Spawn decides to find Wanda, but fears her reaction to what he's become. With his new powers, he attempts to change his ravaged features, with disappointing results. Exhausted, he collapses, only to be taunted by a foul-mouthed dwarf in clown makeup.
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.
I think I prefer the first one. This one seem a bit repetitive and in a 22 pages comic... this isn't good. Not bad, introducing an important villain to the series but it felt a bit empty in the story evolution!
Spawn is starting to put some of the pieces together, he now realises he is back to see his wife but can't remember who she is. He also remembers something of his profession, especially his boss and how they argued a lot before his death. Spawn tries using his power to replicate his old face as he now sees himself as a monster, but is horrified to see that he can only make himself a white man, not the african american he is.
The Violator/Clown talks a lot about destroying Spawn and adds a few more mobsters to hells list before trying to goad Spawn.
As Spawn gets back his memories the threads of the story start to come together a bit more. The memories of his boss, Jason Wynn, add more to his backstory of how he came to be killed and why, as black ops he did a lot of unsavoury things but he is disgusted that Jason seemed to get enjoyment from the destruction of others.
He begins to see how the devil is toying with him, giving him back memories sporadically and messing with his head as he makes it impossible for him to make himself whole and have his true identity.
Sam and Twitch add some narration for the ongoing investigation into the mob hits but don't get a lot to do.
Early Spawn had the same problems I encountered two dozen issues later in the stories that McFarlane plotted and scripted: Spawn whining too much, sluggish pacing, and repetitive stories.
When I saw Spawn's transformation, I was like "wait, I'm new to this character but through cultural osmosis I thought I knew he was..."
And he is! I didn't realize this series had such an interesting move. I'm just seeing a lot of fascinating choices with this character that really make him unique. Not just among comic book heroes, but characters from all across culture.
Nothing huge has actually happened yet, but it's going to take a lot of bad choices to get me off of this train.
I read book 1 years ago and I don’t really remember much. That being said, you catch up quickly in this book, the art is fantastic, and the storyline you can either take it or leave it but it’s not bad.
Spawn still searches for answers, Violator providing a few "lighter" moments and of course our duo of Sam and Twitch pop-up ponder the necessity for excessive description of violent acts that newspapers like to provide their readers with.
Spawn #2 builds tension with the Violator lurking in the shadows and introduces the Hellish rules of Spawn’s powers. The noir atmosphere is gritty and immersive. Yet, character dialogue feels stiff, and the world still lacks cohesion. There’s promise, but the pacing drags.