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Team 7 (collected editions) #2
Team 7 Objective: Hell #1-#3 set, Image Comics
Los miembros de Team 7 fueron víctimas de un experimento genético que alteró para siempre el curso de sus vidas.
Al saber que habían sido engañados por su propio gobierno, decidieron desertar. Nadie se atrevió a perseguirles ni a descubrir su paradero.
Pero ahora existe una amenaza que no puede ser eliminado con armas convencionales...
Es hora de volver entrar en acción. Es el regreso de... Team 7.
Edición en la línea de World Comics de la serie limitada de 3 números Team 7, Objective: Hell, publicada originalmente en EE.UU: por Image /Wildstorm.
Su primer número es prólogo de la saga crossover de Wildstorm "Wildstorm Rising".
La portada de este tomo corresponde a la del primer número de la serie limitada, y es obra de Barry Windsor-Smith.
Al saber que habían sido engañados por su propio gobierno, decidieron desertar. Nadie se atrevió a perseguirles ni a descubrir su paradero.
Pero ahora existe una amenaza que no puede ser eliminado con armas convencionales...
Es hora de volver entrar en acción. Es el regreso de... Team 7.
Edición en la línea de World Comics de la serie limitada de 3 números Team 7, Objective: Hell, publicada originalmente en EE.UU: por Image /Wildstorm.
Su primer número es prólogo de la saga crossover de Wildstorm "Wildstorm Rising".
La portada de este tomo corresponde a la del primer número de la serie limitada, y es obra de Barry Windsor-Smith.
- GenresComics
Comic
First published April 13, 1995
About the author
Chuck Dixon
3,500 books1,103 followersCharles "Chuck" Dixon is an American comic book writer, perhaps best-known for long runs on Batman titles in the 1990s.
His earliest comics work was writing Evangeline first for Comico Comics in 1984 (then later for First Comics, who published the on-going series), on which he worked with his then-wife, the artist Judith Hunt. His big break came one year later, when editor Larry Hama hired him to write back-up stories for Marvel Comics' The Savage Sword of Conan.
In 1986, he began working for Eclipse Comics, writing Airboy with artist Tim Truman. Continuing to write for both Marvel and (mainly) Eclipse on these titles, as well as launching Strike! with artist Tom Lyle in August 1987 and Valkyrie with artist Paul Gulacy in October 1987, he began work on Carl Potts' Alien Legion series for Marvel's Epic Comics imprint, under editor Archie Goodwin. He also produced a three-issue adaptation of J. R. R. Tolkien's The Hobbit for Eclipse with artist David Wenzel between 1989 and 1990, and began writing Marc Spector: Moon Knight in June 1989.
His Punisher OGN Kingdom Gone (August, 1990) led to him working on the monthly The Punisher War Journal (and later, more monthly and occasional Punisher titles), and also brought him to the attention of DC Comics editor Denny O'Neil, who asked him to produce a Robin mini-series. The mini proved popular enough to spawn two sequels - The Joker's Wild (1991) and Cry of the Huntress (1992) - which led to both an ongoing monthly series (which Dixon wrote for 100 issues before leaving to work with CrossGen Comics), and to Dixon working on Detective Comics from #644-738 through the major Batman stories KnightFall & KnightsEnd (for which he helped create the key character of Bane), DC One Million , Contagion , Legacy , Cataclysm and No Man's Land . Much of his run was illustrated by Graham Nolan.
He was DC's most prolific Batman-writer in the mid-1990s (rivalled perhaps in history by Bill Finger and Dennis O'Neil) - in addition to writing Detective Comics he pioneered the individual series for Robin , Nightwing (which he wrote for 70 issues, and returned to briefly with 2005's #101) and Batgirl , as well as creating the team and book Birds of Prey .
While writing multiple Punisher and Batman comics (and October 1994's Punisher/Batman crossover), he also found time to launch Team 7 for Jim Lee's WildStorm/Image and Prophet for Rob Liefeld's Extreme Studios. He also wrote many issues of Catwoman and Green Arrow , regularly having about seven titles out each and every month between the years 1993 and 1998.
In March, 2002, Dixon turned his attention to CrossGen's output, salthough he co-wrote with Scott Beatty the origin of Barbara Gordon's Batgirl in 2003's Batgirl: Year One. For CrossGen he took over some of the comics of the out-going Mark Waid, taking over Sigil from #21, and Crux with #13. He launched Way of the Rat in June 2002, Brath (March '03), The Silken Ghost (June '03) and the pirate comic El Cazador (Oct '03), as well as editing Robert Rodi's non-Sigilverse The Crossovers. He also wrote the Ruse spin-off Archard's Agents one-shots in January and November '03 and April '04, the last released shortly before CrossGen's complete collapse forced the cancellation of all of its comics, before which Dixon wrote a single issue of Sojourn (May '04). Dixon's Way of the Rat #24, Brath #14 and El Cazador #6 were among the last comics released from the then-bankrupt publisher.
On June 10, 2008, Dixon announced on his forum that he was no longer "employed by DC Comics in any capacity."
His earliest comics work was writing Evangeline first for Comico Comics in 1984 (then later for First Comics, who published the on-going series), on which he worked with his then-wife, the artist Judith Hunt. His big break came one year later, when editor Larry Hama hired him to write back-up stories for Marvel Comics' The Savage Sword of Conan.
In 1986, he began working for Eclipse Comics, writing Airboy with artist Tim Truman. Continuing to write for both Marvel and (mainly) Eclipse on these titles, as well as launching Strike! with artist Tom Lyle in August 1987 and Valkyrie with artist Paul Gulacy in October 1987, he began work on Carl Potts' Alien Legion series for Marvel's Epic Comics imprint, under editor Archie Goodwin. He also produced a three-issue adaptation of J. R. R. Tolkien's The Hobbit for Eclipse with artist David Wenzel between 1989 and 1990, and began writing Marc Spector: Moon Knight in June 1989.
His Punisher OGN Kingdom Gone (August, 1990) led to him working on the monthly The Punisher War Journal (and later, more monthly and occasional Punisher titles), and also brought him to the attention of DC Comics editor Denny O'Neil, who asked him to produce a Robin mini-series. The mini proved popular enough to spawn two sequels - The Joker's Wild (1991) and Cry of the Huntress (1992) - which led to both an ongoing monthly series (which Dixon wrote for 100 issues before leaving to work with CrossGen Comics), and to Dixon working on Detective Comics from #644-738 through the major Batman stories KnightFall & KnightsEnd (for which he helped create the key character of Bane), DC One Million , Contagion , Legacy , Cataclysm and No Man's Land . Much of his run was illustrated by Graham Nolan.
He was DC's most prolific Batman-writer in the mid-1990s (rivalled perhaps in history by Bill Finger and Dennis O'Neil) - in addition to writing Detective Comics he pioneered the individual series for Robin , Nightwing (which he wrote for 70 issues, and returned to briefly with 2005's #101) and Batgirl , as well as creating the team and book Birds of Prey .
While writing multiple Punisher and Batman comics (and October 1994's Punisher/Batman crossover), he also found time to launch Team 7 for Jim Lee's WildStorm/Image and Prophet for Rob Liefeld's Extreme Studios. He also wrote many issues of Catwoman and Green Arrow , regularly having about seven titles out each and every month between the years 1993 and 1998.
In March, 2002, Dixon turned his attention to CrossGen's output, salthough he co-wrote with Scott Beatty the origin of Barbara Gordon's Batgirl in 2003's Batgirl: Year One. For CrossGen he took over some of the comics of the out-going Mark Waid, taking over Sigil from #21, and Crux with #13. He launched Way of the Rat in June 2002, Brath (March '03), The Silken Ghost (June '03) and the pirate comic El Cazador (Oct '03), as well as editing Robert Rodi's non-Sigilverse The Crossovers. He also wrote the Ruse spin-off Archard's Agents one-shots in January and November '03 and April '04, the last released shortly before CrossGen's complete collapse forced the cancellation of all of its comics, before which Dixon wrote a single issue of Sojourn (May '04). Dixon's Way of the Rat #24, Brath #14 and El Cazador #6 were among the last comics released from the then-bankrupt publisher.
On June 10, 2008, Dixon announced on his forum that he was no longer "employed by DC Comics in any capacity."
Ratings & Reviews
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Displaying 1 - 2 of 2 reviews
July 27, 2018
Perfecta continuación de la primera serie limitada de Team 7.
Tras este tomo, quizá lo único que puede apetecer es continuar con el especial de Larry Hama Team 7 /Team X, un one-shot que sí que continuaría a lo aquí narrado. Pero más allá de este tomo, Team 7 finaliza.
Wildstorm ha rescatado el título con nuevos personajes dentro del reboot New 52, pero nada que ver con lo narrado en estas dos impactantes primeras series limitadas. Bueno, en esas nuevas aventuras, lo que sí se tiene que ensalzar es el trabajo de Jesús Merino, que ojalá hubiera sido el dibujante en lugar de Chris Warner de este "Objetivo: Infierno". En tal caso, igual sí hubiera puesto la quinta estrella en mi puntuación.
No es que Warner lo haga mal. Es muy de la escuela Lee /Williams, pero con varios escalones por debajo en calidad.
Lo que sí impacta es la portada de Barry Windsor-Smith, una de varias que hizo en diversas colecciones de Wildstorm con el nexo común de pertenecer a la saga /crossover Wildstorm Rising. El primer número de este tomo se supone que es un prólogo a la misma, pero más allá de la portada, no hay alusión alguna a ese crossover.
La edición que hizo Planeta fue excelente, sin llegar a la calidad de los actuales cartonés de ECC.
Sea como sea, ECC a fecha de este texto (julio 2018) no ha reeditado este material en España.
Tras este tomo, quizá lo único que puede apetecer es continuar con el especial de Larry Hama Team 7 /Team X, un one-shot que sí que continuaría a lo aquí narrado. Pero más allá de este tomo, Team 7 finaliza.
Wildstorm ha rescatado el título con nuevos personajes dentro del reboot New 52, pero nada que ver con lo narrado en estas dos impactantes primeras series limitadas. Bueno, en esas nuevas aventuras, lo que sí se tiene que ensalzar es el trabajo de Jesús Merino, que ojalá hubiera sido el dibujante en lugar de Chris Warner de este "Objetivo: Infierno". En tal caso, igual sí hubiera puesto la quinta estrella en mi puntuación.
No es que Warner lo haga mal. Es muy de la escuela Lee /Williams, pero con varios escalones por debajo en calidad.
Lo que sí impacta es la portada de Barry Windsor-Smith, una de varias que hizo en diversas colecciones de Wildstorm con el nexo común de pertenecer a la saga /crossover Wildstorm Rising. El primer número de este tomo se supone que es un prólogo a la misma, pero más allá de la portada, no hay alusión alguna a ese crossover.
La edición que hizo Planeta fue excelente, sin llegar a la calidad de los actuales cartonés de ECC.
Sea como sea, ECC a fecha de este texto (julio 2018) no ha reeditado este material en España.
August 5, 2025
This is a surprisingly solid series, given how lacking were the one before and the one after it. I believe this is largely because it was written in a sort of "dead space" of the Wildstorm Universe, not simply placed sometime from the mid to late '70s, but also removing any in-universe character's involvement apart from the protagonists.
To put it simply, Dixon takes the characters and places them smack in the middle of Pol Pot's Cambodian genocide, except he does not attempt to tangle too much with reality, opting for a sort of "weird war stories" narrative and the depiction of the universe's nascent metahuman powers as something strange and terrifying.
And it works wonderfully - straightforward, no-nonsense action narrative with a few surprises that do not feel convoluted. And the art of Chris Warner is something you rarely see anymore, full of detail that serves the visual storytelling, not forgetting things, not using weird anatomy, not placing things in some vague non-space, instead always remaining mindful of where everything is - and why.
To put it simply, Dixon takes the characters and places them smack in the middle of Pol Pot's Cambodian genocide, except he does not attempt to tangle too much with reality, opting for a sort of "weird war stories" narrative and the depiction of the universe's nascent metahuman powers as something strange and terrifying.
And it works wonderfully - straightforward, no-nonsense action narrative with a few surprises that do not feel convoluted. And the art of Chris Warner is something you rarely see anymore, full of detail that serves the visual storytelling, not forgetting things, not using weird anatomy, not placing things in some vague non-space, instead always remaining mindful of where everything is - and why.
Displaying 1 - 2 of 2 reviews