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Oblivion Song #1 [Review]

oblivion_song_0001Writer/Creator: Robert Kirkman
Artist/Creator: Lorenzo De Felici
Colorist: Annalisa Leoni
Letterer: Rus Wooton
Associate Editor: Arielle Basich
Editor: Sean Mackiewicz
Cover: Lorenzo De Felici
Published by: Skybound Entertainment/Image Comics
Cover Date: March 2018
Cover Price: $3.99

Seeing some hype on this book ahead of time, when I saw it was "finally" out, I grabbed it to give this #1 a chance. I’m far from "wowed" with this, though there’s a bit of potential to it.

For the first 11 pages of the issue, the whole thing is basically some alien world with creatures that we have no idea what they are, some people that we don’t know who they are, we don’t know what’s going on, and as a comic book, I would expect a fair bit of dialogue or narration/captions to provide some exposition. Instead, it’s like something trying to be a storyboard or some other cinematic thing INSTEAD OF being a comic book.

Agh! Wha–?! Where?!

Huff! Huff! Huff!

Oh, crap.

No, no, no!

Oh, God!

Piece of junk…

C’mon… c’mon…

Work–damn you…

AHHH!

That would be sparse dialogue/word balloons for one page…but for 11 pages, that’s an average of a mere TWO words. Per PAGE.

Now, I count 23 more pages (several of which have similar quantities of dialogue), but that does put this issue at 34 pages, for "only" $3.99 compared to say, Marvel giving 20 pages for $3.99. So I suppose that makes up for this 11-page near-silent "prologue," though I’d almost expect something like that to have been a preview or prologue ISSUE or such with some other content–interview with the creators, some sketch pages, etc. and then the opening of a "regular" #1 to refer to it to remind a person there was content immediately preceding story-wise.

Essentially, over the course of this issue, we learn that some event happened in the past that shifted part of a city into some other dimension. While most have considered those people to be dead, there’s been cause for hope in some returning. We meet Nathan Crenshaw–who has some personally-developed tech allowing him to cross into that other dimension and with some sort of injection, return himself–and/or others–to Earth proper. He needs funding to be able to do this on a large scale, to thoroughly cover ground in the other dimension and rescue those that can be. He’s denied said funding, as we also come to learn that his primary motivation is rescuing his own brother. When he goes back for another go at finding him, we’re then introduced to some inhabitants/survivors of "Oblivion" including an individual certain to be crucial to the situation presented throughout the issue.

Story-wise, this issue does a fair bit of world-building, set-up, and introduction to the concept of the series. It definitely comes off as the pilot episode to a new series…even having the aforementioned cinematic feel that came off to me as counter to the purpose/point of being depicted on the page of a comic book. The scene might play well as live action, but for a comic book, I did not care for it at all–ESPECIALLY as THE opening sequence of a brand-new series.

That said, this is Robert Kirkman, who brings us The Walking Dead, and seeing as that series has run over 150 issues, there’s a lot more to go on from that series than this for now. Everything has to "start somewhere" and this being a whole different story, whole different world, and so on, there’s no context for "shorthanding" anything to convey more than what’s actually given. We’re only able to go on exactly what Kirkman gives us to figure out this world.

Visually, I have no complaint outside of just having zero context for the creatures of Oblivion and being tossed in to try to interpret what I’m seeing with no idea what I’m supposed to be looking at. The art in and of itself is good, and for the depiction of the people in the story and no point of comparison, it just works for me as "a comic book’s art." I imagine I’d have more to say for a subsequent issue, at least in terms of whether or not it stays consistent or such. I’m also glad that as short as much of the issue is on dialogue/words, at least there weren’t double-page "splash pages" to breeze by with but a glance.

This is an extra-length issue, based on assumption of 20-22 pages being a standard-length issue for $3.99; I would not expect so many pages in later issues (though would not mind them!) and would expect the extra pages made up for and allowed for the extended "silent" scenes. I’m curious to see what/how this develops, and on the strength of The Walking Dead would be inclined to give this series a shot. Of course, as with most comics and virtually all "indy" titles, I suspect I’d personally enjoy this more by waiting for a collected edition.

If you can find this for cover price (and not some jacked-up "speculator price") and enjoy Kirkman‘s work in general, I’d encourage picking this up to try for yourself and see how it comes off to you. As long as I’m not duped or otherwise vexed by a variant cover in the meantime or at point of sale, I’ll probably check out the next issue before I decide for sure if I’ll pass on the single issues and wait for a trade. Assuming this would get a "$9.99 Volume One," even getting the first couple issues AND a trade, it’ll cost about the same. That said, I’m not particularly "impressed" with this, and leave it as a more "passive" recommendation than anything "active."

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Invincible #144 [Review]

invincible_0144The End of All Things (part twelve of twelve)

Writer: Robert Kirkman
Pencilers: Ryan Ottley, Cory Walker
Inkers: Cory Walker, Mark Morales
Colorist: Nathan Fairbairn
Letterer: Rus Wooton
Editor: Sean Mackiewicz
Covers: Ryan Otley, Cory Walker, Nathan Fairbairn
Published by: Image Comics
Cover Date: February 2018
Cover Price: $5.99

I’ve read relatively few issues of Invincible over the years. Off the top of my head, I remember reading some sort of #0 issue when the main series was in its 20s on numbering. Whether I read them or not, I remember when Invincible guest-starred in a couple of Marvel issues Kirkman was writing. I want to say I read #50 or so, and I remember the one-issue-summer-crossover-event Invincible War thing. I have the first paperback of the series, and recall getting the first couple hardcovers to read from a library. And at one point, I had the title on my pull list, though that didn’t wind up lasting terribly long. Without digging all that deeply, I’ve previously covered several issues:

And now it’s been a number of years since the last time I read an issue, consciously–I believe there was a 25-cent issue last year that I got but do not recall reading. So offhand, it’s been more than 1/3 of the series since the last I read, and here I went and bought the last issue, and read the last issue. The final issue "ever," until some follow-up special or mini-series or such is done.

I don’t know what I expected, but this wasn’t it. I knew I was buying the final issue, that it comes at the end of the series, the end of a 12-part story, etc.

Needless to say…spoilers ahead!

spoiler_warning_transparent

Again, I have NOT read the previous 11 chapters of The End of All Things.

This issue picks up with Mark Grayson–Invincible–telling his son about where he comes from. The sense of deja vu that I got reading this makes me almost certain it is a recreation of a scene from the first issue of the series, as Nolan told Mark about himself and such. A fitting bookend sort of scene. We find that Mark is leaving, and Markus–his son–will be remaining on Earth with Scott, a character I’m not familiar with, but suspect was a fairly major character around #100, and apparently Markus’ acting father, or "real dad." Mark himself is now leader of the Viltrumites, and is leading them off into space to a new sort of greatness–as a peaceful people, rather than a warring empire of domination and conquest. And then the bulk of the issue is vignettes of the years that follow–as we see moments from the various characters’ lives, defining incidents, etc. Mark and his daughter visiting Earth, Markus getting his costume, incidents in space, a revelation about Mark’s wife, and finally, a reflective moment as Mark looks out upon the peace that he has led.

This is definitely a final issue sort of thing. It feels more like an epilogue…but then, an epilogue is still part of the story, so, we’re getting into stupid little technicalities there. In part through the use of the slice of life/vignettes, I suspect a number of lingering plot threads were dealt with, albeit over my head as of this first reading, addressing probable concerns such as Mark’s son, what Markus’ life might be like and if he’d follow in Invincible’s footsteps; and of course we see a number of things play out in broad strokes. In some ways, this seems to offer answers long-term and by covering so many years (centuries?) it effectively lays to rest the story as a whole. Maybe there’ll be other Invincible content or revisitations in years to come, but the broad strokes have been established; we see where everyone ENDS UP, even if we don’t have the page by page issue or story-length details.

I’m sure this is not nearly as satisfying for me as it would be if I was a lot more invested in things, if I had read more of the series and more recently. That said, I really like the way it ended, doing all this–while it gives me some idea of a handful of characters that survive, and some idea of those who don’t, and broad strokes of where things wind up, it also intrigues me–makes me want to find out the details, to go back and get to read the entire series from the start, all the way through. Even if I obtain the compendium volumes–and I suspect 3 of those would get the whole series, possibly with room for spinoffs–I have no idea when I’d actually get around to such an undertaking.

That Invincible gets to end like this–on the creators’ terms, that it gets an ending on their timing, and it becomes a "finite story," I think makes it a lot stronger in some ways, and as long as the series as a whole is kept in print, it will be interesting to see how it lasts, and what sort of fans come in "after the fact," that jump into it knowing/seeing it to be a finite story instead of just another indefinite ongoing series without end.

I’m not thrilled with high priced single issues, and this was $5.99 with multiple covers. I’m not even sure if I got the "main cover" or not, so I’m a bit less thrilled with that. But assuming I did succeed on that front, and given the extra length of this issue AND that it IS a final issue, a finale, a sendoff…I’ll give it a lot more leeway for a one-time "incident" of high pricing, as it’s definitely double-length, so at least justifies its cost.

The story is solid, as said, and seems to wrap up numerous plot threads and the like. Visually, this shares art by the two artists associated with the series, which is a nice touch, giving both a chance to handle this final issue.

All in all, I enjoyed the issue, I’m glad I got it, I’m not overly troubled by the price (only the use of variant covers), and would certainly recommend this to anyone already following the final story. It may be worthwhile also for you if you’ve read the series here and there, TO see where things have wound up and where they go. Yet, as a #144, if you’ve never read the series, this is hardly the place to start.

I wouldn’t consider this a masterpiece, but it seems like a solid wrap-up to a series, and caps off the series well while transforming it into something it would never be able to be as an indeterminate-length ongoing series.

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Spawn Kills Everyone #1 [Review]

spawn_kills_everyone_0001Spawn Kills Everyone!

Writer: Todd McFarlane
Art: JJ Kirby
Color: FCO Plascenscia
Lettering: Tom Orzechowski
Cover art: Todd McFarlane
Edtor: Todd McFarlane
Publishing Coordinator: Shannon Bailey
Art Director: Ben Timmreck
Publisher for Image Comics: Eric Stephenson
Published by: Image Comics
Cover Date: August 2016
Cover Price: $2.99

I’d THOUGHT it’d been awhile since the last issue of Spawn. Of course, with loving all the DC Rebirth stuff and recent life events going on, it’s caused a certain amount of blurring of time for me, so I didn’t think too much on it. I’ve been enjoying the Spawn title overall and particularly the price point–yet another thing to support given the actually INCREASING price point I"m noticing more frequently on Marvel books I’ve zero interest in.

Despite figuring I’d managed to somehow miss an issue of Spawn itself, I saw this listed, and then saw this last/only copy on the shelf, and once I verified it was actually "only" $2.99, included it with my double-week purchase.

There’s a certain sort of snarkiness to the cover, with a cutesy Spawn on a pile of skulls with a bunch of over-large knives (the size of swords) and a massive gun bigger than he is. In some ways poking fun at other (past?) extreme-ness…in some ways self-lampooning.

The issue’s story goes right along with this. We have this cutesy Spawn railing against his own cuteness (come to think of it, he looks like a Mopeez plushie [I would totally get one of him, provided it has the cape!] and lamenting the lack of recent movie, while all sorts of other comic characters have had movies. So he’s in San Diego at the comic con and makes his way to Hall H to BE his own movie announcement…but encounters a number of troubles along the way, that get dispatched quite graphically and violently, with plenty of call-outs to recent film franchises. And the whole of the thing is rather immature, crude, irreverent, with poop and fart jokes…and yet something to the whole of it left me having quite enjoyed this issue.

I’m not consciously familiar with the artist…but I really dug the visuals for this issue. I like this take on Spawn (or "Lil’ Spawn" or some such), and the art simply conveyed the ridiculous absurdity of the issue. Despite the "graphic violence," it still stayed somewhat cartooney…of course, I would not recommend giving this to a younger reader, but it’s definitely the sort of "fun" issue for adults, whether current, lapsed, or former fans of Spawn in general, or just looking for a truly one-shot issue with a familiar logo on the cover.

This has the "Spawning Ground" thing at the back, and a "Next Issue" box showing Spawn 265, which further lends me the notion of this being a "fill in" issue, to fill the gap between regular issues of Spawn itself. Given my reading experience with the main title and only somewhat noticing it being awhile since the previous issue I’d read, I’m not all that bothered at the lateness..but I’m definitely glad I noticed and bought this issue.

I didn’t see any "notice" in this acknowledging any lateness (and perhaps I really DID miss an issue), but this is a solid one-shot, well worth its $2.99 (compared to how frustrating some $3.99s can be that are not one-off/self-contained issues). Whether you’ve been following the ongoing title or ever did, if you just want a funny (and see other adjectives above) comic, a one-shot for $2.99…this is one to snag.

Spawn #263 [Review]

spawn0263Plot/Script/Layouts/Pencils/Inks: Erik Larsen & Todd McFarlane
Color: FCO Plascenscia
Lettering: Tom Orzechowski
Cover Art: Erik Larsen
Editor: Todd McFarlane
Published by: Image Comics
Cover Date: May 2016
Cover Price: $2.99

While I’ve no idea how long I’ll stick with it, Spawn is presently on my pull list, at minimum as my tiny individual way of trying to support both "high/continuous numbering" and the $2.99 price point. This is my seventh sequential issue that I’ve picked up…which may be a record for me now, or at least close to matching any previous time I’ve tried to follow the title.

Spawn–or rather, Al Simmons–has returned to Earth…human and normal (not disfigured)…and without his costume (despite the cover, more on that later). With only tatters keeping him from being fully nude, but still functionally naked, he finds himself gaining unwanted attention from the authorities. Resisting unwarranted arrest, he fights back and lands in the hospital for his troubles–having been shot and then bashed in the head. On waking and learning what his situation is, he requests Terry Fitzgerald…who despite relatable reservations helps him. Simmons gets set up for his new life, including the start to (presumably) a new iteration of a supporting cast and status quo.

The cover is quite misleading…we do not get Spawn–and certainly not in that classic sense–in this issue. Nor do we get an Al Simmons surprised at being human. That said, for one of extremely FEW instances in my life and as a comic person, it’s misleading because I’m actually "up" on this title. Much as the cover for #257 grabbed my attention (which started this whole current "phase" for me), I can see how this cover could be rather attention-grabbing and pique the curiosity. There’s also something kinda familiar about it–I’m not sure (nor am I planning to research the matter) if it’s an homage piece or just kinda evokes a bygone age of comic covers.

Of course, I’m quite enjoying Larsen‘s work–both the cover(s) and the interior art. Things one expects a comic’s art to do are done, and the visual style works well for this title. It "looks" and "feels" like Larsen art–it’s immediately recognizable to me as such, and I like it here.

Story-wise, I’m still far from being particularly "familiar" with characters (I had to do a quick Google search to confirm that Terry is indeed the guy Wanda married and such), but I’m enjoying the reading experience. This issue feels a lot like a "first issue," and functionally could VERY well warrant a "new #1" (and truly, many Many MANY Marvel books have "rebooted" or "renumbered" for far, far LESS a shift than the game-changing status quo we begin here!).

The backmatter backs this up…though I was disappointed at how "quickly" I got TO the backmatter of the issue. There’s no marking at the final panel of the issue, the final page of the story content–nothing saying "To Be Continued…" or any such, nor is it particularly cliffhanger-y. But darn it, I’m actually really eager to see where things go from here, how Simmons deals WITH his new status quo, how he gets back into the action and what this all means. The cynic in my worries at the shakeup being temporary…but even if it is, I have a bit of faith that it’ll at least last a few years. Simmons was gone from the title for some 65 issues–on a standard, unbroken monthly schedule of 1 issue every month on the month, that would indicate nearly 5 1/2 years. So I’m fairly confident that this status quo ought to take us to (if not through) #300 and/or beyond.

Criminal: Tenth Anniversary Special Edition Magazine

criminal_10th_anniversary_magazine_editionDeadly Hands

Editor: Ray Archer
Content Editor: Ed Brubaker
Art and Design: Sean Phillips, Elizabeth Breitweiser
Production: Drew Gill
Publishing Liasons: Eric Stephenson, Robert Kirkman
Cover: Sean Phillips
Frontispiece: Phil Jacobs
Published by: Image Comics
Cover Date: April 2016
Cover Price: $5.99

I’ve long been “aware of” Brubaker‘s Criminal series. I’ve read a few issues in the past, and quite enjoyed them…as I have most things he’s written/put out, particularly in this sort of capacity. While I’m blanking on the title offhand, I also remember sampling a spinoff/parallel series more recently, but never stuck with it at length…unfortunately, this sort of thing tends to read better in collected format to me, and when ‘everything’ is a mini-series within an overall continuity, I’d just as soon wait for an entire story…just that by the time it gets collected I’m often chasing other stuff and leave the less-familiar/top-of-the-mind stuff for “later.”

That said, I saw this issue–a 10th-anniversary special–and initially passed on it. A couple days later I saw it at another shop…along with the “Magazine Edition” of it, that REALLY caught my eye. I picked it up off the rack at that point to flip through, and put it back. Then picked it up again, flipped through a bit more, started to put it back, and looked at the price. And considered the format. As well as the fact that this is a 10th-anniversary thing, a special, a one-shot…not some new mini to invest in, not just some “latest issue of ____.” And honestly, the novelty of the thing got me.

While the “regular” edition looked just that–“regular” if a bit thick–the magazine edition is made up to look like some beat-up, well-read, well-worn 40-year-old paper product. And some of the interior pages–of this Fang, the Kung-Fu Werewolf–are as well, really steeping this in the mid/late 1970s.

Essentially, this issue gives us the slice-of-life of a boy–about 12–“on the run” with his dad. His dad had gotten a phone call without explaining, took his son, and they hit the road. We get the story from the boy’s perspective–knowing something’s up, but not fully knowledgeable of the details, just “surviving” the situation. At one stop along the way, the guy buys his son a magazine/comic–Deadly Hands–which he reads and enjoys, and then seeks out further issues. At another town, the boy is turned on to a local shop that might have an issue. While his dad disappears for a couple days, the boy is somewhat befriended by a girl, and the two bond a bit. It’s summer, there’s no school, and they’re free to hang out, do what kids do. Ultimately, the brief moment is spoiled as things come together for the kid’s dad, and we get a less than happy ending, as we truly see that this really is a “slice of life” sort of thing. Interspersed with the main story are pages the kid is reading in the Kung Fu magazine, giving us just enough to be interested in that story as well and nods to the likes of ’70s Marvel (at least, that’s where my mind went, though I’m hardly an expert on this particular genre or history of publication).

The magazine edition is a whopping $5.99. However, because of the thickness, and physical dimensions–of being magazine-sized rather than “just” a standard comic book size–as well as being a one-off novelty/nostalgia thing, I had no problem whatsoever with it. I would be hard-pressed to be willing to pay that for an ongoing series of issues, but as a one-time thing, a brand I recognize from a writer whose work I enjoy, I was willing to pay the price.

Actually reading the issue, I’m glad I did, because I enjoyed this a great deal more than most contemporary comics I’ve read lately. I drew a slight connection here to Watchmen, simply for the fact of the story-within-the-story and such, of reading pages of the story a character in the story was reading–but actually didn’t dig too deeply there. I simply enjoyed this, and the only thing taking me out of the story was looking at the effect of the pages and the jumping back and forth between “actual story” and the “story within the story,” but even that achieved something of its own effect that I liked.

Brubaker‘s name–along with the title itself–are the selling point for me. But while it’s the story that I thoroughly enjoyed, it was the visuals of the package that sold me, and thus Phillips and Breitweiser should not be overlooked. The art itself–particularly of the main story–would not have grabbed me, BUT was quite effective in getting things across, and reminded me somewhat of Steve Dillon’s work. The story–both the main and the Kung Fu Werewolf–is conveyed quite well and gives the required feel to both visually…firmly accentuating the writing and making for an attractive overall package, especially in having now read it cover to cover.

If you’re firmly into super-heroes or such, you may not care for this…but if you’re a casual-ish comics reader and/or interested in comics beyond superheroes and zombies, this was a great read. As said, a big part of the ‘fun’ for me was buying the magazine edition, but for the story itself alone, I’d recommend the issue, giving it a certain positive grade myself. While I don’t have the regular edition for comparison, this was ad-free, except the back cover’s faux-ad, part of the effect of the vintage-magazine appearance. I dare say this is at once representative of the high quality of Brubaker and co.’s work on Criminal, though this may well outshine regular issues for being longer and self-contained (whatever nods to prior Criminal stuff–if any–were over my “ignorant” head in this reading).

Spawn #258 [Review]

spawn258Story: Todd McFarlane
Art: Erik Larsen, Todd McFarlane
Color: FCO Plascenscia
Lettering: Tom Orzechowski
Publishing Coordinator: Shannon Bailey
Art Director: Ben Timmreck
Production Artists: Joe Ferstl, Jordan Butler
Publisher for Image Comics: Eric Stephenson
Cover: Erik Larsen
Editor: Todd McFarlane
Cover Date: November 2015
Cover Price: $2.99

Spawn has made it to Hell and has a message for Satan. Oh, and he fights a horde of demons, leaving only one ‘alive’ to deliver the message.

Oops…sorry! I just gave you the ENTIRE issue right there, including the end.

I noticed this issue was out this week, and having had my interest up from the previous issue, I wanted to check out Erik Larsen‘s first issue. Visually, it’s quite good. The cover is not nearly as impressive as the previous issue, but I like it well enough. And per my usual, knowing I wanted to get the issue, I didn’t flip through the interior…which proved unfortunate.

Story-wise…there are about 3 pages. Art-wise, we have a 20-page issue.

We see Spawn at the entrance to Hell, facing a huge horde of demons that knew he was coming and have been waiting for him. He plans to leave one alive to deliver a simple message to Satan…and the next 17 pages are dialogue-less, caption-less images of Spawn fighting the demons. I suppose SOMEWHAT to the issue’s credit, there’s a countdown of the number of demons remaining, and every several pages you see the count diminishing significantly.

My disgust grew with each page turned that revealed another page or pages with no…actual…words.

This was not billed as a "silent" issue. An issue-length brawl is not my idea of an issue worth being "silent." A fight like this–to me–ought to have been 3-4 pages, max…even if that meant having a grid with 50-100 thumbnail-type panels conveying the length and magnitude of Spawn’s fighting. Not an entire issue.

The final panel provides what turns out to be a sort of "punchline" to the issue as we learn what Spawn’s simple message for Satan is. Perhaps it’s supposed to evoke those action-movie one-liner/groaners (and I can picture David Caruso‘s Horatio Caine from CSI Miami donning his shades while delivering this line) or simply show us how powerful Spawn is, how singularly determined and focused he is on somehow "saving" Wanda.

But I paid $2.99 (THANKFULLY 25% cheaper than the standard $3.99 that most comics cost) for an issue to read…not look at and analyze the imagery, etc. I glaze over with certain action sequences in general in comics. I can appreciate detail and nuance to art…but when there’s some frenetic action sequence and it’s just several pages, I tend to fly through it, "taking it in" as I would a tv show that has a 3-4 second quick-action bit. I also expect forward movement in story/plot…and for me, there’s none of that here…or at least, certainly NOT an entire issue’s worth. TECHNICALLY we move from Spawn facing a horde of demons…to having defeated them. Catch-22: I feel there should be more to the issue–words–to read as he does this, if it’s significant enough to worry him, or bother him, or threaten him. If (as seems to be shown) they’re not truly a concern for him, the sequence could be pulled off far more effectively (in my mind) with turning the page and simply seeing a trail of defeated demons behind Spawn as he passes his message along.

I simply can’t believe this is indicative of Larsen‘s extended involvement with the title…and the previous issue interested me enough in seeing where things go that as frustrated as I am with this issue, I’m probably now going to check out the next issue (despite not liking this one) to see if #259 is what I expected of this one.

If you’re a fan of Larsen–particularly his art–or of McFarlane‘s inks, or seeing the two collaborating on art, and you don’t care too much or won’t be bothered by an essentially "silent" issue, you’ll probably enjoy this.

That being said…on my personal standards and expectations, I do not recommend this issue…and would actually encourage passing on it and trying the next issue, if you were considering this one.

Heck, if you want to see a bunch of pages with no dialogue/captioning, there are countless "free previews" out there to show off silent art where you still have to actually buy the issue to GET the dialogue and such…which is what this feels like.

Spawn #257 [Review]

spawn257Voyage to the Center of Hell!

Story: Todd McFarlane
Art: Szymon Kudranski
Color: FCO Plascenscia
Lettering: Tom Orzechowski
Cover Art: Jonboy
Editor/Art Assists: Todd McFarlane
Publishing Coordinator: Shannon Bailey
Art Director: Ben Timmreck
Production Artist: Andy Arias
Published by: Image Comics
Cover Date: October 2015
Cover Price: $2.99

I usually know before I set foot in the store what “new” comics I’m going to be buying. This issue of Spawn, however, was an impulse-buy…and credit really is the cover–a definite rarity for ME. There’s something to the coloring of this one that caught my attention, I think–the Venom-esque Spawn, the red and black of the cape and its shadows…as well as the fact that 257 issues in we still have the classic, original title logo whose coloring ON the cover looks fantastic to me. And as it’s been a few years now since I “checked in” on the title (back around #200) AND noting the cover price is “only” $2.99 I figured FOR $2.99 (compared to $3.99) I was willing to take a chance on a “random” single issue.

For the most part, I may as well be lost, on this issue, read in isolation from any surrounding issues or bothering to try to remember what I’ve seen/read/”heard” recently of the title. Thankfully, there is a “previously” blurb that sets some loose context.

Essentially…Spawn’s (Al Simmons) wife Wanda has been killed, and he wants to save her. To do so, he needs the help of an angel and a demon…which is where Michael and the Violator (Clown) come into play. With their assistance, he gets to the entrance of the Tunnel, where he wants to be…and whatever happens from there, we will see unfold in coming issues (apparently to be drawn by Savage Dragon creator/writer/artist Erik Larsen).

As said, I really liked the cover, enough that I bought the issue. The interior art didn’t exactly stand out to me–I was reading for the story and didn’t really care ABOUT the art. But it works very well and kept the tone and feel I’d expect OF a Spawn book, and never left me wondering at some kind of wonkiness to the visual style. The linework has a certain roughness I like for conveying the dark stuff of the issue…and the muted colors accentuate that very well.

Story-wise, I wonder if I came in at the tail-end of an arc, or part of set up for the coming arc–I’m not really sure. I’m truly not familiar enough with the title or characters to have any real sense of nuances for them, but nothing here stood out as contradictory to whatever knowledge I do have. There’s not really much given in the way of exposition–this clearly is not geared specifically AS a jumping on-point–but I definitely like seeing McFarlane on the story credit, even if not art. That smooths over any roughness (to me) of the story making sense or not…just appreciating the original creator’s on the book. (To say nothing of my choosing to just jump in for an issue without seeking an entry point).

All that said…I’m interested enough in where things go from here, just from reading this issue, that if I happen to notice the next issue, I’ll probably pick it up. I’ve never engaged with this book on a long-term basis, so I’m not interested now in tossing it on my pull-list or anything. I’m also intrigued at the notion of Larsen on the art and seeing what Spawn looks like in his style.

All in all, I’d say this is “just another issue” of the title…if you like the title, you’ll probably want to get it; if you don’t care, there’s really nothing here that says the story itself is anything essential or groundbreaking (maybe the next issue will have/be that).

Still…for my $2.99, I am definitely satisfied with my random purchase of this issue.

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