review

TV & Movies

Beyond Misogyny and Politics: A Deep Dive into “The Marvels”

Marvel Studios’ The Marvels has arrived at a true inflection point. The Walt Disney Company plans to transform…

TV & Movies

A comprehensive “Star Wars” history with diminishing returns

David Allen Sep 27, 2023

Star Wars is a juggernaut. Since the release of the first Star Wars movie in 1977, retroactively titled…

Comics

Scioli’s bio of the king of comics renders Kirby in glorious art

David Allen Sep 27, 2023

This book was reviewed for and originally published on The Nerd Daily. Who deserves credit for the meteoric…

“Do a Powerbomb” Pays Tribute to the World of Professional Wrestling

Disclaimer: This review contains mild spoilers. Writer: Daniel Warren Johnson Art: Daniel Warren Johnson Colors: Mike Spicer Letters: Rus Wooton Publisher: Image Comics Release Date: March 7, 2023 Oftentimes, readers will skim through an author’s note or skip it completely to dive straight into the text. I’m glad that it wasn’t the case for me with “Do a Powerbomb”. While introducing his Eisner-winning seven-issue limited series for Image Comics, Daniel Warren Johnson details falling head-over-heels in love with professional wrestling during the summer of 2018 while up late with his infant daughter via New Japan Pro Wrestling. He also shares that his parents never allowed him to watch it growing up and he missed out on the legendary Attitude Era – a time when mature content got the greenlight by the WWE (then WWF). He credits his daughter Fiona with helping him fall in love with something new. The Backstory What parent can’t relate to “The Bedtime Struggle” with their kids?. My own journey with pro wrestling is completely different. Like many kids who grew up in the 90’s I immersed myself completely in the Attitude Era, convincing my fourth grade basketball team to name ourselves the Wolf Pack, sneaking out of bed to flip back and forth between “Raw” and “Nitro”, giving the DX “salute” to anyone and everyone on the playground, and nearly passing out when Torrie Wilson touched my hand while making an entrance at a house show. Somewhere in the early 2000’s though I stopped watching the product, convincing myself that I was “too old for that stuff”. I saw news every once in a while, or watch The Rock (my personal favorite) become a Hollywood star. It reminded me of days gone by. That was until a few years ago, when my kids somehow fell in love with wrestling and began watching old matches on YouTube – mostly of Kane and The Undertaker. Before I knew it, they were educating me on the new class of wrestlers and I began watching it regularly once again. I told myself it was my way of bonding with them but, much like Johnson, my kids helped me fall in love with something new. It’s All About Family “Do a Powerbomb” perfectly nails the impact of family and the legacy that lies therein. Whether it’s sprawling tree of the Anoa’i family – which includes The Rock, Roman Reigns, The Usos, Rikishi, Yokozuna, Umaga, Naomi, and countless others or Cody Rhodes trying to “finish the story” left behind by his late father, Dusty. Unfortunately, legendary parentage does not guarantee success in any field, especially in pro wrestling.gerous technolog. In fact, those storylines have taken center stage in the WWE right now and are without a doubt the most compelling product the industry has seen in quite some time. After a horrific in-ring accident claims the life of her legendary mother, Lona Steel Rose takes on the Herculean task of honoring the legacy and memory of Yua Steel Rose, the greatest champion in the history of Tokyo Grand Pro Wrestling. The idea of chasing the ghosts of loved ones long gone is actually made textual in “Do a Powerbomb” however, as Lona is presented with the opportunity by a wrestling-superfan necromancer to win a tag team wrestling tournament and resurrect her mother. In true pro wrestling fashion, she enlists Cobrasun (the other wrestler involved in her mother’s deadly accident) as her tag team partner. Reluctant at first, Cobrasun eventually agrees and readers are transported to a world that truly can only be done justice in a comic book. The Spectacle & Style Simply incredible team names and finishing moves are hallmarks of this roster. The art of Daniel Warren Johnson, the colors of Mike Spicer, and the letters of Rus Wooton form a perfect tag-team trio to bring the spectacle of professional wrestling to life in comic book form. Inject some horror and sci-fi influence and the end result is simply majestic. Not only are audiences traversing planets and galaxies to be introduced to some of the most unique and captivating teams, but the fact that this tournament takes place in something reminiscent of a Mortal Kombat fighting stage is truly captivating. “Powerbomb” fully embraces the inherent silliness and bravado of professional wrestling in a way that both honors the craft but also gives a wink to the reader. The creative juices were clearly flowing for Johnson & Co. when you have two alien orangutans named Orangabang or a finishing move called “The Coin Pouch of Judas”. This title also does a fantastic job of paying tribute to the very different styles of wrestling. The influence from Japanese wrestling is a clear and ever-present theme with Yua and Lona Steel Rose. Cobrasun is of Mexican-Canadian descent with clear homages to the lucha libre style. And even though he missed out on wrestling from the 90’s, the hardcore match style used a few times in the title will transport readers to the heyday of ECW (Extreme Championship Wrestling). The “Oh My God!” Moments Johnson, Spicer and Wooton make one hell of a tag team! Simply put, “Do a Powerbomb!” is a must read for wrestling fans either current or past. The best types of media – be they songs, films, or comics – will transport the audience to a moment in time and bring back all of the emotions and experiences therein. Even if the layer of professional wrestling is stripped away, a poignant story about family, loss, processing grief, and legacy remains. The trade paperback Do a Powerbomb! collects Issues 1-7 and released on March 7, 2023. If you enjoyed this review, check out more Byword comic book coverage.
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“Dog of War”: A Fun, Nostalgic Treat for DS9 Fans

The publisher provided an advanced copy of this book for review consideration, but all opinions are those of the reviewer. Writer: Mike Chen Art: Angel Hernandez Colors: Nick Filardi Letters: Neil Uyetake Publisher: IDW Release Date: February 13, 2024 For a small but vocal contingent of Star Trek fans, Deep Space Nine represents the best series of the franchise. It featured in-depth explorations of faith, politics, and war. It’s serialized storytelling in later seasons made DS9 a unicorn in the history of early Trek. Although some argue that it strayed too far from creator Gene Roddenberry’s utopian vision, it was undeniably compelling television. To celebrate the 30th anniversary of this beloved series, comic book publisher IDW released The Dog of War, a “lost” episode set during the show’s sixth season. The five-issue mini-series will release in a collected trade paperback on February 13. How well does the series capture the spirit of DS9 and its characters? Is it a worthy addition? How accessible is the story for new readers? The Corgi and the Borgi Vic Fontaine spends time with Latinum in the holosuite. The Dog of War is a tale firmly entrenched in the show’s continuity. It takes place during season 6, the height of the Federation’s war with the Dominion. After recapturing the space station DS9 from the Cardassians, the crew sweeps for dangerous, left-behind technology. What they detect leads them directly to one of the show’s most compelling characters: the Ferengi barkeeper Quark. Quark is once again scheming. This time, he is engaged in a trade involving the sale of a purebred corgi and a mysterious device infused with Borg technology. While the crew falls in love with the dog, named Latinum, Captain Benjamin Sisko grapples with the implications of the Borg device. It could turn the tide of war in favor of the Federation, but at what cost? As the tale twists and turns toward its conclusion, the crew has to face off against poachers and thieves to save Latinum and perhaps the entire Federation… A New Voice meets Familiar Characters Novelist Mike Chen is no stranger to Star Trek, and it shows. As a contributor to startrek.com and a fan of the franchise, he brings a solid understanding of the DS9 characters to the table. Although he is more well-known for his original work and his contributions to Star Wars, Chen’s work here represents a solid foray into Federation space. All the main characters act in line with their portrayals in the television series. Given that this is also his first graphic novel, he executes the story and its issue-to-issue cliffhangers like an old pro. His work bodes well for his future comic book projects. Hernandez and company bring the heat Sisko is confronted with dangerous technology. Angel Hernandez, on the other hand, is an old pro in the Star Trek space. Cutting his teeth at DC comics with books like Arrow Season 2.5 eventually led to art duties for the crossover Star Trek/Green Lantern: The Spectrum War. Since then, Hernandez has worked consistently on publisher IDW’s Star Trek books. His previous works include Star Trek: Year Five and various mini-series across the franchise. His work on the DS9 characters clearly illustrates why he is such an asset to IDW’s Trek books. Hernandez has the ability to interpret character likenesses without ever falling into the trap of photo-realism. Too often, art in licensed comic books tries too hard to capture the likeness of the actors. The final art often feels stilted and static. In The Dog of War, Hernandez strikes a perfect balance between capturing likenesses and creating dynamic, expressive art. Each character is recognizable, yes, but also expressive and lively. It’s a perfect middle ground for a series like DS9. Rounding out the art team are colorist Nick Filardi and letterer Neil Uyetake. Filardi’s colors here are arguably much more vivid and bright than the television series, but they represent a perfect complement to Hernandez’ art. The colors here work with the art in interpreting the look of the series rather than trying to imitate it. Visually, The Dog of War is pitch-perfect. A Visit with Fan-Favorite Characters The effect of the Borg on Sisko looms large in “The Dog of War”. The Dog of War is undeniably a fun visit with some familiar friends. Art and writing work well together to recapture each character. In some ways, fans will find the story fits like an old, comfortable shoe. Bashir and O’Brien have some holodeck fun, Odo is the ever-grumpy investigator, and Quark is the usual scoundrel with the heart of latinum. The character that probably gets the most complete arc here is Benjamin Sisko. Given his backstory (his wife died in a Borg attack), it always seemed strange that he never got a chance to truly confront the Borg in the television series. Instead, the Borg went on to become major adversaries in sister-show Voyager. The Dog of War tries to rectify this somewhat, confronting Sisko with Borg technology that could help the Federation win the war with the Dominion. He has to deal with his complicated feelings regarding the Borg and wrestle with questions regarding if and how this technology should even be used. The experience shows character growth that fits into the larger tapestry of the series without contradicting anything the show established. A Tale not without Flaws Although integral to the plot, many DS9 characters don’t get true character arc. That is not to say the book is perfect. Given that the television series’ calling card was its character work and moral complexity, this is a fairly simple story. The good guys are heroic and the bad guys are villainous. It’s not particularly nuanced. It also bears mentioning that, other than Sisko, none of the characters really have an arc. They each get a chance to shine with their contributions to the plot; however, they don’t have to confront complex feelings or inner conflict like Sisko. The tale, as much […]
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Beyond Misogyny and Politics: A Deep Dive into “The Marvels”

Marvel Studios’ The Marvels has arrived at a true inflection point. The Walt Disney Company plans to transform how it handles its television properties, yet two of the three leads of The Marvels were introduced on Disney+. The SAG-AFTRA strike prevented actors involved in the production from promoting the film. Critics and fans alike throw around the term “superhero fatigue” so much, it borders on the comical. Those burdens no doubt have affected The Marvels’ box office prospects. The film earned $110 million globally in its opening weekend, with $47 million coming from the domestic box office. Headlines abound across the internet: it is Marvel Studios’ worst opening ever. The Social Media Storm Carol Danvers (Brie Larson) visits Kamala Khan. Still, there’s more going on here. A large contingent of individuals online are actively rooting against The Marvels. Posts on the venerable social media platform Twitter (pardon me, “X”) reveal a strange hate directed at the film. Even when a post extols some positive aspects, responses ranging from honest critiques to barely comprehensible nonsense soon flood the replies. Strangely, the much-discussed “culture war” of U.S. politics plays a role, as well. The Marvels, a movie focused on three female leads and directed by a black woman, is an easy target for accusations of “wokeness” from followers of right-wing politics. What is so inherently “woke” about female superheroes, or what “woke” even means in this context, continues to elude me. A Cinematic Re-run Carol (Brie Larson) attempts to save the Skrulls. Regrettably, we’ve been here before. The lead-up to 2019’s Captain Marvel proved that some fans struggle with the notion of a female superhero. After the release of the first trailer, fans criticized star Brie Larson for not smiling enough; photoshopped images soon followed. Larson also considers herself a champion of diversity and made numerous comments in the months prior to the release of Captain Marvel that offended the “anti-woke” crowd. In one such comment, from 2018, she stated that “[audiences] are not allowed enough chances to read public discourse on these films by the people that the films were made for. I do not need a 40-year-old white dude to tell me what didn’t work for him about A Wrinkle in Time. It wasn’t made for him. I want to know what it meant to women of color, to biracial women, to teen women of color, to teens that are biracial.” She made a point of adding “I don’t hate white dudes”. Nevertheless, a segment of fandom decided they do not like Larson for comments like these. Unsuccessful efforts to review-bomb Captain Marvel followed. Thanks in part to the enduring hype surrounding the then-upcoming Avengers: Endgame and the quality of the film, Captain Marvel ended its run as a major hit; hence, the sequel. Captain, My Captain Marvel Super-Heroes #13 (March 1968). This culture war “us vs. them” mentality has certainly extended into comic fandom, as well, with the “Comics Gate” movement leading the way. Needless to say, many adherents of this movement already have a bone to pick with Carol Danvers. She is, after all, relatively new to the role of Captain Marvel. Carol was initially introduced as a love interest for Mar-vell, a Kree alien and original Captain Marvel, in 1968. By 1977, she got some superpowers of her own and made her debut as Ms. Marvel. The character evolved past the “damsel in distress” trope; modern conservatives would probably have called her “woke”. Equal pay for women and work-life balance were now on the storytelling menu. Yet the character continued to encounter some pretty blatant sexism. Avengers #200 is probably the most infamous example. It featured Carol getting roofied and impregnated, then riding off into the sunset with the man who sexually assaulted her. The character rotated through costumes and code-names, becoming Binary and Warbird, before returning to the role of Ms. Marvel. A new costume, a black number with a large yellow lightning bolt, devolved quickly into male-gaze territory, as artists kept making it smaller and more revealing. And then, in 2012, she became the new Captain Marvel, replacing traditionally male superheroes in the role. The response from certain segments of the fandom was…not great. Serious Baggage Monica Rambeau (Teyonah Parris)…in space! This brings us, of course, to The Marvels, a movie with three female leads, directed by a woman, with a decidedly female perspective. As far as big-budget, corporate cinema is concerned, it has faced some unusually long odds. An actors’ strike. An experiment in linking television and movies into a coherent narrative. A star whose outspoken activism offends the delicate sensibilities of some political conservatives. A main character who similarly offends the same delicate sensibilities. “Superhero fatigue”. And, yes, misogyny. So, with this baggage in mind, is honest critique of The Marvels possible? I like to think so. I’m Here for the Plot Carol (Brie Larson) lives on her spaceship. Carol Danvers (Brie Larson), who broke free of the control of the Kree in the previous film and defeated their leader, the Supreme Intelligence, has settled into a solitary, space-based existence. Then, the new Kree leader, Dar-Benn (Zawe Asthon), discovers a powerful artifact she hopes to use to save her people and take her revenge on Carol. In the conflict, Carol’s powers become entangled with those of two other heroes: teenager Kamala Khan (Iman Vellani), who worships Carol from afar, and Monica Rambeau (Teyonah Parris), the now-grown daughter of Carol’s dead best friend, Maria. Stuck together, the three women have to embark on a space adventure to stop Dar-Benn and save the universe. Khaaaaaaaaan Captain Marvel super fan Kamala (Iman Vellani). The biggest strength of The Marvels may very well be Iman Vellani as Kamala Khan. She most strongly represents the audience perspective; although a superhero in her own right, she spends much of the movie as a “fish out of water” character. What carries her character to the top, however, is Vellani’s joy. Even after her Disney+ series, she continues to be […]
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A comprehensive “Star Wars” history with diminishing returns

Star Wars is a juggernaut. Since the release of the first Star Wars movie in 1977, retroactively titled A New Hope, the sci-fi fairy tale has spawned a multi-billion-dollar franchise. Disney’s purchase of the franchise from creator George Lucas in 2012 for more than 4 billion dollars completed the series’ journey from underdog to corporate wunderkind. Since Star Wars has become so ubiquitous, writers and documentary filmmakers alike have said much about the making of the franchise. Adding something new about the making of these movies has become difficult. Still, Secrets of the Force: The Complete, Uncensored, Unauthorized Oral History of Star Wars sets out to do just that. The original 1977 poster for “Star Wars”. Two pros return to the fold Secrets of the Force certainly has the proper pedigree for such an undertaking. Co-author Edward Gross has an extensive history in film and television journalism. He has been a member of the editorial staff of such storied magazines as Starlog, SFX, Movie Magic, and Sci-fi Now. Mark A. Altman, his partner in this endeavor, is both a former journalist, as well as a writer and producer for film and television. Gross and Altman have gone the uncensored oral history route before, most notably in their comprehensive history of Star Trek. Their research in that case was so extensive, it was divided into two books titled The Fifty Year Mission: The First 25 Years and The Next 25 Years. Each of these weighed in at over 500 pages. An oral history for the ages Gross and Altman’s approach to the history of Star Wars is simple: they let those involved with the franchise do the talking. Secrets of the Force is essentially a collection of interviews with hundreds of actors and filmmakers, commentators and critics, executives and authors involved with Star Wars. The authors arrange these into a comprehensive narrative with only minimal connective tissue they themselves wrote. This approach works wonders for the story of Star Wars. The book presents the making of the franchise in deeply human terms. The authors rip aside the mythology surrounding George Lucas and his creation in favor of something much more intimate and honest. Gross and Altman also have a real knack for choosing the right quotes and arranging them in a logical, interesting sequence. Reading Secrets of the Force is always interesting; none of the interview subjects wear out their welcome or go on too long. Most importantly, the authors imbue their book with a clear narrative flow. It is an incredibly enjoyable reading experience. A synthesis of “Star Wars” history The original 1980 poster for “The Empire Strikes Back” Secrets of the Force starts a bit slow. Various experts in cinema pontificate about the importance of Star Wars. For the long-time fan, this introductory section can be a bit of a slog. Once Gross and Altman rev up their narrative, however, the book begins to shine. Secrets of the Force does not restrict itself to simply covering the nine Star Wars movies, either. The authors include a discussion of the genesis of Star Wars toys and merchandise, the infamous Star Wars Holiday Special, and even the franchise’s recent expansion into television. There’s also some discussion of the years between the original and prequel trilogies, when novels and comic books primarily carried the franchise. These additions help the book feel truly complete. Much of what the authors reveal in Secrets of the Force is not exactly new information. Star Wars fans have poured over “making of” articles and documentaries, DVD and Blu-Ray special features for decades now. Secrets of the Force succeeds primarily as a synthesis of information. The book represents the first time this information has been gathered together in such a comprehensive manner. Particularly in its section on the “original trilogy”, Secrets of the Force is meticulous, detailed and utterly fascinating. A buffet of new information That is not to say there isn’t new information, as well. As a long-time Star Wars fan, this reader was certain he knew most of the behind the scenes stories publicly available. Altman and Gross, however, unearth fascinating information about, for example, the various early Star Wars scripts. The evolution of what would become known as Star Wars is a highlight of the book. Author Alan Dean Foster has a storied connection to Star Wars. He famously penned the first sequel, Splinter of the Mind’s Eye. Reading about his utter disdain for the route Darth Vader took through the original trilogy is particularly enlightening. He apparently disagreed with Lucas’ revelation that Vader was Luke Skywalker’s father. Foster also disliked the attempt to redeem Vader in Return of the Jedi. His comments, and those of similar “voices of dissent”, help Secrets of the Force feel honest and truly uncensored. Gross and Altman manage to present something new and interesting even to the most die-hard Star Wars fans. The law of diminishing returns Secrets of the Force does face one major problem: diminishing returns. The original Star Wars trilogy was released more than 30 years ago. Consequently, those involved have little motivation to not be forthcoming. The book is truly uncensored in this regard. Everybody involved speaks their mind. Revelations about difficult work conditions, problems with special effects, and Lucas’ behavior abound. The original 1983 poster for “Return of the Jedi”. Once the book moves closer to the present day with the prequel trilogy, that becomes much less the case. By the time it reaches Disney’s sequel trilogy, Gross and Altman speak with people who are still actively working with Disney, or hope to in the future. Their ability and willingness to be completely open drops significantly. The page count illustrated this issue well. The section of the book dedicated to the original trilogy runs nearly 300 pages. The prequel trilogy section contains less than 150 pages. The sequel trilogy manages less than 100 pages. Gross and Altman are obviously not at fault here. The diminishing returns of Secrets of the Force are a […]
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Scioli’s bio of the king of comics renders Kirby in glorious art

This book was reviewed for and originally published on The Nerd Daily. Who deserves credit for the meteoric rise of Marvel Comics? Was it Stan Lee, writer, eventual publisher, and Marvel mascot, a man whom nerds across the globe revere? Or was it artist extraordinaire Jack Kirby, whose contributions went uncredited and underappreciated for decades? Although Jack Kirby: The Epic Life of the King of Comics does not explicitly set out to answer this question, it nevertheless makes a solid argument on behalf of Jack Kirby. The 200-page graphic novel recalls the legendary artist’s life from conception to death in the master’s own medium. A matter of perspective Although strictly biographical, writer and artist Tom Scioli uses first person narration, telling the story from Kirby’s own perspective. The tale begins with Kirby’s birth and youth as a Jewish boy in New York. It recounts his fascination with comic strips, his artistic ambitions, and his eventual partnership with Joe Simon. The two creators worked on countless books together and co-created Captain America. A draft into World War II tempers Kirby’s initial success. Upon his return, comic books experience a post-war downturn in sales. A complex life Jack Kirby meets Joe Simon. The book also recounts Kirby’s complex history with both Marvel and DC, to this day the two biggest comic book publishers. The book depicts Kirby as often frustrated due to the lack of credit he receives as a writer in favor of Stan Lee at Marvel. Still, he is willing to let things slide in order to keep his job and support his family. Along the way, Kirby works with some of the all-time greats in the comic book industry, falls in love, raises children, and struggles against publishers to execute his creative vision on a number of projects. The book reaches its climax with the death of Kirby and an emotional collage of moments illustrating the increased awareness and appreciation of his work. The student becomes the master Comic book creator Tom Scioli is a bit of a unicorn in the world of comics. He’s one of only few mainstream comic book artists who draws, colors, and hand-letters his own work. In many cases, such as with his biography of Jack Kirby, he takes on writing duties, as well. In Scioli, Kirby has found the perfect artist to tell his story. Scioli is, without a doubt, an artist whom Kirby has deeply inspired. His work on Godland with writer Joe Casey, for example, is Kirby-esque in both subject and artistic execution. In a 2005 interview with “Newsarama”, Scioli admitted as much: “I’m working in the Kirby tradition…No one else’s art does for me what Kirby’s does. Everything else looks limp and flat by comparison. He found a new way of doing things. I want to follow his lead.” In Jack Kirby, Scioli wears this influence and deep appreciation on his sleeves. The art evokes Kirby and Golden Age comics with its near-strict adherence to a six panel grid. Even the colors and letters evoke a by-gone era of comics. Deep research and smart choices Kirby’s time in World War II is particularly affecting. Scioli also makes the fascinating artistic choice to give Kirby himself large, almost manga-style eyes. This makes Kirby the most expressive character in the whole book; he emotes at a completely different level than the other characters. One of the standout sections is Kirby’s time fighting in World War II. These pages bleed authenticity and emotion. The pages leading up to the war are interesting, but carry little emotional weight. Here, however, Scioli hits his stride and forges s strong bond between Kirby and the reader. Scioli’s work here is also meticulously researched. The back of the book features an extensive notes section, a bibliography, and an index. Even small moments from Jack’s youth, such as his pal Morris’ obsession with aviation and Kirby’s subsequent chance to fly for the first time, have their chance to shine. A rare misstep There are really only two moments that don’t fully work. Both deal with jarring perspective changes. When Kirby meets and begins to date his future wife, Roz Goldstein, the narration inexplicably switches from Kirby to her for a couple of pages. The same again occurs when Kirby returns to Marvel Comics, now under the leadership of Stan Lee. Here, the narration briefly switches to Stan Lee. These two moments feel out of sync with the rest of the book, which firmly stays in the head space of Kirby himself. As for the age-old “Lee vs. Kirby” debate, Scioli seems to come down squarely on the side of Kirby. He is shown bringing in many of his own ideas and concepts to Marvel Comics and seeing them only slightly reworked. Spider-Man, usually credited to Stan Lee and Steve Ditko, is shown to be a reworked concept of Kirby’s, for example. His frustration with receiving no writing credit in favor of Stan Lee, who primarily wrote dialogue and captions, is both palpable and sympathetic. A triumph of the medium Ultimately, Jack Kirby: The Epic Life of the King of Comics is a worthwhile read for anybody who appreciates art or is even remotely interested in the history of comic books or its characters who rule the silver screen today. Scioli’s art is pitch-perfect for this project; his love and appreciation for Kirby leap off the pages. Although neither the Jack Kirby Estate, nor Marvel Comics or DC Comics authorized this book, it is hard not to feel that Kirby himself would have enjoyed seeing his life rendered in art. If you enjoyed this review, check out more Byword comic book coverage.
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Giving Nintendo’s original Game Boy some TLC

In the fall of 1990, Europe was once again late to the party. Nintendo had already released its ground-breaking handheld gaming system, the Game Boy, in Japan and the U.S. in 1989. In Europe, however, gamers were still waiting. I was six years old at the time and somewhat familiar with video games. My father owned an Atari 2600 and I had dabbled in handheld LCD games like those Tiger Electronics had made infamous. The Nintendo Entertainment System had been on the market since 1986, and some of my friends swore it was the greatest thing they’d ever seen. For the Love of Gaming My original Game Boy, purchased in 1990. When my parents asked what I wanted for my seventh birthday, I faced a dilemma. My parents usually limited my TV time to one hour per day. I had a sneaking suspicion that I would be able to spend a lot more time with a portable gaming system. So, I requested a Game Boy for my birthday. The Game Boy was my first video game system. It introduced me to Mario and Link, to “Final Fantasy” and “Tetris”. The little gray box holds a special place in my heart. It ignited a lifelong passion for gaming. When I recently decided to retrieve my Game Boy from the basement, I was greeted with disappointment. The once white-grey shell had turned a sickly yellow. Some of the buttons felt too loose. The springs in the battery compartment had warped, barely allowing the batteries to make contact. Screen rot had created several dead spots on the screen. Briefly, I considered purchasing a working Game Boy at a retro store, but dismissed the idea. I didn’t want to play on just any Game Boy. I wanted to use the same system that first inspired my gaming habits. Thanks to the power of the internet, I quickly discovered a thriving community of Game Boy modders. I combed through dozens of websites and online sellers and put together a plan to make my Game Boy better than ever before. 1. Disassembly Working on an original Game Boy requires some specialized tools. By modern standards, the Game Boy is not a particularly sophisticated piece of technology. Still, I hit a brick wall even just trying to open up the system. Turns out, I needed some rather specific screwdrivers to open the shell. These “tri-wing” screwdrivers are thankfully available from numerous online sellers. They are inexpensive and extremely useful when disassembling old Nintendo hardware. There are six tri-wing screws holding the two halves of the Game Boy together, four on the back of the system, and another two inside of the battery compartment. These are the only tri-wing screws; for the rest of the disassembly, its best to use a jewellery screwdriver. Once the Game Boy was “open”, I noticed a small ribbon cable connecting the two halves on the inside. I gently disconnected the cable and separated the two halves. The “guts” of the Game Boy. Each of the two PCBs (short for “printed circuit board”), connects to one half of the Game Boy shell via a series of screws. Using a jewellery screwdriver, it was simple to remove them both. The springs inside the battery compartment are easily removed, as well; gently pushing in the release inside the shell allows them to pop right out. Finally, a little pressure removes the lens that covers the screen; the adhesive used to attach it is quite old and brittle. 2. Hair Care for the Game Boy Rest in pieces… My next step was to deal with the yellowing of the shell. I read on countless websites about a substance called “retrobrite” that could remove the yellow tint from ABS plastics commonly used in computer and video game shells in the 1980s. Some of the recipes were pretty complex. I didn’t exactly feel qualified to run chemical experiments in my basement. Some further research, however, suggested that the active ingredient in “retrobrite” was hydrogen peroxide, a substance commonly used for highlighting hair. Instead of trying to re-create “retrobrite”, I purchased a bottle of 40v Cream Peroxide Developer online. The concentration of hydrogen peroxide in this kind of developer is high, usually over 10%. Gloves are essential to protect the skin when using this stuff. I applied the gel-like developer to the Game Boy shell with a small brush. I then wrapped the shell in cellophane wrap, which I had seen recommended on a couple of websites in combination with “retrobrite”. Finally, I placed the wrapped Game Boy shell outside into the sun, since hydrogen peroxide reacts with UV light. Sunlight is the key to restoring the Game Boy’s original color. I left the Game Boy shell outside for about 5 hours, then unwrapped it and rinsed it off. Unsatisfied with the results, I repeated the entire process. The results were impressive. The Game Boy shell was almost completely devoid of any yellowing. A vast improvement in the shell’s color. 3. After-Market Replacement Parts A new lens cover refreshes the GameBoy’s look. I am not alone in my love for old video game systems. A small but thriving industry has sprung up around the games of yesteryear. Several online retailers specialize in replacement parts for various gaming consoles. After some thorough research, I decided to go with handheldlegend.com. There, I purchased a new lens to cover the Game Boy’s screen, new buttons, and button pads (which sit under the buttons and make contact with the PCB), and battery springs. Some of these parts are even available in alternate colors. I stuck with the authentic color scheme, except for the lens. I felt a darker colored lens would look better with the recently restored color of the Game Boy shell. Installing these parts was incredibly simple. I placed the buttons in the shell, then covered them with the button pads. The lens came with its own adhesive. Even the battery springs simply snapped into place. The real challenge, however, would be replacing […]
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