Strange Comic Books: Questprobe

Normally I blog about interesting or unusual comic books from the 1990s. Today’s entry actually concerns comics from the previous decade, the 1980s… but all of this will eventually lead to another “It Came from the 1990s” piece. So bear with me and enjoy the ride.

Back in the early 1980s Marvel Comics partnered with Scott Adams – no, not the cartoonist who eventually went full right-wing crazy, but the computer programmer & game designer – to create a series of text adventure computer games featuring Marvel characters. Adams, working with acclaimed writer & artist John Byrne, developed the concepts for the Questprobe series. In conjunction, Marvel Comics began publishing a Questprobe comic book series that was projected to run for approximately 12 issues, with a new issue coming out each time Adams released a new installment of the computer games.

Keep in mind that in the early 1980s personal computers were still very much in their infancy. The options available to programmers were extremely limited. I think this is very well illustrated by the letters column from Questprobe #3. Danny Bertinato of Gloucester, Ontario writes in to ask if the Questprobe games will be available for Commodore Vic-20. Adams responds with some bad news:

“QUESTPROBE requires a computer with a minimum of 16k of memory to run. The standard Vic-20 has only 5k of memory. Since very few people ever get the memory expansion to 16k for the Vic-20, I doubt we will ever put QUESTPROBE on the Vic-20. Sorry.”

Yeah, let that sink in. There used to be PCs with only 5 kilobytes of memory. And I make that observation while writing this on a brand-new laptop I purchased last month which has 8 gigabytes, a laptop that will, give it a decade or so, undoubtedly one day be just as much of an antiquated dinosaur as a Commodore Vic-20. It’s simultaneously amazing and frightening the lightning speed at which technology can develop.

Speaking of antiquated dinosaurs, my father’s first PC was an Apple 2E. Back in the mid 1980s I was 9 years old and just starting to get into comic books on a semi-regular basis. I saw the ads for the Questprobe games in Marvel books and I asked my father to buy it for me. I ran Questprobe featuring the Hulk on that Apple 2E… and I found it almost impossible to play. I just ended up going around in circles for hours, barely getting anywhere. It was definitely a frustrating experience.

I recently found a Walkthrough for Questprobe featuring the Hulk and looking at it there’s no possible way nine-year-old me would have been able to figure out the majority of this 38 years ago. Perhaps I was too young… but I also think the game was hampered by the sheer primitive nature of the PCs at the time.

UPDATE: There’s a website where you can play the text version of Questprobe featuring the Hulk online. I just spent half an hour going in circles. Almost four decades later this game is STILL impossible!

But enough about the computer games; I’m sure you came here for the comic books.

The Questprobe comic from Marvel only ran for three issues and was canceled when Adams’ company Adventure International went bankrupt in 1986. Each of the three issues corresponded to a released game, with the first issue featuring the Hulk, the second Spider-Man, and the third the Human Torch and the Thing. Adams was working on a fourth Questprobe game featuring the X-Men when Adventure folded; a corresponding fourth Questprobe comic book story starring the X-Men was completed and saw print in the anthology series Marvel Fanfare a year later.

The concept behind the Questprobe comics actually has a certain potential. In a far-distant region of the universe the mysterious alien Black Fleet is ravaging through space, destroying world after world. A utopian planet of scientists sees the Black Fleet inexorably approaching and wonders what, if anything, they can do. This civilization long ago abandoned violence, and most of its members have resigned themselves to destruction by the Black Fleet. But one of their number, Durgan the Philosopher, is determined to fight back, a stance that causes him to be labeled a mad heretic.

Undaunted, Durgan resolves to find a way to save his planet. Having studied the far-distant Earth, he has observed the numerous super-powered beings who populate the planet. Durgan creates the Chief Examiner, a dome-headed, cloaked construct that he dispatches to Earth to locate the most powerful super-beings, study them, and replicate their powers by getting them to pass through a black portal. (John Byrne apparently designed the Chief Examiner.)

There’s also some stuff going on with these mysterious, cosmic-powered “Bio-Gems” that are apparently parts of a larger entity, one that’s even more evil than the Black Fleet, but it’s fairly confusing how all of this was supposed to tie together. Perhaps if the games & comic books had lasted longer it would have become clearer.

The first issue of Questprobe, featuring the Hulk, was released with an August 1984 cover-date. It was written by Bill Mantlo, definitely an appropriate choice. Mantlo had previously done a stellar job taking licensed properties such as the Micronauts and Rom Spaceknight and developing them into highly intriguing ongoing comic book series for Marvel. He had also been writing The Incredible Hulk series since 1980, so was intimately familiar with the character.

Questprobe #1 has pencil layouts by Mark Gruenwald. Although he was much better known for his writing & editing at Marvel, Gruenwald did occasionally also draw, and he had a solid grasp of storytelling. The inking / finished artwork on issue #1 was by the legendary John Romita, who at this point was synonymous with the Marvel house style. Letters were by Joe Rosen and colors by George Roussos. The series editor was Bob Budiansky.

The first issue is a fairly basic story, one that is competently done and which establishes the premise in economical fashion. I’m sure that if I had bought it when it first came out in the Summer of 1984 it would have been perfectly geared to my eight-year-old sensibilities and I would have enjoyed it.

By the way, having seen on Wikipedia a photo of Adams taken in 1982, putting it side-by-side with Gruenwald & Romita’s art from this issue, it’s very obvious that Durgan’s appearance was modeled on the computer programmer.

And, yes, white guys really did used to wear their hair like that.

One last noteworthy item: The cover of the first issue features the blurb “by Bill Mantlo, Mark Gruenwald and John Romita” which was practically unheard of in mainstream comics at the time.

Moving on to Questprobe #2 (January 1985) featuring Spider-Man, this one is written & penciled by Al Milgrom. That’s another apt choice, as Milgrom was the writer & artist on the Spectacular Spider-Man series at this time. I’ve always found Milgrom to be a good, solid, underrated artist, and I think he did quality work on the Spider-Man character. Looking at some of his layouts & storytelling for Questprobe #2, some of it is reminiscent of Spider-Man co-creator Steve Ditko’s work.

Inking this issue was Jim Mooney, another talented artist who, among his numerous credits, had a lengthy association with Spider-Man during the Bronze Age. Milgrom & Mooney make a good art team. One of my all-time favorite letterers, Janice Chiang, worked on this issue, and George Roussos is back on colors.

Milgrom has always had a very offbeat sense of humor, which no doubt suited him to writing an irreverent character like Spider-Man. In this story he gets a lot of mileage out of the fact that the Chief Examiner has a remarkable resemblance to Spider-Man’s old enemy Mysterio. Hijinks ensue.

By the way, this story also gave me a newfound appreciation for Mysterio. I used to think he was a pretty stupid character, a special effects artist who wears a fishbowl on his head. But reading this issue Milgrom really sells the idea that Mysterio is highly intelligent and a master planner, and that he very effectively uses psychology & trickery to keep much more powerful adversaries like Spider-Man off-balance.

Questprobe #3 (November 1985) features the Human Torch and the Thing from the Fantastic Four. David Michelinie is perhaps an odd choice for the writer on this one, as he was already much more associated with Iron Man and the Avengers, and I don’t think he’s ever worked on a single issue of the Fantastic Four series. Nevertheless, Michelinie has always demonstrated himself to be a talented writer, and he ably steps in to handle the characters. He does a fair job, especially since he has to work around the inconvenient fact that the Torch and and the Thing never actually meet since at the time Ben Grimm had quit the FF and was hanging out on the Beyonder’s planet from the Secret Wars miniseries.

The artwork, on the other hand, is quintessential FF, with penciling by Ron Wilson, the regular artist on The Thing solo series, and inking by the legendary Joe Sinnot, the man who inked / embellished the Fantastic Four series for a decade and a half, from 1965 to 1981. I guess you could say that Sinnott as much as Romita helped define the look of Marvel Comics during the Bronze Age. Rick Parker lettered the issue and Julianna Ferriter did the coloring.

That brings us to the X-Men story that was originally intended for Questprobe #4 and which saw print in Marvel Fanfare #33 (July 1987). It’s written by longtime, groundbreaking X-Men writer Chris Claremont. “Shadows on the Soul” takes place during the time when the X-Men’s arch-nemesis Magneto was attempting to embrace Professor Xavier’s dream of peaceful coexistence between humans and mutants, and the master of magnetism was reluctantly tasked with leading his former foes, much to the X-Men’s understandable skepticism.

Pencils are by one of my favorite artists, Power Pack co-creator June Brigman, and inking is by Terry Austin, who famously embellished John Byrne’s now-classic run penciling X-Men. Brigman and Austin have worked together a few times over the years, and they’ve always made a superb art team. Letters are by Rick Parker and colors by Glynis Oliver.

I’m wondering how far along this story was when the Questprobe series was canceled. “Shadows on the Soul” runs a few pages longer than the typical Marvel comic, so it seems possible that Claremont, having learned that his story would now be appearing in the advertisement-free Marvel Fanfare, expanded it slightly. Certainly the gorgeous wraparound cover by Brigman & Austin must have been commissioned specifically for Fanfare.

At times Marvel Fanfare was dismissed as a dumping ground for inventory stories. Perhaps it was, but it did enable work that otherwise might never have been printed to see the light of day. Besides the fact that Fanfare editor Al Milgrom had previously written & penciled Questprobe #2, giving him a personal interest in seeing the fourth issue finally get completed, it would have been a no-brainer to run this story. Uncanny X-Men was an absolutely red-hot series in the late 1980s, so running an X-Men story, especially one written by Claremont, the writer who helped propel the character to super-stardom, must have been an obvious choice for Milgrom.

And “Shadows on the Soul” is really good, probably the best of the four Questprobe stories, so I’m glad Milgrom got it printed. Claremont does fantastic work with Magneto and the Chief Examiner. In the previous three stories it was pretty much taken for granted that Durgan is doing the right thing trying to save his world, and the rest of his race are fools for wanting to adhere to their pacifism. Magneto, however, has a tremendous amount of skepticism for Durgan’s actions.

Magneto points out that in attempting to save his world by stealing the powers of other beings Durgan is in danger of becoming just as evil as the Black Fleet, and that there is also a nobility to his people being willing to die for their beliefs. And it makes complete sense for Magneto to be saying this because he’s walked the exact same path as the Chief Examiner. Again and again Magneto has done the wrong thing for ostensibly the right reasons, and in the end was left pondering if he actually did make things any better for mutantkind.

The whole Questprobe storyline did eventually, and quite unexpectedly, get picked up again several years later. Mark Gruenwald always enjoyed utilizing obscure continuity, and he was the layout artist for Questprobe #1 so of course he would have been familiar with the series.

In 1992 Gruenwald brought back the Chief Examiner and the Black Fleet in the pages of his series Quasar. Gruenwald even names the Chief Examiner’s world “Scadam” after Scott Adams. It was perhaps a perfunctory wrap-up, one in which Quasar himself plays no direct role, with the girlfriend Kayla Ballentine, the unwitting recipient of the awesome cosmic power of the Star Brand, being the one to finally destroy the Black Fleet.

But that’s a story for another time.

Looking back at the Fantastic Four’s 25th Anniversary

This year Marvel Comics is celebrating their 80th anniversary with the release of Marvel Comics #1000 and a number of specials reuniting older creative teams.  The occasion prompted me to take a look back at 1986 in general, and at Fantastic Four #296 in particular, when Marvel celebrated their 25th anniversary.

I’m sure at least a few people are wondering “How in the name of Irving Forbush could Marvel have celebrated their 25th anniversary in 1986 and then only 33 years later be celebrating their 80th?!?”

The fact is Marvel Comics actually has two anniversaries.  The first is for late August 1939 when Timely Comics, the company that would one day be known as Marvel, released their very first comic book, Marvel Comics #1 (with an October cover date).  The second is for early August 1961 when the first issue of Fantastic Four was published (with a November cover date) ushering in what is now known as the “Marvel era” or the “modern Marvel universe” that has been in continuous publication to the present day.

This, of course, is very convenient for Marvel Comics, as it gives them not one but two historic anniversaries to celebrate every few years with high-profile specials and reprints, as well as the accompanying publicity.

In any case, back in 1986 it was the 25th anniversary of the debut of Fantastic Four #1 by Stan Lee & Jack Kirby.  Marvel made a fairly big deal of it, with Marvel Saga and The Official Handbook of the Marvel Universe Deluxe Edition offering in-depth explorations of the characters’ histories (in the days before trade paperbacks and the internet both of these titles were invaluable resources to young fans such as myself).  Marvel’s then editor-in-chief Jim Shooter also launched the New Universe with much fanfare, but due to various behind-the-scenes events that line ultimately did not last long.

Another part of the celebration was that all of Marvel’s comics released in August 1986 featured cover portraits of their lead characters, surrounded by a border of character illustrations, the latter of which were drawn by longtime Marvel artist John Romita.  A gallery of these covers can be viewed on Sean Kleefeld’s blog.

This finally brings us to the main subject of this post, namely Fantastic Four #296, the big 25th anniversary issue commemorating the birth of the Marvel era. This 64 page story was plotted by Jim Shooter, scripted by Stan Lee, lettered by John Workman, colored by Glynis Oliver, and edited by Mike Carlin.  It was drawn by a very impressive roster of artists: Barry Windsor-Smith, Kerry Gammill, Vince Colletta, Ron Frenz, Bob Wiacek, Al Milgrom, Klaus Janson, John Buscema, Steve Leialoha, Marc Silvestri, Josef Rubinstein, Jerry Ordway & Joe Sinnott.

The set-up for “Homecoming” is a bit on the convoluted side.  A couple of years earlier, during the lengthy run by John Byrne that immediately preceded it, Ben Grimm aka the Thing had been written out of the book, and She-Hulk had come onboard the fill his spot.  In recent issues the Thing had been lurking at the periphery, as Byrne was setting the stage for him to finally return to the team in their 25th anniversary story.  But then Byrne abruptly departed Marvel, going over to DC Comics to do a high-profile reboot of Superman.  This left Shooter and Lee sort of scrambling to pick up the pieces, to tell a story that makes sense with what Byrne had recently been doing.

As FF #296 opens, the Thing is despondent.  His ex-girlfriend Alicia Masters is now dating Johnny Storm, the Human Torch.  The Thing, who resembles a large pile of orange rocks, feels more disconnected from humanity than ever.  After brooding in the rain at the site where Reed Richards’ rocket ship crashed years before, and the team all first gained their powers, Ben decides to exile himself to Monster Isle, home to the FF’s very first foe, the Mole Man, who himself has been ostracized by humanity.

Days later the rest of the team learn from pilot Hopper Hertnecky where their friend & teammate has gotten off to.  Hopper reiterates to them the Thing’s longtime frustration that while Reed, Sue and Johnny all gained amazing powers from the cosmic rays that bombarded their spaceflight, Ben was horrifically mutated.  Reed once again begins to beat himself up over his role in his best friend Ben becoming a monster.  However this time Sue bluntly states that this time Ben is unfairly taking out his frustrations on Reed, that whatever Reed did or did not do, he has attempted on numerous occasions over the years to help Ben, to find a permanent cure for him.

Motivated by Sue’s words, Reed decides he needs to see Ben one last time, to settle their argument once and for all.  Sue and Johnny insist on accompanying him.  She-Hulk and Wyatt Wingfoot, however, choose to remain behind, realizing that this is a family matter, and as close to the team as both of them are, they haven’t been there since the very beginning.

Artwork by Kerry Gammill, Vince Colletta & Barry Windsor-Smith

Mister Fantastic, the Invisible Woman and the Human Torch journey to Monster Isle.  They are quickly attacked by the Mole Man’s army of strange monsters.  They are brought before the Thing, who has taken to dressing like the Mole Man.  Ben tells the others they shouldn’t have come, this is his home now.  He tells them that he is going to help the Mole Man create a safe haven for outcasts of society.

Ben is convinced of the Mole Man’s altruism, but he begins to experience doubts when Alicia unexpectedly arrives.  The blind woman coerced Hopper into flying her to Monster Isle, so that she can make her peace with Ben.  Learning that Alicia has broken up with Ben, and that Ben has been showing the rest of the team around the subterranean domain, the Mole Man’s bitterness & paranoia inflame.  He has his servants kidnap & disfigure the Human Torch as punishment for Johnny “stealing” Alicia from Ben.

As upset as Ben is about Alicia being with Johnny, this nevertheless shocks & disturbs the Thing’s confidence in the Mole Man.  Ben’s faith is further shaken when Reed explains that the earth-moving device the Mole Man intends to use to create an island refuge for humanity’s freaks & outsiders will cause devastation to the mainland.

At long last Ben realizes that no matter how noble Mole Man’s motives might be, he is nevertheless a disturbed, dangerous fanatic.  The Thing joins with the others to wreck the Mole Man’s machines, and to restore Johnny to normal.  As the subterranean headquarters beneath Monster Isle crumble, they make a break for it.  The issue ends as they are rescued by Hopper in a rubber raft.  A grumbling Ben reluctantly admits that his place is with the team, and at long last the Fantastic Four are reunited.

Artwork by Ron Frenz & Bob Wiacek

The plot by Jim Shooter is a solid one, in that it achieves two primary goals: It commemorates the anniversary & history of the Fantastic Four, and it gets the original line-up back together for the first time in two and a half years.  Perhaps it’s not the best FF issue I’ve ever read, or the most imaginative, but it’s entertaining.

The script by Fantastic Four co-creator Stan Lee is also good.  In later decades Lee sometimes became almost a parody of himself, with his whole “Face front, true believers!” bombastic, tongue-in-cheek style of prose and promotion.  Some of that is certainly on display here.  However, as the editor and the main writer / scripter at Marvel throughout the 1960s, Lee was largely responsible for giving most of the company’s characters their distinctive voices & personalities. Looking at this story it is apparent that he had remained capable of poignant, dramatic writing, especially if paired up with a talented artist / collaborator.  Lee’s opening narration and dialogue for FF #296 is very effective and combined with the art by Barry Windsor-Smith results in a genuinely moody, atmospheric scene.

Speaking of the artists, there are some distinctive choices on display in FF #296.  The aforementioned work by Windsor-Smith immediately set the tone.  On several pages the story cuts back & forth between his art and a flashback of the FF’s origin drawn by Kerry Gammill & Vince Colletta.  It definitely offers an interesting contrast.

In general I am not overly fond of Colletta’s inking.  Nevertheless, back in the mid 1960s he did ink several of the Lee & Kirby FF issues, and his work on this story in conjunction with Gammill’s pencils evokes a Silver Age feel that is very well suited to a retelling of the events of the team’s first story.

There are several pages by the team of Ron Frenz & Bob Wiacek.  Frenz is a very solid, effective storyteller, so he is certainly well-suited to dramatically render scenes that feature a significant amount of exposition and character moments.  Wiacek is one of the best inkers in the biz, and his finishes complement Frenz’s pencils.

Artwork by Al Milgrom & Klaus Janson

I also enjoyed the pages by Al Milgrom & Klaus Janson.  They are two artists with very different styles, yet the combination works very well.  Milgrom’s super-hero oriented penciling is very effective for rendering the team fighting the Mole Man’s weird, wacky monsters, and Janson’s inking gives it a darker, gritty feel.

The next pairing, John Buscema inked by Steve Leialoha, is a bit odd.  Both are incredibly talented artists, to be certain.  In addition, Buscema was the first regular penciler on FF after Kirby left the title, doing really good work during the early 1970s, so he’s an appropriate choice to contribute to this issue.  Nevertheless, I do feel Leialoha’s inks sort of subsume Buscema’s characteristic style.  Of course, it is possible that Big John was only contributing layouts, something that became more prevalent for him in the 1980s, leaving it up to Leialoha to do the lion’s share, and resulting in more of his style coming through.

I think that under any other circumstances the team of Buscema & Leialoha would have been very effective.  It’s just that here, on this particular story, a somewhat more traditional inker might have been a better fit for Big John.  But that’s purely an emotional, sentimental judgment on my part.  At the very least, this does demonstrate once again just how significant an impact the inker can have on the finished artwork.

Artwork by John Buscema & Steve Leialoha

The next segment is by then up-and-coming penciler Marc Silvestri and established inker Josef Rubinstein.  This was a year before Silvestri would begin his well-received run on Uncanny X-Men, but there’s definitely a lot of potential on display, with solid action & effective storytelling, and it’s apparent why he soon became a hot artist.  Rubinstein’s inking ably supports the young penciler.

Rounding out the issue is Jerry Ordway on pencils and Bob Wiacek & Joe Sinnott on inks.  It was certainly very appropriate to have Sinnott involved in this issue.  He had a long, acclaimed association with the Fantastic Four series.  Sinnott inked the second half of Lee & Kirby’s long FF run, and is generally regarded as one of the best inkers ever paired with Kirby.  After Kirby left Marvel, Sinnott continued as the book’s inker for over a decade, working over John Buscema and several other pencilers, right up until the beginning of Byrne’s run.

That said, in my mind Ordway inked by Sinnott was another unusual choice.  Sinnott is an inker whose work is almost always recognizable, no matter who he inks.  Ordway, however, is one of those pencilers whose style is so strong & distinctive that, no matter who inks his pencils, the finished artwork basically looks the same.  To my untrained eyes Ordway inked by Sinnott does not look much different that Ordway inking himself, or Ordway inked by Wiacek or Al Gordon or Dennis Janke or anyone else.

Of course, this may also be down to Ordway and Sinnott having similar styles.  Ordway has cited Sinnott as one of his major influences.

Oh, well… I’m probably quibbling.  The pages by Ordway, Wiacek & Sinnott look great, and that’s the important thing.  Ordway has stated that growing up in the 1960s he was a huge Marvel fan, so it must have been a thrill for him to work on several issues of Fantastic Four around this time, especially this anniversary story.

In any case, the back cover artwork is by John Buscema & Joe Sinnott.  It’s a really nice image that showcases both artists’ styles, and really evokes the early Bronze Age era of the title.  So that gives us a really good example of “traditional” FF artwork.

Artwork by Marc Silvestri & Josef Rubinstein

However, there are two individuals who were not involved with Fantastic Four #296.  The first is Jack Kirby.  The second is John Byrne.

Kirby is, of course, the co-creator of Fantastic Four.  He co-plotted & penciled the first 102 regular issues of the series, as well as the first six annuals.  Kirby’s role in the creation & development of the Marvel universe cannot possible be overstated.

Unfortunately in 1986 Kirby was involved in a protracted battle with Marvel’s owners over both the rights to the characters he helped create and the thousands of pages of original artwork he had drawn for the comics.  This made his participation in this anniversary issue impossible.  Even if Marvel had asked him to contribute, given how angry he felt at his mistreatment by the company I am sure he would have refused, and I certainly would not have blamed him.

As for Byrne, he is often credited with the revitalization of the Fantastic Four title.  The writing on FF throughout the 1970s is generally regarded as uneven.  Byrne came onboard as writer & artist with issue #232 in 1981, and very quickly made the FF into an exciting, popular series.  His time on the book is frequently compared to the original Lee & Kirby run.

However, once again real-world events intruded.  By 1986 Byrne and Shooter were not on good terms and, as previously mentioned, this led to Byrne abruptly leaving Fantastic Four.  His last full issue was #293, released just three months earlier.

Artwork by Jerry Ordway & Joe Sinnott

I doubt that back in late 1986 any of this impacted on my reading of Fantastic Four #296 in the slightest way.  As I said before, this was pre-internet, so I had no way of easily finding out about all of these events.

Nowadays, though, I have a much greater knowledge of the history of the Fantastic Four series, and an awareness of what was going on at Marvel in the mid 1980s.  So when I re-read this issue a couple of weeks ago, the absences of Jack Kirby, who co-created the first decade of the book, and John Byrne, who had just come off a five year run that saw a creative renaissance, felt especially conspicuous, as well as exceedingly unfortunate.

Not to jump on an anti-Marvel bandwagon, but I certainly understand why over the past three decades so many artists & writers have chosen to go the creator-owned route.  After all, if Marvel can screw over Kirby, the guy who created many of their characters, well, they’re certainly not going to hesitate to kick anyone else to the curb, either.  Far better to retain ownership of your characters and benefit fully from their success, no matter how modest, than to create a runaway hit for Marvel (or DC Comics, for that matter) and see other people make millions of dollars off your creativity.

Having said all that, I do still enjoy a few Marvel and DC books, such as Fantastic Four (the current run written by Dan Slott is the best the book has been in a long time).  I just believe that it’s absolutely crucial for anyone who wants to work for the Big Two to go in with their eyes open, to know exactly what their rights are, and to be fully aware of the history of the industry, so that they do not find themselves in the same position that Kirby and so many others unfortunately did.

Artwork by John Buscema & Joe Sinnott

One other note:  Back in 1986, I was 10 years old, and the idea that Marvel was celebrating its 25th anniversary was a little difficult to comprehend.  To me 1961 seemed so incredibly far in the past.

Contrast this to a couple of years ago, when Image Comics celebrated their 25th anniversary.  My first reaction was that there was absolutely no way Image could be 25 years old, and it was impossible for 1992 to have been a quarter of a century ago.

I guess it’s just one of those matters of personal perspective.  Anything that happened before you were born is automatically ancient history, and anything that happened during your lifetime, even if it was decades ago, still feels like the recent past because you were there and experienced it firsthand.