Todd McFarlane is a Canadian comic book artist, writer, toy manufacturer/designer, and media entrepreneur who is best known as the creator of the epic occult fantasy series Spawn.
In the late 1980s and early 1990s, McFarlane became a comic book superstar due to his work on Marvel Comics' Spider-Man franchise. In 1992, he helped form Image Comics, pulling the occult anti-hero character Spawn from his high school portfolio and updating him for the 1990s. Spawn was one of America's most popular heroes in the 1990's and encouraged a trend in creator-owned comic book properties.
In recent years, McFarlane has illustrated comic books less often, focusing on entrepreneurial efforts, such as McFarlane Toys and Todd McFarlane Entertainment, a film and animation studio.
In September, 2006, it was announced that McFarlane will be the Art Director of the newly formed 38 Studios, formerly Green Monster Games, founded by Curt Schilling.
McFarlane used to be co-owner of National Hockey League's Edmonton Oilers but sold his shares to Daryl Katz. He's also a high-profile collector of history-making baseballs.
Sufficiently bad ass and a visual delight but my goodness with the monologue-ing. The text boxes half feel like audio descriptions of the stunningly dynamic artwork and half like a wannabe Rorschach from Watchmen and that’s just when they’re not telling you what piece of information is from other issues of Spawn or even from other issues of an adjacent series not featured in this volume.
As much as it does keep wanting to remind you this is just a segment in a broader story it does somewhat work as a stand alone story even as a volume 6 but overall it is at its best when Spawn travels past the confines of the alleyway and lets the plot go further than the wallowing.
Book 6. As Spawn tries to define his role as king of New York's alleys, he finds himself attacked by The Curse, a religious zealot intent on turning the homeless denizens of those alleys against their Hellspawn protector. Spawn is then forced to confront his ex-wife and learn how far from Al Simmons he's fallen before undertaking a road trip across America, dealing out justice to child-beaters and the Ku Klux Klan.
There's definitely some good stuff here, with the themes and narrative of Spawn trying to figure out who he is now that he accepts he can't return of Al Simmons' life being particularly engaging. It's also always nice to see the KKK being shown as fat, stupid and pathetic, with justice and vengeance their just-desserts.
Unfortunately, this book is just far too fragmented in its storytelling, with plotlines that go nowhere and narrative jumps that come out of that self-same nowhere. It certainly doesn't help that these stories have been interwoven with those of other Image Comics series, so that huge chunks of Spawn's story happens elsewhere and we're just left with a brief text box to explain to us things like why the main character is suddenly in Alabama and is badly weakened. In short, there's no narrative cohesion to this book, so the good elements never get chance to really shine.
Spawn isn't know for having great writing, but this is the first time that McFarlane's storytelling has been really distracting to me. There are just way too many pointless captions that add nothing. He really needed a good editor back then. Very little happens so this book just feels like filler. Capullo's art is pretty fantastic though, so that's great.
This is where Greg Capullo's art starts to kick in, and where Wanda finally puts together the pieces of who Spawn is. It's progress for a highly uneven and inconsistent series.
Aunque este tomo lo leí de la vieja edición mexicana que tenía una traducción espantosa, recuerdo estos capítulos como muy entretenidos y con un nivel de dibujo muy alto. Quizás debería promediarlo para arriba porque tiene algunas de las historias que más me gustaron en su momento.