Classic Comic Compendium: SPAWN #8

I really feel like saying the ’90s have been a little bit of an odd decade for the work of Alan Moore is secure.

He was working with Eddie Campbell all through the last decade on what’s now thought-about certainly one of his biggest works, From Hell, however the fanfare and accolades for it largely got here when it was accomplished and picked up. And on the finish of decade, went on to launch what would grow to be the powerhouse of America’s Best Comics.

The lion’s share of his most seen work got here for the upstart indie writer, Image Comics. Given the artist-led creator-owned proposition of the founders, it would appear to be an odd match. And I do know that some individuals say that Moore was slumming it for a paycheque, which is a disservice to him and his collaborators. But working with Todd McFarlane, Rob Liefeld, Jim Lee, and extra gave us some distinctive entries into his catalogue. Ranging from popcorn horror like his Violator minis, to a different profound exploration of the Superman & Captain Marvel archetypes in Supreme, by means of to a legendary run on WildCATs.

And all of it appeared to start out with a guest-issue of Spawn.

“what kind of afterlife is this?”

Spawn #8, by Moore, McFarlane, Steve Oliff, Reuben Rude, Olyoptics, and Tom Orzechowski, kicked off a four-issue stint of guest-writers. It was an fascinating experiment. Moore and Neil Gaiman infused new materials with their respective points. Frank Miller’s exists. Dave Sim’s was by no means reprinted and a few say he disappeared into the void. I can’t say any of them have been dangerous. As nicely, Moore, Gaiman, and Miller all went on to contribute extra to the early days of McFarlane’s universe.

“In Heaven (Everything is Fine)” follows serial killer Billy Kincaid into Hell. It’s a comparatively easy story of Kincaid getting his bearings within the afterlife, operating afoul of various locals alongside different newly damned people, and delivering a quick, however expansive, construct up of the lore for Spawn‘s hell. It takes some of its cues from Dante’s Inferno, together with an fascinating tackle the Wood of Suicides, however it’s not restricted by it. Moore and McFarlane draw up some new maps for hell that may grow to be additional explored over the a long time of the collection.

In some methods, it’s sort of like what Moore did for DC within the legendary “Down Amongst the Dead Men” story from Swamp Thing Annual #2, although with a wholly completely different impact for Kincaid’s journey. And revelation for what hell, and notably Malebolgia, intends for him.

“There’s ten deadlands.”

To me personally, this was the best period of Todd McFarlane’s paintings.

Although I very a lot get pleasure from his earlier work on Incredible Hulk and Spider-Man, and his occasional later work different than simply inking continues to be good, the primary couple years of Spawn have been unimaginable. The element of his linework mixed with some fascinating character design and compelling web page layouts to end in tales that have been persistently a pleasure to learn. It appears like McFarlane is absolutely attempting to push the envelope along with his storytelling and it appears like he actually achieved some nice work proper by means of till Greg Capullo took over the primary artwork duties.

It shines by means of with some bits (just like the tiered opening) that really feel like they might have been Moore structural parts within the script because it opens up into extra sophisticated layouts and splash pages which are an indicator of McFarlane’s personal scripting. That combination is certainly one thing that made these points completely different from a storytelling perspective. Along with some fascinating designs for the denizens of hell.

The line artwork is superbly enhanced by the colors from Steve Oliff, Reuben Rude, and Olyoptics. Some comparatively early day laptop colors and separations can reprint unusually, however that by no means appears to be the case for Oliff’s crew. Likewise with Tom Orzechowski’s letters. Which embody an fascinating decrease case font for Kincaid’s narration and speech that really feel like a baby’s.

“But y’see, you, you’re special. You’re a dead child murderer, and we appreciate that in a guy.”

I believe it’s a disgrace that a lot of Moore’s Image output is uncollected and/or out of print. Some of it as a consequence of in all probability sticky copyright. Others as a consequence of Moore not wanting it reprinted. Something like Spawn: Blood Feud, with some snazzy artwork by Tony Daniel, I’m sort of not sure why. Since I’d suppose it will be purely beneath McFarlane’s purview. Interestingly, there’s a German language version of that enjoyable vampire story on the market.

At least we do, nonetheless, have Spawn #8 from Moore, McFarlane, Oliff, Rude, Olyoptics, and Orzechowski nonetheless extant. It’s an fascinating little bit of world-building following one of many earlier, darker characters in Spawn’s universe.

Classic Comic Compendium: SPAWN #8

Spawn #8 – “In Heaven”
Writer: Alan Moore
Artist: Todd McFarlane
Colourists: Steve Oliff, Reuben Rude, & Olyoptics
Letterer: Tom Orzechowski
Publisher: Image Comics
Release Date: February 1993
Available collected in Spawn Origins Collection – Volume 2