⭐ Issue Number 4 - Dated 3rd August, 1991 ⭐
SPECIAL DESTRUCTION, RUIN AND MAYHEM ISSUE!
☆ Deathlok: The Brains of the Outfit:
Part Three ☆
Script: McDuffie / Wright | Art: Guice / Wright
The three-panels that open part three of the story are a fine example of how art and dialogue working together can convey much more than each one could alone. It sets an idyllic scene and then turns it successfully on its head.
Thereafter we get to see the Deathlok cyborg in a real combat zone for the very first time, doing precisely what it was that he was constructed to do, albeit for purposes that have more in common with unethical mercenary excursions than any kind of military led liberation. He may be the "ultimate war machine" like his makers claim, but he's a also a commodity for sale to the highest bidder.
The cyborg's enhanced abilities allow him to run faster than normal and target enemies from a faraway distance without the need for external equipment, and his targeting up close is precise, too, but the Frankenstein nature of his two parts also has an influence on how things turn out.
Thereafter we get to see the Deathlok cyborg in a real combat zone for the very first time, doing precisely what it was that he was constructed to do, albeit for purposes that have more in common with unethical mercenary excursions than any kind of military led liberation. He may be the "ultimate war machine" like his makers claim, but he's a also a commodity for sale to the highest bidder.
The cyborg's enhanced abilities allow him to run faster than normal and target enemies from a faraway distance without the need for external equipment, and his targeting up close is precise, too, but the Frankenstein nature of his two parts also has an influence on how things turn out.
