jubilee” and offer her sanctuary at the school, a place where mutants learn to control their powers. The trio then picks up teenager Angelo “Skin” Espinosa and proceeds to the school where Jubilee and Skin are introduced to their fellow students: M, Mondo, Buff, and Refrax. At the school, the students are taught not only to cope with their mutant powers but also with a world that fears and hates them. The students are warned not to leave the school grounds lest they come into conflict with the “townies” from the local area.

In addition to coping with their new abilities, Jubilee and Skin find their dreams haunted by Russel Tresh, a mad scientist obsessed with the power of dreams. Tresh once worked with Emma Frost as a researcher on a project to develop a “dream machine” to access the dream dimension, but he was fired from the team when Emma discovered his unethical behavior. Tresh believes that material extracted from mutants’ brains will allow him to develop his own psychic abilities. Although Jubilee is able to resist Tresh somewhat, Skin finds himself drawn to Tresh and his promises, and unknowingly falls victim to the scientist. Instructors Frost and Cassidy soon find themselves leading the novice team against an enhanced Tresh to rescue Skin, a conflict which sees the youngsters pull together as a team and leaves Tresh trapped in the “dream dimension”.

REVIEW

Before the X-Men became a major cinematic franchise in the 2000s, Marvel and Fox made several attempts to bring the mutant team and its wider universe to live action. One of the strangest was Generation X, a 1996 television movie intended to introduce audiences to a younger generation of mutants. Based on the comic series of the same name, it features a team of teenagers learning to control their abilities at a school for gifted youngsters. Unfortunately, while the premise had potential, the execution is so clumsy that the movie serves more as an amusing relic of the 1990s than a successful adaptation of the source material.

Let’s start with the positives, because there are a few things worth appreciating. Matt Frewer is easily the movie’s biggest highlight as the villain, Russel Tresh. Frewer brings an exaggerated, manic energy to the role, making Tresh feel like he’s wandered in from a much more flamboyant superhero production. His performance is on par with Jim Carrey’s Riddler in “Batman Forever”: loud, theatrical, and seemingly determined to chew through every scene he’s in. It might be a little much for the movie’s relatively modest production, but at least Frewer understands that a comic-book villain should be entertaining to watch.

There’s also some fun to be had with the movie’s locations. Hatley Castle, which serves as Xavier’s School for Gifted Youngsters here, would later become familiar to audiences through the X-Men films, where it served as the exterior of the X-Mansion. Seeing it in this earlier Marvel adaptation is a neat bit of franchise history, even if the movie itself is nowhere near as memorable as the films that followed.

An even funnier detail appears early on, when an X-Men arcade cabinet makes a brief appearance. It’s a small moment, but it feels unintentionally amusing to see a real X-Men game sitting in a movie about the X-Men’s younger counterparts. It’s the sort of detail that makes you appreciate the odd little connections between different corners of the franchise.

And then there’s the production itself, which provides plenty of unintentional comedy. The low budget is painfully apparent in the special effects, particularly the dated computer-generated imagery and unconvincing practical effects. Some of the mutant powers look more like television effects experiments than anything genuinely superhuman. There’s even a brief moment when a noticeably muscular body double stands in for Buff, creating a continuity oddity that’s difficult not to laugh at. The movie clearly wanted to deliver a larger-than-life superhero experience, but its limited resources frequently work against it.

Unfortunately, the problems extend well beyond the effects.

One of the most glaring issues is the casting of Heather McComb as Jubilee. Jubilee is an Asian-American character in the comics, yet the movie casts a white actress in the role and calling her Chinese-American. This isn’t a minor change to an otherwise faithful adaptation; Jubilee is one of the X-Men’s most recognizable younger characters, and changing her ethnicity without any meaningful reason strips away part of her established identity. The movie could have introduced an original mutant if it wanted to make substantial changes to the source material, but instead it uses a familiar character while disregarding an important aspect of her background.

The tone is another major problem. Generation X constantly bounces between serious adult subjects and immature humor, often without any sense of how the two should coexist. At times, it wants to explore the anxieties of being a teenager who feels alienated from society. At others, it seems desperate to remind viewers that its characters are rebellious adolescents who make raunchy jokes and act obnoxiously.

The result is tonal whiplash. Rather than making the characters feel like believable teenagers, the humor often makes them seem like exaggerated caricatures of teenage behavior as imagined by adults. Depending on the version of the movie, Jubilee even drops the F-bomb twice in a single scene. That language isn’t inherently a problem in a story aimed at older viewers, but here it feels at odds with the otherwise awkward blend of family-friendly superhero adventure and supposedly edgy teen drama. Instead of giving the movie a consistent identity, the conflicting approaches make it feel as though the writers couldn’t decide what kind of audience they wanted to reach.

The team’s dynamics are equally underdeveloped. The central appeal of the X-Men has always been more than watching people with superpowers fight villains; it’s about a group of outsiders learning to trust one another and work together despite their differences. Unfortunately, Generation X struggles to establish that sense of unity.

There are hints of individual relationships, including the apparent romantic tension between Buff and Refrax, and the characters develop friendships with one another along the way. But those connections never quite add up to a convincing team dynamic. The movie spends time introducing its characters and giving them their own personalities, yet it doesn’t do enough to demonstrate how those personalities combine into a cohesive group.

This weakness becomes particularly obvious during the climax. By that point, the team should feel as though they’ve grown into a unit capable of overcoming their differences and coordinating their abilities. Instead, their collective identity remains surprisingly vague. The film wants us to believe that these young mutants have become a team, but it hasn’t put in the necessary work to make that transformation convincing.

The handling of Emma Frost is another questionable decision. In the movie, Emma is portrayed as a hero and mentor to the young mutants. While this interpretation isn’t completely without precedent in the comics, it could be confusing for viewers whose primary exposure to the X-Men comes from the animated series. In that era, Emma was primarily known as a villain and member of the Hellfire Club, so seeing her presented as a straightforward ally without much explanation can feel like a rather abrupt departure.

Of course, Emma’s later evolution into a more complicated character would become an important part of her comic-book history. The problem isn’t that the movie gives her a heroic role; it’s that it doesn’t do enough to establish why this version of Emma should be trusted or how her history informs her relationship with the students. The adaptation makes a substantial change to a familiar character without providing enough context to make it satisfying.

Ultimately, Generation X is a frustratingly poor attempt to bring Marvel’s younger mutants to live action. Matt Frewer’s wonderfully over-the-top villain, the recognizable Hatley Castle location, and the occasional accidental laugh from the low-budget effects give the movie a certain novelty value. But those positives are overwhelmed by questionable casting, inconsistent tone, underdeveloped team relationships, and a general inability to make its young heroes feel like a convincing group.

The movie has the ingredients for an interesting story about teenagers struggling with their identities and learning to accept their differences. Unfortunately, it gets distracted by juvenile humor, awkward character choices, and effects that frequently undermine the action. Even its more promising ideas never come together into a satisfying whole.

For X-Men fans, Generation X is worth a look as a curious piece of the franchise’s pre-cinematic history. As an actual superhero movie, however, it’s difficult to recommend. It feels less like the beginning of a promising new generation of mutants and more like a reminder that simply putting familiar names and superpowers on screen isn’t enough to make a good X-Men adaptation.

RANK; 2 out of 5

Next, we look at another Marvel-adjacent hero, with a hero from Malibu Comics

Marvel Month: The New World Saga: Solarman

Stan Lee really wanted this to succeed.

So, like I mentioned last time, this is a pretty obscure Marvel property, added to the fact that he actually isn’t a Marvel character, he’s a creator-owned character from Pendulum Press, a company known for making comics based on literature. Solarman was created in the late 1970s by David Oliphant and Deborah Kalman. The character Solarman was created in response to the 1970s energy crisis as part of an energy awareness program to educate children about alternative fuels, notably Solar Energy. Solarman was Davos, an alien from the Sun. The original run only lasted three issues.

Nine years later, Marvel Comics writer/editor Stan Lee and then-Marvel president Jim Galton contacted Oliphant with the suggestion of publishing a Solarman book through Marvel. Oliphant, Lee, and Margaret Loesch created a new version of Solarman: his secret identity is a teenager named Ben Tucker who aspires to be a comic book artist, and whose adversary is the alien warlord Gormagga Kraal. Written by Lee and illustrated by Jim Mooney, this version of the character debuted in 1989, and lasted two issues. In 1992, a 22-minute animated Solarman pilot was also produced, based on the Marvel Comics version.

PLOT

The pilot is a shot-for-shot adaptation of the first issue of the Marvel comic. Gormagga Kraal has a device that can extract energy from a sun, and Earth is next. The Energizer creator, Sha-han and his unnamed daughter (she’s probably named in the comics) warns him of the dangers of using the Energizer on Earth’s sun and the effects it could have on its inhabitants, but he ignores him. This leads Sha-han to flee with a device that can stop him, but Kraal shoots him down.

We then see Ben Tucker, who aspires to be a comic book artist, despite his father wanting him to be an athlete. Later that night, Sha-han’s ship crashes on the beach. Ben sees it and helps Sha-han, who gives him the device: a Morpher, I mean the Circlet of Power, then dies shortly after. Later that night, Ben sees hologram of Sha-han who explains who Kraal is and what his intentions is with the world, and because Ben was the only one willing to help Sha-han, he proved himself worthy of the powers of Solarman.

The next day, Kraal sends his android henchmen after Ben, but with the power of the sun, and encouragement from Sha-han, he transforms into Solarman for the first time. He makes quick work of the androids, but after he changes back, the androids rebuild themselves and capture Ben.

Kraal demands for Ben to surrender, but Sha-han’s daughter and her robot sidekick, Beepie save Ben. Unfortunately, Sha-han’s daughter dies in the crossfire. Ben gets captured, but Beepie opens window, letting sunlight in, allowing Ben to transform to Solarman.

Solarman and Kraal fight, with Solarman proving victorious, but Kraal fires the Energizer. Solarman races the Energizer (similar to another conclusion to a Marvel production), and Kraal vows revenge.

REVIEW

Before Marvel became a household name in animation through shows like “X-Men: The Animated Series” and “Spider-Man”, the company had plenty of attempts at bringing its characters and concepts to television. Some became classics, others were forgotten, and then there was “Solarman”, an obscure animated pilot from 1988 that never aired on TV until 1992. It tried to introduce audiences to a brand-new superhero. Created by David Oliphant and co-written by Stan Lee, the pilot had ambitions of launching an entirely new franchise. Unfortunately, despite a few interesting ideas, Solarman is a rather forgettable superhero adventure that struggles to justify its own existence.

Let’s start with the positives, because there are a few. The pilot’s theme song is an energetic slice of 1980s superhero goodness, complete with flashy animation by XAM! Productions. The animation is particularly effective during the fight scenes, where the action has a kinetic quality that helps the pilot feel livelier than its story often deserves. It’s the sort of opening that makes you think you’re about to watch something much more exciting than what ultimately follows.

Another highlight is Beepie, Solarman’s robot sidekick. Beepie is easily one of the more appealing elements of the pilot, providing some personality and a little mechanical charm in a story that badly needs both. The character also seems like the sort of companion who could have made for a marketable toy, which would have been useful had the pilot actually become a series. Beepie has the potential to be more memorable than the hero he’s accompanying, and that isn’t exactly a compliment to Solarman himself.

The pilot is followed by an interview between Solarman creator David Oliphant and co-writer Stan Lee, which is arguably more interesting than the cartoon. The two discuss the character’s creation and their hopes for the project, and the interview even demonstrates how comic-book cover art is put together. For anyone interested in the creative process behind superhero comics, there’s some genuinely insightful material here.

At the same time, the interview is almost painfully bittersweet. Oliphant and Lee clearly wanted Solarman to succeed and become a full-fledged television series. Both men even wear Solarman sweaters while discussing their hopes for the character. On one hand, it’s kinda funny to see two creators so enthusiastically promoting a superhero most viewers have probably never heard of, but it’s also a little sad knowing that their ambitions never came to fruition. You can see the excitement they had for the project, which makes the pilot’s failure to launch all the more disappointing.

Unfortunately, the positives end there, because Solarman has some serious problems.

For starters, the story features some surprisingly grim character deaths. Sha-han and his daughter are both killed, with the daughter’s death occurring near the end of the pilot and leaving Beepie behind. The intent is presumably to give the story emotional weight and establish the seriousness of Solarman’s mission, but the deaths feel more abrupt than meaningful. Rather than giving the audience enough time to connect with these characters, the pilot seems to expect their deaths to generate an emotional response simply because they’re tragic.

The daughter’s fate is particularly unfortunate because Beepie is left without her, making the robot’s situation feel more upsetting than the story seems prepared to explore. There’s an interesting emotional angle here, but it isn’t developed enough to have the impact it should. Instead, the deaths leave the pilot feeling needlessly bleak, especially when the rest of the story doesn’t offer enough depth to balance that darkness.

Then there’s Solarman himself, who is easily the pilot’s biggest problem. For a character who was supposed to launch a new superhero franchise, he’s… very bland. He has the usual assortment of superpowers (flight, super-strength, and super-speed). But he doesn’t have anything sun-related. He does have a laser, he used a couple times, but that was really his Morpher, so it doesn’t count.

The irony is that Solarman seems to borrow quite a bit from DC Comics, despite being developed in collaboration with Marvel. His origin involves receiving a powerful item from a dying alien, which inevitably brings Hal Jordan’s Green Lantern to mind. Beepie, the robotic companion, can be similar to Booster Gold’s sidekick, Skeets. The premise of a teenager transforming into an adult superhero is reminiscent of Shazam (something Stan Lee himself acknowledges during the accompanying interview). And Solarman’s connection to solar energy naturally invites comparisons to Superman.

None of these similarities would necessarily be a problem on their own. Superhero fiction has always involved characters sharing broad concepts, and Stan Lee himself helped build Marvel by putting fresh spins on familiar ideas. The problem is that Solarman doesn’t do enough to distinguish its hero from those influences. Rather than taking recognizable superhero concepts and reshaping them into something fresh, it mostly assembles familiar elements without giving them a compelling new identity.

That leaves Solarman feeling less like a fully realized character and more like a collection of superhero traits. His powers are generic, his personality doesn’t give him much distinction, and his supporting cast doesn’t receive enough development to make up for his shortcomings. Beepie has more potential as a character, but even the robot can’t carry the entire production.

Ultimately, “Solarman” is a disappointing curiosity. Its energetic theme song, lively fight animation, and charming robot sidekick offer glimpses of a potentially entertaining series, while the interview with David Oliphant and Stan Lee provides a fascinating look at the hopes behind the project. Yet the pilot itself is weighed down by an unremarkable protagonist, underdeveloped emotional moments, and a collection of superhero concepts that feel far too familiar.

The interview may leave you wishing that Oliphant and Lee had gotten the chance to realize their ambitions, but watching the pilot makes it easier to understand why “Solarman” never made it to series. There’s a difference between having a character with marketable powers and creating a superhero audiences actually want to follow. Unfortunately, Solarman never quite makes that leap.

RANK: 1 out of 5

Next, we take a look at the first X-Men movie. No, not that one.

Marvel Month: The New World Saga: Death of the Incredible Hulk

Hulk no wanna go.

PLOT

David Banner masquerades as David Bellamy, a janitor, to gain access to Genecore Laboratory. He believes that the studies of one of the scientists there, Dr. Ronald Pratt, may hold the key to curing his transformation into the Hulk. At nights David breaks into Pratt’s high-security laboratory and examines his work, making corrections and additions. Ronald notices his alterations and hides in the lab in wait for his secret helper. He catches David, who, under threat of the authorities being summoned, reveals his true identity and his transformations into the Hulk. His condition dives into Ronald’s own research on using genetic engineering to enhance humans’ healing ability, for the Hulk’s accelerated metabolism closes any wound in seconds.

With the help of his scientist wife Amy, Ronald constructs a force field cage and sensors which enable them to study the creature. The next few months, David, Amy, and Ronald bond while working on both Ronald’s healing project and a cure for David. The facility’s board pulls Ronald’s funding because he refuses to turn his research towards engineering super soldiers, forcing him to move up David’s treatment. An Eastern European spy named Jasmine is ordered by her superior, Kasha, to steal Ronald’s files. Since Jasmine has attempted to leave the espionage business before and believes that Kasha is selling the information they acquire for his own financial benefit, Kasha holds her sister Bella hostage to ensure her compliance. Jasmine infiltrates the lab during David’s treatment, expecting no one to be there since the procedure was unauthorized. Ronald tries to stop her from taking his files, and she shoves him into a table of chemicals, leaving him in a coma. She pulls him out of the way of the resulting fire, but anger at her disruption and assault has already transformed David into the Hulk. The Hulk attacks Jasmine, who flees, and carries Ronald to safety before escaping the security officers alerted by the smoke alarm.

Since the information in the files Jasmine took is insufficient, Kasha orders her to abduct David in the hope that he can fill the gaps. However, after Jasmine finds David, her co-agents act on orders to eliminate her as unnecessary. During the resulting fight, one of the men is mortally wounded. He tells Jasmine that Bella is the leader of the spy network and faked her own hostage situation. David takes Jasmine to her cabin hideaway and treats her bullet wound. In return, Jasmine uses her espionage skills to get David to Ronald’s hospital room without being identified so that he can speak to Ronald, coaxing him out of his coma.

The Hulk saves Jasmine from another attack by Kasha’s men, causing her to see David with new eyes, and they become romantically involved. Plans to leave the country in order to elude their respective pursuers are aborted when they hear the Pratts have been kidnapped by Bella. Jasmine extracts their location, an airfield, from one of her former comrades and tips off the authorities. While sneaking into the airfield hangar, Jasmine is caught by the network’s torturer, Zed, but she misdirects and overcomes him by pretending to swallow a suicide pill. The police raid the airfield, and David gets the Pratts to safety. Bella boards an airplane with Zed and shoots Kasha, who had been making overtures of taking her place. Disregarding her orders to escape, the vindictive Zed tries to run Jasmine down with the plane. David runs out to protect Jasmine and turns into the Hulk. The Hulk breaks into the plane. Bella opens fire on him, unintentionally shooting the fuel tank. The plane explodes, killing Bella, and Zed, while the Hulk plummets to the ground. David transforms back to human before dying of his injuries. Jasmine, Ronald, and Amy mourn for him.

REVIEW

After “The Incredible Hulk Returns” and “Trial of the Incredible Hulk” expanded the world of the television series with appearances by Thor and Daredevil, respectively, the third and ultimately final television movie, “Death of the Incredible Hulk”, takes a different approach. Rather than setting up another potential spin-off, it attempts to bring David Banner’s long-running search for a cure to a definitive conclusion. The results are a mixed bag, with some strong performances and a surprisingly fitting ending held back by a noticeably smaller production and some questionable continuity decisions.

As always, Bill Bixby and Lou Ferrigno remain the heart of the production. Bixby once again delivers an excellent performance as David Banner, conveying the character’s exhaustion after years of running, his desire for a normal life, and his determination to help others despite everything he has endured. Bixby also returns behind the camera as director, having directed the previous film, “Trial of the Incredible Hulk” (I forgot to mention that last time, my apologies). His experience with the character and the series is evident, even if the material he’s working with isn’t always as strong as it could be.

Ferrigno, meanwhile, remains an imposing presence as the Hulk. Although the character has relatively little screen time compared to some of his earlier appearances, Ferrigno still brings the necessary physicality and pathos to the role. The Hulk is more than just a rampaging monster here; he’s the other half of David’s existence, and the film ultimately asks us to consider what it means for both sides of the same person to reach their end.

The supporting cast is another positive. Elizabeth Gracen plays Jasmine, a beautiful and resourceful secret agent who becomes involved with David while working to escape the control of her handlers. Anna Katrina plays her sister, Bella, while Andreas Katsulas brings an appropriately threatening presence to Kasha, Jasmine’s handler. Philip Sterling and Barbra Tarbuck also make for effective antagonists as Dr. Ronald Pratt and Dr. Amy Pratt.

Jasmine is particularly interesting because she very similar to Black Widow. Both are capable female operatives trying to break free from dangerous organizations, and Jasmin’s predicament makes her a natural ally for David. Whether the character was deliberately inspired by Black Widow is another matter, however, as writer Gerald Di Pego has never confirmed that connection.

One thing I appreciate about The Death of the Incredible Hulk is that, unlike its two predecessors, it doesn’t feel like a backdoor pilot for another Marvel series. “Returns” was clearly interested in establishing Thor as a potential television star, while “Trial” devoted considerable attention to introducing Matt Murdock and his war against the Kingpin. Here, the focus remains firmly on David and his struggle to find a place in the world.

And then there’s the ending.

As the title promises, the film concludes with David and the Hulk apparently dying after falling from an exploding aircraft. It’s a bleak conclusion for a character who has spent years trying to escape his condition, only to find that every potential opportunity for a cure or a normal life has slipped through his fingers. Yet there’s something fitting about the finality of it all. David has spent so much of his life running that the prospect of finally finding peace, even through death, carries a certain tragic weight.

There were plans for a fourth television movie that would have somehow brought Bruce Banner back, but those plans were ultimately abandoned following the disappointing ratings for this installment. In retrospect, I’m torn about that. On one hand, I would have liked to see Bixby and Ferrigno return for another adventure. On the other, the ending here gives the original series a degree of closure that another installment might have undermined. For a character whose life has been defined by endless wandering, the idea that his journey finally comes to an end is strangely appropriate.

Unfortunately, the movie has several shortcomings, beginning with the conspicuous absence of Jack Colvin’s Jack McGee. Bill Bixby reportedly discussed bringing Colvin back with Gerald Di Pego, but the writer felt that including him would overcrowd the story without contributing much to its central plot. More importantly, nobody involved in the production made a serious push to ensure that the character returned. I can understand the desire to keep the story focused on David and Jasmin, but leaving McGee out of the final chapter still feels like a missed opportunity. Even if he didn’t need a major role, a brief appearance could have acknowledged his importance to the series and given the audience one last glimpse of the man who spent so many years pursuing David.

The production itself also feels considerably smaller than that of the previous two movies. Once again, filming took place in Vancouver, but this time the budgetary limitations are much more noticeable. The Hulk’s transformations, which had always been one of the series’ signature elements, are especially underwhelming. Rather than showing the familiar process of David becoming the Hulk, the film cuts away after David’s eyes turn white. Given how iconic those transformations had become, it’s disappointing that the final movie couldn’t give the audience at least one proper on-screen Hulk-out.

The death of the Hulk is similarly underwhelming from a visual standpoint. A moment that should carry enormous emotional and dramatic weight is presented without the impact one might expect from the conclusion of a character’s story. The idea behind the ending is stronger than its execution, and the limited production values make it difficult for the scene to land as effectively as it should.

There’s also a curious issue with the Hulk’s abilities. Throughout the original television series, the Hulk was incredibly strong and durable, but his powers generally operated within a relatively grounded framework. In this film, however, his abilities appear to have increased substantially.

For example, the Hulk is able to stop two visibly larger tractors, one with each arm, until both machines break down. That’s an impressive feat even by his standards. Later, while David is held in a laboratory force field, he sustains an inch-long laceration that heals within seconds. This is a notable departure from the television series, where even the Hulk’s healing abilities had limitations, and injuries could take considerably longer to recover from.

These moments suggest that the Hulk’s strength and healing factor have continued to develop over time. It’s an interesting idea, particularly for a character whose powers are tied to his extraordinary physiology and emotional state. Unfortunately, it also creates a rather awkward continuity problem when the film reaches its conclusion.

Despite these apparent improvements in his abilities, David and the Hulk die after falling from the exploding aircraft. That outcome is especially difficult to reconcile with the fourth-season episode “Free Fall”, in which David survives a fall from an even greater height. He transforms into the Hulk when he crashes into a tool shed, and although the Hulk is subsequently fatally injured when he hits the ground, the episode establishes that David’s transformation can protect him from an otherwise devastating fall.

Granted, The Death of the Incredible Hulk is trying to provide a definitive ending, and dramatic storytelling doesn’t always have to follow a perfectly consistent set of rules. Still, the contradiction is difficult to ignore. If the Hulk has become stronger and can heal more rapidly than before, it’s reasonable to question why this particular fall proves fatal when David previously survived a comparable situation. The film’s desire to end the story ultimately takes precedence over the established logic of the character’s abilities.

Ultimately, “The Death of the Incredible Hulk” is a mixed conclusion to a series that deserved a more substantial farewell. Bixby and Ferrigno remain excellent in their respective roles, the supporting cast adds some welcome new faces, and the decision to avoid another backdoor pilot allows the story to concentrate on David’s personal journey. Its ending is also thematically appropriate, even if its execution leaves something to be desired.

However, the absence of Jack Colvin, the reduced budget, the lack of a proper Hulk transformation, and the inconsistencies surrounding the Hulk’s powers keep the film from reaching the heights of the original series. It’s a shame that the final chapter feels so constrained when it should have been a celebration of everything that made the show memorable.

Even so, Bixby and Ferrigno give it their all, and there’s a certain poignancy to seeing David Banner’s journey finally reach its conclusion. Whether or not the ending was intended to be permanent, The Death of the Incredible Hulk remains a flawed but memorable farewell to one of television’s most enduring interpretations of the Marvel character.

RANK: 2 out of 5

So, this next one will be a bit weird, as it’s another pilot, but at the time it was made it had a comic book being made at Marvel, via licensing deal. I even debated whether or not to do this one.

Marvel Month: The New World Saga – Pryde of the X-Men

X-Men! Saves The Day!

PLOT

The X-Men’s archenemy Magneto is being transported by a military convoy. Magneto is unable to use his powers, trapped in a force field, until he is freed by the White Queen (Emma Frost), a member of his “Brotherhood of Mutant Terrorists”, allowing him to use his magnetic powers to tear apart his portable prison and escape.

Elsewhere, Kitty Pryde arrives at Professor Xavier’s school to begin training her phasing powers, allowing her to pass through solid matter. In the Danger Room, Kitty is introduced to the X-Men: Cyclops, Colossus, Dazzler, Nightcrawler, Storm, and Wolverine. Frightened by Nightcrawler’s demonic appearance, Kitty almost causes the Danger Room to go haywire, making Wolverine protest her recruitment.

Magneto sends Pyro and Blob to retrieve the tracking coordinates for the Scorpio comet approaching Earth, with the secondary goal of distracting the X-Men while Magneto and Juggernaut invade the X-Mansion. Xavier reads Magneto’s thoughts, learning that they seek to steal the “mutant power circuit” of Cerebro; he gives it to Kitty and orders her to flee, but Magneto manages to capture it.

The X-Men return from their confrontation with Blob and Pyro to find the mansion in ruins, and the Professor and Kitty unconscious. Xavier reads Magneto’s thoughts again and learns his full plan: to redirect the Scorpio comet onto a collision course with Earth and plunge the planet into another ice age, which would leave normal humans weakened, allowing the mutants to take over. The X-Men leave for Magneto’s sanctuary Asteroid M, but the X-Men instruct Kitty to stay, as the mission is far too dangerous and she has not been trained. Kitty, wanting to prove her worth and make amends for her previous failure, phases aboard the Blackbird and hides, with Xavier’s permission.

Upon reaching the asteroid, each X-Man meets an obstacle on the way to Magneto: Storm covers the breach the X-Men blow into Asteroid M, Dazzler takes on Pyro, Wolverine traps Toad, Colossus engages Juggernaut, and Cyclops battles White Queen. After teleporting past Blob, Nightcrawler confronts Magneto as the Scorpio comet approaches Earth. As Magneto is about to blast Nightcrawler, Kitty emerges from the floor, causing Magneto to accidentally blast the wiring of his device. Nightcrawler teleports up and uses his body as a conduct, while Kitty knocks Magneto onto the platform, using his power to redirect the comet’s course towards Asteroid M. Nightcrawler must risk sacrificing himself to complete the machine’s circuit, or the comet will change course back to Earth.

The X-Men watch from the Blackbird for Nightcrawler to teleport at the last minute. The comet and asteroid collide, but Nightcrawler rematerializes out in space. The team attempts to retrieve him with the Blackbird’s grappler arms, but they miss, and he apparently disintegrates. While the X-Men mourn Nightcrawler, he emerges from a storage locker, revealing that he teleported himself into the plane before the atmospheric compression burned up his suit. While the X-Men give Kitty credit for her efforts, Wolverine insists that Kitty is not yet a member of the X-Men.

REVIEW

Before “X-Men: The Animated Series” introduced Marvel’s mutants to a generation of television viewers in the 1990s, there was “Pryde of the X-Men”, a 1989 animated pilot that attempted to bring the team to television a few years earlier. Although it never progressed beyond a single episode, it has since become a fascinating piece of X-Men history, offering a glimpse at what could have been. While the pilot has plenty going for it, its shortcomings help explain why it never became the launching pad for a full series.

First, the animation is a real highlight. Produced by Toei Animation, the pilot has a level of polish that gives it an almost OVA-like quality, with fluid character movements, detailed backgrounds, and energetic action sequences. The character designs are colorful and faithful to the comic-book aesthetic of the period and the animators do a good job bringing the X-Men’s powers to life. Whether it’s Wolverine getting into a brawl, Nightcrawler teleporting around the battlefield, or the team facing off against Magneto and the Brotherhood of Evil Mutants, the action is easily one of the pilot’s strongest assets.

The voice cast is another major plus. Michael Bell brings authority to Cyclops, Alan Oppenheimer makes the Blob suitably intimidating, Susan Silo gives Emma Frost an appropriately cold demeanor, and John Stephenson provides the familiar gravitas expected of Professor X. Kath Soucie also does a good job as Kitty Pryde, the young mutant whose introduction provides the audience’s entry point into the world of the X-Men.

However, the three biggest standouts are Soucie, Earl Boen as Magneto, and Patrick Pinney as Wolverine. Soucie brings an appealing youthful energy to Kitty, making her an easy character to follow as she learns about her new teammates and their mission. Boen, meanwhile, gives Magneto the commanding presence befitting one of the X-Men’s greatest adversaries. Pinney’s Wolverine is particularly memorable, although for a rather unusual reason: he speaks with an Australian accent!

This might sound familiar to anyone who remembers Wolverine’s appearance in Spider-Man and His Amazing Friends, where he also spoke with an Australian accent. Unlike that cartoon, however, there’s a behind-the-scenes explanation for the decision. Along with executive meddling, the production wanted to capitalize on the popularity of Crocodile Dundee, which had helped make Australian culture popular in American entertainment. There were even plans to make Logan Australian in the comics, though those ideas were ultimately abandoned. As with Amazing Friends, the result is amusing in hindsight, especially considering how firmly Hugh Jackman’s portrayal established Wolverine’s Canadian identity.

Finally, Stan Lee serves as the pilot’s narrator, introducing the X-Men and explaining their powers and backgrounds. It’s an appropriate touch for a show attempting to bring a complicated comic-book universe to an unfamiliar audience, even if the execution leaves something to be desired.

Unfortunately, that brings us to the pilot’s biggest weakness: it is incredibly exposition-heavy. If Stan Lee isn’t explaining who somebody is or why they matter, then another character is usually doing the same thing through dialogue. Some explanation is understandable, particularly when introducing a large ensemble of characters to viewers who might never have read an X-Men comic, but the constant need to explain everything can make the story feel more like a guided tour of the franchise than a naturally unfolding adventure.

There are also a few awkward character moments, particularly involving Nightcrawler and Kitty. Kurt occasionally comes across as unintentionally pervy when he describes Kitty as a “lovely vision” and seems to flirt with her. The problem is that Kitty is supposed to be fourteen, while Nightcrawler is in his twenties. Even allowing for the different sensibilities of the period and Nightcrawler’s playful personality, these moments are uncomfortable and distract from what should be a friendly relationship between teammates.

The pilot also suffers from the commercial considerations surrounding its production. According to writer and producer Will Meugniot, the original creative plans called for the Sentinels to be the principal antagonists. That would have made sense thematically, given the X-Men’s ongoing struggle against prejudice and humanity’s fear of mutants. Instead, the show was pushed toward a more toy-driven approach, resulting in a greater emphasis on Magneto and the Brotherhood of Evil Mutants. The Brotherhood certainly makes for a recognizable group of villains, but the change arguably sacrifices a more distinctive story in favor of something more immediately marketable.

What makes the pilot’s failure especially frustrating is what happened to Kitty Pryde afterward. She was intended to be the audience’s introduction to the X-Men, but Marvel apparently allowed the failure of Pryde of the X-Men and the decision to make Kitty the focal character to work against her chances of appearing in the subsequent X-Men: The Animated Series. She wouldn’t make another animated appearance until X-Men: Evolution debuted in 2000.

That is a shame, because Kitty is one of the more accessible characters in the X-Men mythos, and Soucie’s performance demonstrates how well she could have worked as a younger perspective on the team. It’s difficult not to wonder whether the pilot’s reception might have been different if Marvel had pursued another approach rather than seemingly letting this attempt influence Kitty’s animated future for so long.

Ultimately, Pryde of the X-Men is a mixed bag. Its gorgeous animation, strong voice cast, and colorful presentation make it an enjoyable showcase for Marvel’s mutants, and it remains an intriguing alternate version of what an X-Men cartoon could have been. However, the relentless exposition, awkward character interactions, and toy-driven creative decisions keep it from reaching its full potential.

It’s worth watching for fans interested in the history of the franchise, particularly those curious about the road not taken before the 1990s animated series became the definitive X-Men cartoon for many viewers. But as a standalone pilot, it feels more like a promising proof of concept than a fully realized series premiere.

RANK: 2 out of 5

Next, we bid farewell to David Banner in one last TV movie

 

Marvel Month: Trial of The Incredible Hulk

For everyone who thought Netflix did the Frank Miller suit first. No.

PLOT

Still on the run, David Bruce Banner makes his way toward a large city with the hopes of staying incognito under the name David Belson. Unbeknownst to him, the city is under the control of a crime boss named Wilson Fisk and protected by a mysterious black-clad crimefighter known as Daredevil. While riding the commuter subway train, David witnesses two passengers sexually molesting a woman, Ellie Mendez, and intervenes. They strike him, you can guess how that goes for them. David is arrested by the police and charged with attacking Ellie, who claims her actual attackers saved her from David.

Blind defense attorney Matt Murdock offers to take David’s case pro bono publico, explaining that Ellie’s attackers work for Fisk, whom he is trying to bring down. David is uncooperative, but Matt can tell he is telling the truth when he says he tried to help Ellie. Matt visits Ellie, who continues to claim David attacked her, but conspicuously falters under questioning, especially after Matt reveals he overheard her talking to her nurse about some men visiting her with his hyper-sensitive hearing. Considering Ellie a risk, Fisk has the nurse, one of his agents, give her a lethal injection, but Daredevil breaks into the hospital and stops the nurse.

Angered that Fisk’s group tried to kill her when she was cooperating with them, Ellie calls Matt and offers to tell the truth about the attack in exchange for protection for her parents, who Fisk’s men threatened. Before Matt can meet with her to get her statement, Fisk has Ellie abducted from protective custody. In jail, David has a nightmare about transforming into the Hulk on the witness stand during his upcoming trial. The stress causes him to transform in reality, and the Hulk breaks out of prison.

Daredevil finds the apartment where David is staying, wanting him to stand trial. David suspects Daredevil is one of Fisk’s men, so he unmasks himself as Matt Murdock. Matt tells David that an accident with radiation blinded him when he was 14, while giving him enhanced senses and a “radar sense”, and that he was inspired to become Daredevil by Officer Albert G. Tendelli, who now acts as his police contact. David nonetheless refuses to help or tell what he knows about the Hulk. Fisk plants info about Ellie’s whereabouts as a trap for Daredevil. When Daredevil arrives, Fisk uses spotlights and blaring speakers to disorient him; instead, the speakers overwhelm Daredevil’s enhanced hearing, allowing Fisk’s men to beat him nearly to death. David arrives to save Matt, transforming into the Hulk in the process. Matt traces the Hulk’s face as he transforms back to David, thus learning David’s secret.

Using his training as a medical doctor, David treats Matt and spreads a cover story about his injuries being the result of falling down stairs. While Matt’s self-confidence is shaken, David’s confidence has been restored by seeing how Matt has embraced his unique gifts, which are also caused by exposure to radiation. At David’s persistent coaxing, Matt begins to retrain his body.

Fisk holds a meeting of crime bosses and proposes the consolidation of their operations into a nationwide syndicate, with himself as chairman. He presents footage of Daredevil’s apparent death as proof of his power. Daredevil and David infiltrate Fisk’s office tower to discredit Fisk and save Ellie. David frees Ellie with assistance from Fisk’s right-hand man, Edgar, who hints to them that he has on multiple occasions saved people from Fisk, who always forgives him. Daredevil breaks into the meeting, and the crime bosses flee.

David and Matt part as friends. David heads to a radiation laboratory in Portland in hopes of finding a cure for himself, and Matt remains in the city to protect it.

REVIEW

Following The Incredible Hulk Returns, the second reunion movie for the beloved television series takes another step toward expanding the Marvel universe by introducing yet another superhero: Daredevil, the Man Without Fear. Released in 1989, The Trial of the Incredible Hulk brings David Banner into conflict with Wilson Fisk, better known as the Kingpin, while introducing Matt Murdock as a lawyer who fights crime both in and out of the courtroom. It’s an interesting combination of the original show’s grounded drama and Marvel’s street-level superhero storytelling, although the movie’s ambitions occasionally get in the way of its central character.

Once again, Bill Bixby and Lou Ferrigno return as David Banner and the Hulk, respectively, and their presence remains the movie’s greatest strength. Bixby continues to bring a tremendous amount of humanity to David, portraying him as a man who desperately wants to do the right thing but whose condition makes a normal life almost impossible. Ferrigno, meanwhile, provides the physicality that makes the Hulk such an imposing presence whenever David loses control.

The new additions are equally welcome. Rex Smith plays Matt Murdock, the blind attorney who secretly operates as Daredevil, while John Rhys-Davies portrays Wilson Fisk, the Kingpin. Smith gives Matt a quiet determination that fits the character, while Rhys-Davies brings an imposing presence to Fisk. He’s a convincing criminal mastermind, someone who can exert control over an entire city without necessarily needing to get his hands dirty.

The production’s move from Los Angeles to Vancouver was also a smart decision. Primarily motivated by cost-cutting, the relocation nevertheless works in the movie’s favor, since much of Vancouver can convincingly double for New York City. (Despite the movie never explicitly saying it’s as New York), the urban environment helps establish the sort of sprawling, crime-ridden metropolis that suits Daredevil’s world.

That change in setting also complements the return to the original series’ grounded realism. After The Incredible Hulk Returns introduced the decidedly supernatural Thor, this movie focuses on one of Marvel’s more street-level heroes. Daredevil doesn’t need a giant robot or a magical hammer to make an impression; his stories revolve around corruption, organized crime and the struggle to protect ordinary people. That makes him a natural fit for the world David Banner inhabits.

The movie also has a place in Marvel history as the first of many Stan Lee cameos in a live-action Marvel production. Here, Lee appears as a juror during David’s dream sequence at his trial. It’s a brief appearance, but it’s a fun little inclusion for anyone familiar with Lee’s long-standing association with Marvel’s characters.

Unfortunately, the movie’s biggest problem is that it feels much more like a backdoor pilot than the last movie.

The Incredible Hulk Returns managed to maintain a reasonably satisfying balance between David Banner’s ongoing story and the introduction of Donald and Thor. Although it was clearly setting up a potential spin-off, the movie still gave David a personal dilemma and a reason to interact with the newcomers. The Trial of the Incredible Hulk, on the other hand, seems much more interested in establishing Daredevil’s world than continuing David’s journey.

The film introduces a corrupt urban environment controlled by Kingpin, establishes Daredevil’s secret war against organized crime, and gives Matt Murdock an opportunity to demonstrate his abilities while helping David after he’s framed for a crime he didn’t commit. All of this makes sense as the foundation for a Daredevil television series, but it leaves David feeling like a supporting character in his own reunion movie.

That’s not to say the combination is inherently bad. Seeing David caught up in a criminal conspiracy gives him a reason to interact with Matt, and the contrast between a man trying to escape his own condition and a superhero who has devoted his life to fighting injustice is an interesting one. But the movie’s attention is divided, and it never quite feels as though David’s personal story is receiving the same care it did in the original series.

The absence of Jack McGee is also noticeable. After being such a crucial part of the original show’s dynamic, his removal from these last two television movies feels like a missed opportunity. McGee’s pursuit of David was one of the defining elements of the series, and his presence could have added another layer of tension to a story in which David is framed and forced to prove his innocence. Instead, the movie focuses on establishing Daredevil and Kingpin, leaving a familiar part of the series behind.

There’s also a rather amusing continuity error involving David’s appearance. Throughout much of the movie, he sports a beard, which disappears whenever he transforms into the Hulk, only to return when he changes back into Banner. It’s a fairly obvious oversight, and once you notice it, it’s difficult not to look for it during every transformation sequence. Given the practical limitations of the production, it’s understandable that maintaining continuity across the Hulk makeup and transformation footage wasn’t always easy, but it remains a distracting little mistake.

And of course, there’s the trial, or lack thereof. So, there is no trial. The movie kinda lies to you, we see a court case with David, but it’s in a dream sequence. The movie’s writer and producer Gerald Di Pego has explained that the idea of having the Hulk actually go on trial was never even discussed.

Despite these shortcomings, The Trial of the Incredible Hulk is still an enjoyable TV movie. Rex Smith makes for a Matt Murdock, John Rhys-Davies is an effective Kingpin (paving the way for Charlie Cox and Vincent D’Onofrio decades later), and the return to a more grounded superhero story suits the franchise well. The Vancouver setting also gives the movie a convincing urban atmosphere, and the Stan Lee cameo is a fun piece of Marvel history.

The biggest disappointment is that the movie seems more concerned with launching a Daredevil series than giving David Banner another meaningful chapter in his life. With Jack McGee absent and David’s own struggles pushed somewhat into the background, it doesn’t quite capture the same balance that made the original series so effective.

Still, it’s an interesting experiment in bringing Marvel’s street-level heroes into the world of The Incredible Hulk. While it doesn’t fully succeed as a continuation of David’s story, it demonstrates that the television format could accommodate more than one Marvel character—and leaves you wondering what a Daredevil series starring Rex Smith might have looked like.

RANK: 3 out of 5

We’ll say our farewell to David Banner later. Next, we’re taking a look at an early pilot for the X-Men featuring Australian Wolverine!

Marvel Month: The New World Saga – The Incredible Hulk Returns

So, are the Duncan kids half-Asgardian?

PLOT

Dr. David Banner has been gainfully employed at the Joshua-Lambert Research Institute (as David Bannion), where he and a team of scientists are putting the final touches on a Gamma Transponder. The Transponder’s public purpose is as an energy source, but Banner has secretly incorporated a secondary function which he intends to use to cure the gamma alteration that transforms him into the Hulk. He has not changed into the Hulk for two years, having met a young widow, Maggie Shaw, with whom he is romantically involved; focusing his thoughts on Shaw allows him to fight back transformations. By chance, he is recognized by a former student of his, Donald Blake. Blake reveals that, on an expedition in Norway, he was bound into possession of a magical hammer containing the soul of Thor, an immortal Viking warrior banished from Valhalla and reluctantly compelled to serve Blake and can summon Thor by speaking Odin’s name. Frustrated by Thor’s brutish and moralistic character, Blake wants Banner’s advice on severing their bond. Thor is summoned and bullies Banner until he turns into the Hulk. The Hulk battles Thor, leaving the lab severely damaged.

In the morning, Banner scolds Blake for setting back his experiment and demands that he make amends. While ordinarily he leaves the area when the Hulk is sighted, Banner is confident enough that the Transponder will cure him to risk staying. He advises Blake to speak to Thor to learn more about their bond.

Journalist Jack McGee hears of sightings of the Hulk, and his investigations lead him to suspect that David Bannion is the Hulk’s human alter ego. When he investigates Bannion’s address, Banner puts him off the scent by having Thor answer the door and identify himself as David Bannion. Thor bonds with Blake at a bar, briefly entertaining the possibility of Thor using his powers to fight crime. A mercenary gang outside the Joshua-Lambert Institute seeks to kidnap Banner and the Transponder, but the Hulk effortlessly dispatches them. The mercenary leader Jack LeBeau targets Shaw as a hostage. Mercenaries disguised as police officers ambush and kidnap Shaw despite the combined efforts of the Hulk and Thor. Joshua-Lambert executive Zack Lambert has been working as the mercenaries inside man as revenge against his overbearing older brother Joshua, but he balks at the kidnapping and is fatally shot.

LeBeau demands the Transponder as the ransom for Shaw. Recognizing its potential as a weapon in the wrong hands, Banner sabotages the Transponder, removing his chance of a cure. Zack contacts Banner from his deathbed and tells him where Shaw is being held. Hulk, Blake, and Thor ambush the gang’s hideout and fight them to rescue Shaw. McGee is once again berated by his editor for his obsession with the Hulk and Thor. Blake and Banner agree that Shaw has likely figured out that Banner is the Hulk. Thor and Blake, now at peace with each other, say their goodbyes to Banner. Under threat of McGee finding him if he stays longer, Banner is forced to end his relationship with Shaw and once again leaves to find a cure.

REVIEW

After the original “The Incredible Hulk” television series ended in 1982, David Banner’s journey seemed to have reached its conclusion. But in 1988, Bill Bixby and Lou Ferrigno returned for a television movie that not only brought the beloved characters back but also introduced another Marvel superhero into the mix: Thor, the God of Thunder. It’s an interesting continuation of the original series, one that takes its familiar formula in a new direction while laying the groundwork for a potential live-action Marvel TV universe.

The first thing worth praising is the returning cast. Bill Bixby is once again excellent as David Banner, bringing the same weary humanity to a man who has spent years running from the monster inside him. Lou Ferrigno also returns as the Hulk, maintaining the physical presence that made his portrayal so memorable. And then there’s Jack Colvin, making his final appearance as reporter Jack McGee. Colvin had been such an important part of the original series that having him back is a welcome treat, even if the movie doesn’t give his character quite the send-off he deserves.

The newcomers are equally enjoyable. Lee Purcell plays Maggie Shaw, a scientist who becomes romantically involved with David, while Tim Thomerson brings a rough-edged charm to the film’s villain, Jack LeBeau. Steve Levitt plays Donald Blake, the man who discovers Mjolnir and eventually brings Thor into his life.

But stealing the show, at least for anyone familiar with his later work, is Eric Allan Kramer as Thor Odinson. Long before his appearances in projects such as “Good Luck Charlie” and ironically Mr. Freeze in “Stuart Tries to Save the World”, Kramer takes on the role of Marvel’s legendary thunder god with an enthusiasm that’s difficult not to appreciate. His Thor is boisterous, arrogant and frequently amusing, providing a welcome contrast to David’s perpetual melancholy.

The story itself begins with David in a position we rarely get to see him occupy: he’s actually happy.

Two years have passed without him transforming into the Hulk, and he’s found a degree of peace that seemed impossible during the original series. He’s working alongside Maggie, developing a romantic relationship with her, and appears to be closer than ever to finding a cure for his condition. For once, David has a genuine chance at a normal life.

Naturally, that can’t last.

The arrival of Donald Blake and Thor throws everything into disarray, forcing David to confront the Hulk again and abandon the possibility of settling down. Once more, he finds himself on the road, unable to escape the circumstances that have defined his existence.

What makes this particularly effective is that the movie understands what David stands to lose. His potential cure isn’t just a scientific breakthrough; it’s his chance to stop running. His relationship with Maggie represents the possibility of a future beyond endless wandering. Seeing those hopes slip away in such a short time reinforces the tragedy that has always defined the character.

At the same time, introducing Thor provides a fresh dynamic that the original series never really explored. The original television show was (apart from the existence of the Hulk himself), a fairly grounded drama. Its stories generally revolved around ordinary people, personal problems and situations that David encountered while traveling from town to town. Introducing a character who is explicitly supernatural changes the equation considerably.

And that’s part of the fun.

The concept of the Hulk teaming up with other Marvel superheroes is something that had plenty of potential, even within the budgetary limitations of late-’80s television. This wasn’t a big-budget theatrical production with the resources to recreate Asgard or deliver the kind of spectacular action sequences we’d expect from a modern Marvel movie. Nevertheless, the idea of David Banner crossing paths with another superhero opens up possibilities that the original series couldn’t offer on its own.

It’s also enjoyable to see the movie incorporate otherworldly elements into a franchise that had otherwise remained relatively realistic. Thor’s presence introduces mythology and magic into David’s world, creating an interesting contrast between two characters whose circumstances couldn’t be more different. David is a man desperately trying to rid himself of a power he never wanted, while Thor is a warrior whose extraordinary abilities are central to his identity.

The movie’s music deserves recognition as well. With Lance Rubin taking over scoring duties, the film needed someone who could preserve the distinctive atmosphere established by Joe Harnell’s work on the original series. Rubin does a commendable job of emulating Harnell’s musical style, maintaining the emotional tone that made the television series so effective. And thankfully, Harnell’s iconic “The Lonely Man” theme returns at the end, providing a familiar musical reminder that, despite the introduction of another superhero, David’s fundamental predicament hasn’t changed.

Unfortunately, The Incredible Hulk Returns also makes some decisions that hold it back.

The most obvious issue is that the movie is basically a backdoor pilot for a potential Thor series. The same would be true of the next television movie. Both films seem interested in exploring a broader Marvel universe (though this one wasn’t as bad), but the proposed series that these appearances were intended to establish never materialized.

It’s understandable why the producers would want to expand the concept. The original series had already demonstrated that the Hulk could sustain dramatic television stories, and introducing additional Marvel characters offered a way to build on that success. But there’s a noticeable difference between a movie that tells a complete story and one that also has to establish the premise for a show that might never happen.

Thor’s characterization is another mixed bag. In the comics, he’s a noble Norse prince who is cast down to Earth by Odin and must learn humility. Here, he’s reimagined as an arrogant Viking king who must perform several heroic acts before he can enter Valhalla.

It’s an interesting reinterpretation, but it’s a substantial departure from the source material. This version of Thor is less a god learning to become worthy of his power and more a warrior trying to prove himself through heroic deeds.

His abilities are also considerably more limited than comic-book readers might expect. He doesn’t fly or demonstrate control over the weather, which makes him feel somewhat less like the mighty thunder god audiences know. Given the production’s limited budget and resources, it’s understandable that the filmmakers couldn’t recreate everything associated with the character. Having Thor wield a hammer and possess superhuman strength was already enough to establish his identity within the story. Still, it’s difficult not to imagine what a more faithful adaptation might have accomplished.

Then there’s Jack McGee.

After spending so much of the original series pursuing David Banner, McGee’s final appearance here feels strangely hollow. The character is hastily written without any chance of him discover David’s secret, which would have been a major turning point after years of chasing the Hulk. Instead, the movie seems to be clearing the way for Donald Blake and Thor to take over the pursuit in the prospective spin-off.

That might have made sense if the new series had actually been produced, but since it wasn’t, McGee’s departure feels rather unsatisfying. After everything he went through in the original series, he deserved a more meaningful conclusion than simply being sidelined in favor of a potential new franchise.

Even so, “The Incredible Hulk Returns” remains an enjoyable continuation of the television series. It brings back the cast that made the original show work, gives David Banner a compelling personal dilemma, introduces Thor in an entertaining fashion and expands the franchise’s possibilities without completely abandoning its dramatic roots.

It isn’t without its shortcomings, particularly when it comes to Thor’s characterization and the movie’s obvious attempts to establish a series that never happened. But Eric Allan Kramer’s performance, the contrast between David and Thor, and the return of the original show’s emotional core make it worthwhile.

Ultimately, the movie demonstrates that the world of The Incredible Hulk had room for more than one superhero. It just needed the right balance between expanding that world and remembering what made the original series special.

RANK: 4 out of 5

Next, David teams up with Daredevil to take on Kingpin.

 

Marvel Month: The New World Saga: The Transformers

Yes, this counts.

PLOT

This series focuses on the Transformers, split into two warring factions: the heroic Autobots and the evil Decepticons as they crash land on Earth and continue their eons-long conflict there.

The series began with a three-part miniseries, “More Than Meets The Eye”, where we see the conflict between the Autobots flee Cybertron and Decepticons follow them, leading to a scrimmage in space and crashing on Earth, 4 million years in the past. The volcano, the Autobots’ ship. the Ark crashed in erupted in 1984 reawakening the Autobots and Decepticons begin their war anew on Earth, but now with all of humanity caught in the crossfire.

So, unlike most (but not all) adaptations, where the war is fought in secrecy, with only the Autobots’ human allies aware of what’s going on, it’s public knowledge here. Aside from everyone, the Autobots’ allies are the Witwicky family Sparkplug and his son Spike, as well as Spike’s girlfriend (later wife) Carly, and their friend Chip Chase. Later, they’re joined by the Earth Defense Force leader, Marissa Fairborne and to a lesser extent (especially after the movie) Spike and Carly’s son, Daniel.

The Decepticons would never ally themselves with humans, but there is one they work with on occasion, Dr. Arkeville. A cyborg scientist, that works with the ‘Cons but is mostly out for himself. To say he and Starscream got along well is an understatement.

The three-part minseries and Season 1 set up the status quo of the series, the Autobots have to protect Earth and humanity from the Decepticons. Season 2 expanded the cartoon’s scope and cast. This season tends to feature more character-driven episodes than the first, with many characters getting their own “spotlight” episode. It also features a recurring theme of the Autobots assimilating Earth culture, such as playing basketball and football and even watching a soap opera. Excursions to alien civilizations popped up occasionally as well (not to mention time travel, miniaturization, and battles against undersea creatures). The second season also saw the introduction of concepts and characters that would spread out to other segments of the franchise, including the mystic Alpha Trion, the ancient Vector Sigma supercomputer and its circuit key, not to mention the first appearance of Elita-1 and the Female Transformers within official fiction.

Season Two breaks down very roughly into three segments. The first thirteen episodes focus on the Season One cast; about half of them prominently feature the previously-introduced 1985 product, the Constructicons, Dinobots, and Insecticons. Then, starting from the two-part “Dinobot Island,” the next twenty-six episodes introduce the remainder of the new 1985 toys, and the season shifts focus to them, with almost every new character receiving at least one dedicated spotlight episode. Finally, the last ten episodes of the season are given over to introducing the first 1986 product, the four Combiner teams (the Decepticons’ Stunticons and Combaticons and the Autobots’ Protectobots and Arielbots), and to giving the sidelined 1984 cast a little more screentime in supporting roles.

In-between seasons was Transformers The Movie, which took a time jump twenty years after the aired last episode at the time. I’m not doing a review of the movie, as I already did a tribute post for it ten years ago, and I’d just be repeating what I said then.

Season 3 changes the whole premise of the show. Gone were the two teams stranded on Earth, along with many of the characters that composed those teams. In their place was a galaxy-spanning tale of battles on alien worlds. With the Autobots in firm control of Cybertron, the Decepticons, though still a threat, were somewhat reduced as villains; new enemies in the form of the Quintessons were introduced. Plots often centered on the ultra-powerful city-bots, Metroplex and Trypticon.

Season 3 has a mixed reputation. It contains some of the most mistake-laden episodes of the entire franchise most of which can be laid at the feet of AKOM, a studio formed by series director Nelson Shin. But some of its episodes are among the best as well, both in animation and scripting; “Dark Awakening”, “Chaos”, “Webworld”, and “Dweller in the Depths” are all heavy fan favorites.

Late in Season 3, as in Season 2, the forerunners of the 1987 toy line were introduced: the Terrorcons, Technobots, and Throttlebots, and (very briefly) the cassettes Slugfest and Overkill. The season concluded with the resurrection of Optimus Prime, spurred on by a massive campaign on the part of fans, who were displeased by his death and subsequent “evil” resurrection. There was also a fourth season, but it was only three episodes, so I just count it as part of Season 3. It also had a fifth season and a sequel series, “Transformers Generation 2”, but both are just repackaging episodes of G1.

REVIEW

When looking back at the original “Transformers”, it’s easy to reduce it to its simplest description: a half-hour toy commercial about robots who turn into cars, planes, guns and various other vehicles. And, to be fair, that’s exactly what it was created to sell. But dismissing the Generation 1 cartoon as nothing more than a toy commercial would sell it short. For all of its commercial obligations, “The Transformers” managed to build an enormous cast of memorable characters, surprisingly emotional stories and a mythology that continues to influence the franchise decades later.

The voice cast is one of the show’s greatest strengths, although there are far too many talented performers to list everyone. Peter Cullen is, of course, iconic as Optimus Prime, while also providing the voice of Ironhide. Dan Gilvezan gives Bumblebee an appealingly youthful personality, Scatman Crothers makes Jazz effortlessly cool, and Corey Burton handles an absurd number of roles, including Spike Witwicky, Shockwave, Brawn and Vector Sigma. Susan Blu gives Arcee plenty of personality, Chris Latta makes Starscream one of the most entertaining villains in the cast, and Casey Kasem brings his distinctive voice to both Cliffjumper and Dr. Arkeville.

Then there’s Frank Welker, who deserves his own paragraph simply because of how much work he does. Megatron, Galvatron, Soundwave, Rumble, Frenzy, Ravage and various creature noises all come from him. His ability to make each character sound distinctive is remarkable, especially considering just how many characters he had to portray.

The show also deserves credit for attempting to be more than a simple commercial. There are plenty of episodes that actually try to tell interesting stories, develop the characters and explore the relationship between the Autobots and Decepticons. The series can be surprisingly funny, occasionally dramatic and, at its best, genuinely heartfelt.

That doesn’t mean the toy-commercial aspect ever disappears. New characters inevitably need to be introduced, and as the series progresses, some episodes feel like they’re built primarily around giving the latest batch of toys something to do. It’s particularly noticeable when you realize that a character who barely existed in the previous episode suddenly becomes critically important because Hasbro has a new figure to sell.

Still, there’s enough creativity underneath the merchandising requirements to make the show stand on its own.

The animation is another fascinating part of the series. Much of the production was handled by Toei, whose work gives the earlier episodes a strong visual identity. The show also used an unidentified Filipino animation studio whose identity has never been definitively established, although TMS has frequently been theorized as the company involved.

One particularly memorable episode associated with this mysterious production is “Call of the Primitives.” It’s an unusually ambitious episode visually, and it stands out enough that it’s easy to understand why fans have spent so much time trying to identify exactly who animated it.

Unfortunately, the animation quality becomes considerably more inconsistent around the middle of the second season.

The primary animation studio shifted from Toei to AKOM, and the difference can be pretty dramatic. Characters routinely change proportions between shots, objects appear and disappear, colors are inconsistent, backgrounds can be wildly off-model, and sometimes characters don’t even look remotely like themselves.

It’s easy to make fun of the mistakes, and many of them are genuinely hilarious, but it also highlights one of the show’s biggest weaknesses. The animation simply wasn’t given the consistency it needed. Considering how ambitious the series could occasionally be, it’s frustrating to see such poor-quality animation undermine it.

Another episode that deserves criticism for very different reasons is “Thief in the Night.” The story depicts Arabs from the fictional kingdom of Carbombya through a collection of negative stereotypes, and the portrayal was bad enough that Casey Kasem left the series in protest. It’s one of those moments where the limitations of the era can’t really excuse what was put on screen. Older children’s animation inevitably contains material that hasn’t aged well, and this is one example where acknowledging the historical context doesn’t make the portrayal any less uncomfortable.

The final stretch of the original series is also rather disappointing from a storytelling perspective. Rather than building toward a satisfying conclusion to the Autobots and Decepticons’ conflict, the final episodes increasingly feel like an extended commercial for the new Headmaster and Targetmaster toys.

And that is unfortunate because “The Transformers” had spent the previous three seasons building toward a much larger conflict.

The original series had already demonstrated that it could deliver genuinely dramatic moments. Optimus Prime’s death in “The Transformers: The Movie” remains one of the most famous moments in the franchise, and the continuing conflict between the Autobots and Decepticons could have provided a satisfying culmination on television. Instead, the final episodes are primarily concerned with introducing the next generation of characters and toys.

Despite those problems, there’s a reason Generation 1 “Transformers” remains so beloved nearly forty years later. The animation may be inconsistent, the writing occasionally bends to Hasbro’s marketing needs, and some episodes have aged considerably worse than others, but the series created the personalities and relationships that would define “Transformers” for generations.

It gave us Peter Cullen’s Optimus Prime, Chris Latta’s Starscream, Frank Welker’s Megatron and Soundwave, Scatman Crothers’ Jazz, Dan Gilvezan’s Bumblebee and countless other characters who became icons in their own right.

More importantly, it proved that a show created to sell toys could become something considerably more memorable. “The Transformers” wasn’t always polished, and it certainly wasn’t always consistent, but when everything came together, it was funny, exciting, imaginative and occasionally surprisingly emotional.

For all the mistakes, commercial compromises and production problems, Generation 1 remains the foundation upon which virtually every subsequent “Transformers” series has been built. And that’s an impressive legacy for what was, at the end of the day, supposed to be a half-hour toy commercial.

Next, we finally catch back up with David Banner and this time he won’t be alone.

In Memory of Peter Cullen (1941-2026)

Marvel Month: The New World Saga – Spider-Man and his Amazing Friends

Not to be confused with Spidey and his Amazing Friends

PLOT

The series follows Spider-Man working alongside Bobby Drake (Iceman) and Angelica Jones (Firestar) from the X-Men (more on the latter, later). The three attend college at Empire State University, they also live together with Peter’s aunt May and Angelica’s dog, a Lhasa Apso named Ms. Lion.

We never learn how they got together until the fifth episode of Season three, where we learn, the trio worked together to defeat the Beetle and recovered the “Power Booster” he stole from Tony Stark. This adventure lead to the trio to decide to team-up permanently as the “Spider-Friends”. And as a show of gratitude for their help, Tony even builds them a headquarters in their apartment. Together, the superheroes battle various supervillains, mostly Spidey’s rouges gallery, Doc Ock, Mysterio, Sandman, Kingpin, ect. But sometimes we’ll see other Marvel villains, Magneto and the Brotherhood of Mutants, Loki, Juggernaut, and Doctor Doom. Sometimes, the Spider-Friends will work with other heroes like the X-Men (late 70s era), Sunfire, Hulk, and in one episode,a group of heroes consiting of Captain America, Namor (back when he was still called Sub-Mariner), Doctor Strange and Shanna the She Devil.

Now, one of the big things everyone remembers about this show, is the introduction of Firestar, initially, it was going to be Human Torch, but there was some rights issues regarding the character, this was also an issue with the 70s Fantastic Four (the one with HERBIE), so they replaced him with a new, similar character. But she’s not the only original character to appear in the show.

There’s also, Hiawatha Smith, the Spider-Friends’ college professor, the son of a heroic Native American chief who fought against the Axis during WWII. Smith’s father passed down to his son the mystic knowledge of their people and a map leading to a vast Nazi treasure of wealth and advanced technology sought by the Red Skull. Smith often employs a boomerang in battle. He possesses a supernatural ability to communicate with animals. I’ll share my thoughts on him below.

Then there’s Auroa Dante aka Lightwave, she’s Bobby’s half-sister, and just like Bobby, she’s a mutant, but unlike Bobby, she isn’t with the X-Men, she works for SHIELD. She can manipulate and control light. Her other light-based powers include laser blasts, photonic force fields and solid light pressor beams. She can also transform herself into light; in such a form, she is able to exist in the vacuum of outer space. In her one (and only) episode,

Lightwave is considered a traitor, due to mind control by rogue SHIELD agent Buzz Mason. Mason induces Lightwave to steal assorted devices to create a “quantum enhancer” which would increase her powers 1,000 times. With such power, Lightwave would be able to control the Guardstar satellite which orbits the Earth and controls all defense systems and communications systems for the United States. Mason expects world conquest since he controls Lightwave.

Iceman, Firestar, and Spidey attempt to stop Lightwave. However, she is powerful enough to defeat them. Aboard a space vessel, Buzz Mason forces Iceman into outer space, dooming Iceman if he remains there for long. Spidey convinces Lightwave to realize that the half-brother she loves is in mortal danger. Her reaction breaks Mason’s control over her, and she saves Iceman and disables Mason long enough for Spidey to subdue him.

Presumably, with Mason’s role realized, SHIELD restores Lightwave’s good standing.

The last and most interesting is Videoman. He’s interesting in that, he shows up three times, twice as a villainous creation of Electro, and the second a mutant hero in the Season Three. In his Seasons 1 and 2 appearances, Videoman was an angular humanoid energy construct created by Electro. Its abilities include moving through and manipulating electronic circuits and projecting rectangular pulses of energy. Videoman is used by Electro to suck in and entrap Spider-Man, Flash Thompson, Firestar, and Iceman into a video game display where Electro attempts to destroy the four. However, Flash is able to save himself and the others by escaping through the monitor and into Electro’s electronic components to save the others.

This first villainous version of Videoman makes one other appearance in Season 2’s “Origin of Iceman”, with the additional abilities of bringing video game characters to life and draining the unique bio-energy of mutants, temporarily suppressing Iceman’s powers and weakening Fire-Star, as well as being able to emulate their powers for its own use. This time, Videoman is defeated when the Spider-Friends trick it and its video game minions into attacking one another.

The second Videoman appears in the Season 3 episode “The Education of a Superhero”, nerdy Francis Byte is an avid video game player who is especially engrossed into gaining the high score on a game called Zellman Comman at the local arcade. The villain Gamesman sends a hypnotic signal that entrances over 300,000 people in the city. This does not affect Francis’ girlfriend Louise, Spider-Man, and Firestar, nor does the signal affect Francis’ mind, which is distracted from entrancement by Louise and the game. Louise walks away from Francis, then also gets affected and hypnotized after having her pleas disregarded by Francis. He (unbeknownst to any others) plays the arcade machine so rigorously that it and other arcade machines (most of which are emitting the hypnotic waves) explode. The explosion transforms Francis into Videoman.

Francis discovers that he can become his new blue and white, red-eyed alter-ego Videoman at will. However, he is inexperienced with handling such powerful abilities. He tries to help the trio (which has awakened Iceman from his trance) against a hypnotized mob, but they repel his offers due to his inexperience. He then tries to save Louise from the Gamesman, but he is easily blackmailed into manipulating a military communications satellite system in return for Louise’s freedom, an offer that is then reneged upon by the Gamesman. Enraged at the trickery, Videoman helps Spider-Man and the others free Louise and also reverses his stoppage of the military computer. After the Gamesman is defeated, Francis accepts an invitation to join the X-Men, while Louise accepts him and his abilities.

REVIEW

If there is one thing “Spider-Man and His Amazing Friends” has in abundance, it’s personality. Premiering in 1981, the series takes Spider-Man and partners him with Iceman and Firestar, turning the traditional solo hero into a superhero trio. The result is a colorful, energetic and occasionally very strange Saturday-morning cartoon that has had a surprisingly lasting impact on Marvel history.

The voice cast is a huge part of that appeal. Dan Gilvezan is terrific as Spider-Man, giving Peter Parker the youthful, wisecracking personality you’d expect while still allowing him to come across as a genuine superhero. Frank Welker brings plenty of charm to Iceman, while Kathy Garver gives Firestar a distinct personality of her own. The three actors have excellent chemistry, making the Spider-Friends feel like an actual group of friends rather than three characters thrown together because the network wanted a team.

And Firestar herself deserves special attention. She quickly became popular enough to escape the confines of animation. Firestar eventually made her comic-book debut in 1985, just two years after the cartoon ended, and has remained part of the Marvel universe ever since. It’s pretty remarkable to see a character created for a Saturday-morning cartoon become an established Marvel superhero in her own right.

The show also introduced an interesting idea that would become surprisingly influential: Norman Osborn and the Green Goblin having essentially separate personalities. In the first episode, Norman is presented as a respectable businessman who doesn’t remember being the Green Goblin, with the villainous persona taking control of him. That concept would later appear in other adaptations, including the 90s animated series and Sam Raimi’s Spider-Man trilogy. So even though Amazing Friends was primarily aimed at children, it occasionally came up with ideas that would stick around.

The series also gives us the first animated appearance of Wolverine, and this version is particularly amusing in hindsight because he has an Australian accent. It’s funny enough on its own, but it’s even funnier considering another Marvel animated series I’ll be looking at later this month also uses an Australian-accented Wolverine.

In fact, “Amazing Friends” is full of moments that become funnier when viewed with the benefit of hindsight.

At one point, the Spider-Friends battle Sandman, who transforms into a giant while they’re fighting at a construction site. Watching that now inevitably brings “Spider-Man 3” to mind, which also ends with Spider-Man fighting a giant Sandman at a construction site.

And then there’s Tony Stark helping build the Spider-Friends’ secret base. Decades later, the MCU would have Tony Stark developing Peter Parker’s upgraded Spider-Man suits. It’s obviously not a direct connection (the MCU wasn’t borrowing this specific plot point) but it’s amusing to see how something that feels very modern was already part of the Spider-Man cartoon formula in the early ’80s.

For all the fun the series provides, however, there are aspects that haven’t aged nearly as well. In fact, “Spider-Man and His Amazing Friends” is an interesting example of something that could be considered progressive for its time while still containing material that modern audiences can reasonably find uncomfortable.

“Sunfire” is probably the clearest example.

The episode introduces Sunfire, a Japanese mutant superhero who knows martial arts and speaks with a fairly heavy accent. An accent isn’t inherently problematic (English is presumably his second language) but the episode surrounds him with considerably more dated material. His uncle is a stereotypical villainous Japanese businessman. The character essentially combines several old Hollywood stereotypes into one antagonist, including elements of the “Yellow Peril” cliché.

At the same time, it’s important not to treat the entire episode as though Sunfire himself is portrayed negatively. Quite the opposite: Sunfire is a genuine hero. He’s manipulated into fighting Iceman and eventually causing a fire monster to appear, but once he realizes what’s actually happening, he joins the Spider-Friends in stopping the threat. The episode ultimately treats him as someone who was deceived rather than as a villain.

There’s also Sunfire and Firestar’s mutual attraction. What’s interesting is that the show treats their crushes on one another as completely normal. Their respective races aren’t turned into a source of conflict or even particularly emphasized. For a children’s cartoon from 1981, that’s actually a surprisingly progressive element, even if the surrounding characterization hasn’t aged nearly as well.

The same complicated situation applies to the Spider-Friends’ professor, Hiawatha Smith. He’s presented as a brilliant Native American professor whose knowledge and abilities help the heroes, but the series also depicts him and his father through a “magical Native American” stereotype. The intent may have been to portray the characters as wise and powerful, but the result relies on a romanticized depiction of Indigenous culture that feels very dated today.

That becomes particularly significant in “Quest for the Red Skull,” Hiawatha Smith’s episode. The episode has effectively disappeared from circulation. It hasn’t aired since 1999, wasn’t shown on Jetix in 2000s, and isn’t available on Disney+. The reason is understandable: the story involves the Red Skull and features actual Nazi imagery, including Adolf Hitler himself.

Given the subject matter, it’s not difficult to understand why the episode has been kept off television and streaming. But I do think there’s a distinction between contextualizing problematic material and pretending it never existed.

“Quest for the Red Skull” is part of “Spider-Man and His Amazing Friends.” It doesn’t have to be freely available for children, but I think there’s value in acknowledging its existence and preserving it as part of the show’s history, perhaps with appropriate contextual warnings and access aimed at adults or researchers rather than treating it as though it never happened.

Ultimately, “Spider-Man and His Amazing Friends” is a product of its time in both good and bad ways. It gave us Firestar, helped establish ideas that would later influence other Spider-Man adaptations, featured a terrific trio of voice performances, and remains a fun showcase for Marvel’s heroes. At the same time, some of its attempts at representation rely on stereotypes that are much easier to recognize today.

But that’s also what makes revisiting older cartoons like this interesting. “Amazing Friends” can be appreciated for what it did well without ignoring the things that haven’t aged gracefully. It’s a fun, inventive and occasionally ridiculous piece of Marvel history, and considering one of its original characters went on to become a genuine Marvel mainstay, its legacy turned out to be considerably larger than anyone probably expected in 1981.

RANK: 3 out of 5

Next, a surprising ride that you won’t expect.

Marvel Month: The New World Saga – Toei’s Spider-Man

The emissary from Hell.

PLOT

Motorcycle racer Takuya Yamashiro witnesses a UFO fall to Earth, a space warship called the Marveller. Takuya’s father Dr. Hiroshi Yamashiro, a space archaeologist, investigates the case, but is killed upon finding the spaceship. The incident attracts the attention of Professor Monster and the evil Iron Cross Army, an alien group that seeks to rule the universe.

Takuya follows Hiroshi to the Marveller and discovers Garia, the last surviving warrior of Planet Spider, which was destroyed by Professor Monster and the Iron Cross Army, and was hunting Professor Monster. However, he needs someone to take up the fight and injects Takuya with some of his blood, giving him spider-like powers. He also gives him a bracelet that activates his spider protector costume, shoots web-lines, and controls the Marveller, which can also transform into the invincible super robot, Leopardon. Using his powers, Takuya fights Professor Monster and the Iron Cross Army as well as other threats to Earth under the name Spider-Man.

So, let’s get the obvious out of the way: Toei’s version of Spidey, Takuya Yamashiro, while he wore the same costume as his U.S. Marvel counterpart and had similar powers, the series’ storyline and the origin of his powers differed from the source material. In addition to fighting, he piloted a super robot, which he would summon to fight off giant versions of the show’s monsters. As I mentioned in my Top 20 Super Sentai Series, it’s thanks to this show, the giant robot concept would later be used in “Super Sentai,” starting from Battle Fever J until the Gozyuger. Takuya and Leopardon would later appear in the comic storylines “Spider-Verse” and “Spider-Geddon”, with the latter finally getting destroyed.

REVIEW

Before the Marvel Cinematic Universe, before the various Hollywood Spider-Man movies, and even before many of Marvel’s modern television adaptations, there was Toei’s wonderfully bizarre Japanese take on the character. Released in 1978, Spider-Man takes the basic concept of Peter Parker and rebuilds it as a Japanese tokusatsu series, complete with a new hero, an alien spaceship, giant robots, transforming vehicles and enormous monsters. It sounds like a recipe for something completely unrecognizable—and, in some respects, it is—but “Toei’s Spider-Man” is also a surprisingly earnest and incredibly entertaining superhero series.

A major reason it works is Shinji Todo as Takuya Yamashiro, the man who becomes Spider-Man. Remarkably, this was Todo’s first acting role, and while there are inevitably some rough edges to his performance, he does a surprisingly good job carrying the series. Takuya comes across as an earnest young man who takes his responsibility as Spider-Man seriously, particularly when innocent people are in danger. Todo gives him enough personality to make Takuya more than just a guy who puts on a costume and fights monsters.

And then there’s the stunt work, which might be the single biggest reason to watch this series.

The acrobatics are absolutely spectacular. The people performing these stunts were actually doing them. This is particularly impressive when Spider-Man is climbing buildings. Hiroyumi Koga, the suit actor who performed as Spider-Man, actually climbed the sides of buildings and even Tokyo Tower without a safety harness. Knowing that makes some of these sequences even more jaw-dropping.

The action is similarly energetic. Spider-Man swings, flips, leaps and kicks his way through battles with an enthusiasm that makes the show feel like a live-action superhero comic brought to life. It’s the sort of thing that even Stan Lee appreciated about the series. Lee reportedly loved the energy and stunt work when he saw it, and it’s easy to understand why.

Watching the series also provides some wonderful context for the memes that have circulated around it for years. Yes, seeing Takuya casually wielding a tommy gun in “Spider-Man” is every bit as bizarre as the screenshots suggest. But once you’ve actually watched the series, those images become even funnier because you understand the ridiculous circumstances surrounding them. The show has plenty of moments where you can practically hear the internet collectively shouting, “Oh, that’s where that came from.”

The music is another highlight. The main theme is a particularly interesting contrast with the famous 1960s “Spider-Man” cartoon theme. While that song celebrates how cool Spider-Man is and how great it is to be him, Toei’s theme has a much melancholier quality. It emphasizes the sorrow and loneliness that come with being Spider-Man, fitting the series’ more dramatic interpretation of Takuya’s life. There’s a sense that becoming Spider-Man is a responsibility and a burden rather than simply an awesome superpower.

Then there’s “Spider-Man Boogie.”

It’s difficult to discuss this song without acknowledging just how goofy it is. It appears in one episode, and its upbeat, ridiculous nature is deliberately at odds with Takuya’s attitude toward it. In-universe, Takuya absolutely hates the song, which somehow makes the whole thing even funnier. It’s one of those moments where the show embraces its sillier side so completely that you can’t help but enjoy it.

Unfortunately, that sillier side eventually takes over.

One of the biggest problems with “Spider-Man” is the tonal whiplash that occurs roughly halfway through the series. The early episodes can be surprisingly serious for a children’s tokusatsu program. People die, Takuya deals with genuine tragedy, and the Iron Cross Army is presented as a dangerous terrorist organization. There’s a real sense of stakes to what Spider-Man is doing.

Then the series gradually becomes much campier.

Takuya increasingly takes on the role of a cheerful protector of children, with stories focusing more heavily on him helping kids and keeping them safe from the Iron Cross Army. The show never completely abandons its serious side, but the contrast can be jarring. It’s almost like watching two different versions of Spider-Man gradually take turns occupying the same series.

The giant monster effects also show their age. The Machine Monsters’ growth sequences are particularly rough by modern standards. That’s understandable considering the series was made in 1978, and Toei was essentially figuring out how to handle giant monster battles for the first time. The miniature work and suitmation can still be fun to watch, but the actual process of making the monsters grow isn’t nearly as convincing.

There’s also some amusing scale inconsistency between the monsters and Leopardon. In some scenes, Leopardon can look almost absurdly tall compared with the monster he’s supposed to be fighting, while in others their proportions don’t quite line up. It becomes even more noticeable once Leopardon’s appearances start relying heavily on recycled footage.

That was apparently caused by an unfortunate behind-the-scenes mystery: somewhere around the middle of production, Leopardon’s suit was either damaged or stolen. Exactly what happened has never been definitively established. Whatever the case, the result was that Toei had to reuse existing Leopardon footage, meaning the robot rarely interacts directly with the monster in later episodes. Instead, Marveller is summoned, Leopardon transforms, and then he quickly makes short work of the monster using footage we’ve already seen.

It’s a shame, because Leopardon is one of the most memorable parts of the entire concept. The idea of Spider-Man having his own giant transforming robot is completely ridiculous by traditional Marvel standards, but it also became an important part of the series’ legacy. Toei’s approach would ultimately influence the formula of later tokusatsu productions, particularly the giant-robot component of Super Sentai.

The finale unfortunately doesn’t give Takuya quite the payoff you’d expect, either. After everything he’s been through, the final confrontation between Spider-Man and Professor Monster is surprisingly anticlimactic. There’s no massive climactic battle between the two, which feels like a missed opportunity after an entire series of escalating confrontations.

Ironically, Spider-Man and Professor Monster would eventually receive the kind of proper final confrontation that the television series never gave them, not in another live-action, but in Marvel’s “Spider-Verse” comics, specifically the “Spider-Geddon” storyline.

Despite those flaws, “Toei’s Spider-Man” remains an incredibly entertaining piece of Marvel history. It’s faithful to the spirit of Spider-Man in some surprisingly important ways while simultaneously being completely unlike any other version of the character. Shinji Todo makes Takuya likable, the stunt work is genuinely impressive, the action is energetic, the music gives the character an unexpectedly melancholy quality, and the sheer weirdness makes the series endlessly memorable.

It may not be the Spider-Man most people expect, but that’s precisely what makes it so fascinating. Toei took the basic idea of Spider-Man and filtered it through the conventions of Japanese tokusatsu, creating something that stands on its own while still understanding that, underneath the giant robots and Machine Monsters, Spider-Man is ultimately about a person who chooses to use his abilities to protect others.

RANK: 3 out of 5

Next, we meet back with Peter Parker as well as his Amazing Friends.

 

Marvel Month: The New World Saga – The Incredible Hulk 1977

David Banner’s normal reaction when something bad happens to him.

PLOT

Dr. David Banner, is a physician and scientist employed at California’s Culver Institute, who is traumatized by the car accident that killed his beloved wife, Laura. Banner and his research partner, Dr. Elaina Marks, study people who summoned superhuman strength during moments of extreme stress. Obsessed with discovering why he was unable to exhibit such super strength under similar conditions, Banner hypothesizes that high levels of gamma radiation from sunspots contributed to the subjects’ increase in strength.

Impatient to test his theory, Banner conducts an unsupervised experiment in the laboratory, bombarding himself with gamma radiation. However, the radiology equipment has recently been recalibrated, so Banner unknowingly gives himself a massive overdose. He initially thinks that the experiment has failed, but later, when he injures himself under a heavy rain while changing a flat tire, Banner’s anger triggers his transformation into a 6-ft-5-in-tall green skinned, superhumanly strong creature who is driven by rage, and has only a primitive intelligence. The creature reverts to Banner when he calms down, and, since Banner is unable to remember what occurs while in his transformed state, he goes to Marks for help. They succeed in deliberately triggering the transformation again, this time under laboratory conditions and investigate the nature of the metamorphosis, and the possibility of a cure. Tabloid reporter Jack McGee, who was initially investigating Banner and Marks’ superhuman strength research, now suspects them of being connected to the reports of a green skinned monster roaming the area. While snooping around their laboratory, McGee unknowingly triggers a fire. Banner rushes back into the laboratory to save Marks, only for the creature to emerge from the fire with her in his arms, dying. Mistakenly believing that Banner was killed in the fire along with Marks and that the creature was responsible for their deaths, McGee publishes a story naming the “Incredible Hulk” as their killer and urges law enforcement to capture him.

Banner travels from place to place, assuming different identities and odd jobs to support himself and enable his search for a cure. He also finds himself feeling obliged to help the people he meets out of whatever troubles have befallen them. Inevitably, doing so puts him in perilous situations that trigger his transformations into the Hulk, which in turn attracts the attention of McGee, who is obsessively pursuing the mysterious creature across the country, both to prevent further violence and to bring legitimacy to his story.

Despite the rampages, the Hulk usually does good for the people Banner encounters in his travels. Each episode ends with Banner back on the road, fearful that the Hulk’s appearances will bring unwanted scrutiny from the authorities and the ever-persistent McGee.

REVIEW

The 1977 “The Incredible Hulk” television series is one of those adaptations that takes some pretty significant liberties with its source material yet somehow manages to capture the spirit of the character remarkably well. Rather than attempting to recreate the comic book’s superhero world, the series turns the Hulk into the center of a grounded, character-driven drama, following David Banner as he travels from town to town while trying to find a way to control the monster within him. It may look like a product of its time—and there are certainly moments that make that impossible to ignore—but there’s a lot to admire here.

A major reason the series works as well as it does is its cast. Bill Bixby is particularly excellent as David Banner. At the time, Bixby was primarily known for sitcoms, so seeing him take on such a dramatic role was something of a departure. He brings a tremendous amount of humanity to Banner, making him sympathetic without turning him into a perpetual victim. His performance sells the tragedy of a man who can never settle down, knowing that sooner or later something will push him over the edge and unleash the Hulk.

Jack Colvin is equally effective as reporter Jack McGee. While McGee could easily have been reduced to a one-note antagonist constantly chasing the hero, Colvin gives him a genuine sense of determination. There’s an interesting dynamic between him and Banner that makes the series feel like a television adaptation of Les Miserables. David is essentially Jean Valjean, a man desperately trying to escape his past and live quietly, while McGee occupies the Javert role, relentlessly pursuing him without fully understanding the man he’s chasing. The fact that McGee’s original encounter with the Hulk becomes the driving force behind his pursuit gives their relationship an emotional dimension beyond the usual hero-versus-villain setup.

And then, of course, there’s Lou Ferrigno as the Hulk. Ferrigno’s physical presence is exactly what the role needed. Rather than relying entirely on special effects, the series simply puts a massive bodybuilder in green makeup and lets his sheer physicality do much of the work. It gives the Hulk a tangible presence that still works surprisingly well.

The practical effects used for the Hulk’s transformations are another highlight. The famous shirt-ripping sequences may be simple by modern standards, but there’s something incredibly satisfying about watching Banner’s clothes split apart as the transformation progresses. One particularly impressive episode has Ferrigno playing a bodybuilder who actually has to interact with the Hulk. Aside from a few minor issues in the wider shots, the split-screen effects hold up remarkably well. Considering this was a television production from the late 1970s, it’s an impressive bit of technical work.

Of course, the show’s special effects aren’t always quite as convincing. There are moments when you can plainly see Ferrigno wearing shoes during Hulk scenes, which becomes particularly amusing once you know what to look for. Some of the reactions from background actors also give the illusion away: their dialogue was clearly recorded separately, and occasionally their lip movements don’t quite match what we’re hearing.

“Death in the Family” contains perhaps the most obvious example of the show’s occasionally questionable editing. At one point, the Hulk carries a woman to safety, but the footage clearly comes from another episode. As a result, his shirt will be torn in one shot and completely intact in the next. It’s the kind of continuity error that’s difficult not to notice, but it’s also part of the charm of watching an older television production where the limitations of the production are sometimes right there on the screen.

Another unusual decision was changing Banner’s first name from Bruce to David. It’s a strange alteration considering “Bruce Banner” is such an iconic name, and it becomes even stranger knowing the reported reason behind it. Stan Lee and Lou Ferrigno have both discussed how CBS executives supposedly felt that “Bruce” sounded too gay. Obviously, that’s an incredibly dated and misguided way of thinking. It was the late 1970s, and attitudes toward homosexuality were very different from today, but that doesn’t excuse the reasoning. Even Ferrigno himself has pointed out how ridiculous the idea was. At most, understanding the period helps explain how such a decision could have been made; it certainly doesn’t make the reasoning any less silly.

One element that remains especially memorable is Joe Harnell’s music. His score gives the series a melancholy, almost romantic quality that perfectly complements Banner’s lonely existence. That feeling is perhaps best captured by the closing theme, “The Lonely Man.” It’s simple, haunting and beautifully suited to the character. After spending an episode watching Banner help someone, escape danger and ultimately move on to the next town, that music reinforces the tragedy of his situation: no matter what good he does, he can’t stay.

That’s ultimately what makes “The Incredible Hulk” work. Beneath the green makeup and occasional effects hiccups is a surprisingly thoughtful drama about loneliness, identity and trying to do the right thing while running from something you can’t escape. Bixby’s performance gives the show its heart, Ferrigno gives it its physical power, Colvin provides a compelling foil, and Harnell’s music ties everything together.

It’s certainly not a perfect adaptation, and its age is sometimes painfully apparent. But considering what television production could accomplish in 1977, “The Incredible Hulk” deserves a lot of credit. It understood that the Hulk wasn’t merely a monster who smashed things, he was the physical manifestation of David Banner’s inner turmoil. And for all the changes made to the source material, that’s a pretty good understanding of what makes the character work.

RANK: 4 out of 5

We’ll see where David goes from here later, for now, we’re heading to Japan to visit a “lost” variant of Spider-Man.

Well, lost only to those who only saw the Spider-Verse movies.