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Spider-Man Omnibus Collection
Spider-Man by Todd Mcfarlane Omnibus
Todd McFarlane became a superstar illustrating the Amazing Spider-Man, but he changed the industry forever with his next project: the "adjectiveless" solo title SPIDER-MAN! Taking on both writing and art duties, McFarlane ushered Peter Parker into a gritty new era - and it began with Torment! When blood washes the Big Apple's streets, the webslinger heads into the sewers to stop the homicidal rampage of the Lizard. But what is driving his old friend and foe? Plus, in the ultimate Nineties team-up, Spidey joins X-Force to battle the unstoppable Juggernaut!
COLLECTING: SPIDER-MAN (1990) 1-14, 16; X-FORCE (1991) 4
COLLECTING: SPIDER-MAN (1990) 1-14, 16; X-FORCE (1991) 4
440 pages, Hardcover
First published August 16, 2016
About the author
Todd McFarlane
1,965 books474 followersTodd 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.
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.
Ratings & Reviews
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Displaying 1 - 30 of 112 reviews
May 7, 2022
The first Spider-Man run I’ve ever read (I know!), it’s dark and full of ruthless villains, while Spidey, married and upbeat as ever, burns like a beacon of hope in McFarlane’s stylish hellscape.
October 17, 2021
When I was younger I found the comics and for a wee lad Spiderman aka Peter Parker is perhaps the most relatable superhero for young men. After a while I lost sight until being an older lad somebody told me to to look into the title again because it got a new artist who was totally amazing. The artist in question was Todd McFarlane and he did blow my mind and a fan, buying the Spiderman title once again.
This collection does contain a series created for and by McFarlane and up to instalment 14 it was being pencilled by Todd and then he left to create his own legendary creature. The art and the stories are quite brilliant and it is sad that the McFarlane period ends in a crossover with X-Force in a story that is poor and makes no sense whatsoever for the reader of this Spiderman series, it pulls the high quality down and the editor in his wisdom decided to add the second part of the story by another artist. With the exception of the crossover the rest of the stories often in more than one part are vintage McFarlane and are quite beautiful and very original drawn.
I loved this collection in Hardcover and will reread it many times in years to come. I am one happy fan boy I honestly admit.
This collection does contain a series created for and by McFarlane and up to instalment 14 it was being pencilled by Todd and then he left to create his own legendary creature. The art and the stories are quite brilliant and it is sad that the McFarlane period ends in a crossover with X-Force in a story that is poor and makes no sense whatsoever for the reader of this Spiderman series, it pulls the high quality down and the editor in his wisdom decided to add the second part of the story by another artist. With the exception of the crossover the rest of the stories often in more than one part are vintage McFarlane and are quite beautiful and very original drawn.
I loved this collection in Hardcover and will reread it many times in years to come. I am one happy fan boy I honestly admit.
August 13, 2018
McFarlane is one really messed up dude. Many dark and disturbing themes used in Spawn were first featured in McFarlane's Spider-Man title. Kidnapping, torture, abuse and murder of children is repeated again and again across McFarlane's work. It's shown in the Hobgoblin 2-part story, immediately thereafter in the Perceptions arc (rather graphically in some cases where the characters actually dig up bodies) and again in Spawn. That's not something I think anyone finds enjoyable to read or think about yet McFarlane showcases it again and again.
I think this Omnibus best serves as a proto-Image/Spawn book. Check out the characters in the Sub City arc. One looks like a dead ringer for the Violator Clown which later showed up in Spawn. Also there are several analogues through the series that could easily have been Sam & Twitch and various garbage dwelling bums from Spawn. You can really tell that McFarlane was trying hard and the book sold a bazillion copies, so it was obviously a success but it's easier now to see the series' faults when revisited thru a modern lens.
I think this Omnibus best serves as a proto-Image/Spawn book. Check out the characters in the Sub City arc. One looks like a dead ringer for the Violator Clown which later showed up in Spawn. Also there are several analogues through the series that could easily have been Sam & Twitch and various garbage dwelling bums from Spawn. You can really tell that McFarlane was trying hard and the book sold a bazillion copies, so it was obviously a success but it's easier now to see the series' faults when revisited thru a modern lens.
October 1, 2019
McFarlane's art has his merits, he was undoubtedly one of the faces of the 90s, he draws a mean Spidey in costume, but everything else looks a bit off, specially the faces, and he's also a pretty crappy writer.
August 17, 2023
Todd McFarlane is no doubt a talented artist. If you don't like his style, that is fine. I admit, sometimes it's a bit hard to understand what's happening on the page, but overall his art is unique and stylish. His writing? Not so much.
Back in the late 80's Todd made a name for himself, and Marvel wanted that name all over their books so in the 90s they gave Todd his own Spider-Man book. This was huge, and it became one of the best, if not best, selling issue for Marvel at the time. With Todd's over the top but stylish art, Marvel couldn't lose on this move.
Reading it over 30 years later the art is still flashly and alive, which is nice, but the stories? Ouch.
The first is probably one of the better in the collection, Torment, but it's basically about a voodoo like woman trying to torment Spidy. She's using the Lizard as a weapon against him, forcing Spider-Man to eventually clash with the Lizard. The fights are brutal, and this is a darker take for the web-head. I will say it starts off interesting enough, and some great looking panels, but the story simmers down quick.
Then we get a Hobgoblin that's a two parter and it's not bad either. Actually pretty fun, and Hobgoblin is as cool looking as ever. Add in a little boy who's been basically brainwashed by the Goblin and Spider-Man and Ghost Rider working together but also at odds with each other and you have a entertaining story.
Then we take a dip down into Wendigo as our main villain or plot point for the next story. This one is extremely drawn out with a terrible subplot for Peter Parker as a reporter to deal with. Wolverine is entertaining enough coming into this story but even he can't save this sad as hell and boring team up by the end. Boring would best describe this one.
Which is more than I can say for the terrible Moribus closing storyline that was not only confusing but hard to following. Mcfarlane was leaving Marvel soon and you can see it. Then a single issue with Juggy fails to live up to other issues of Spider-man vs Juggernaunt, and this one is a sleepy story with the terribly bland x-force to boot.
Overall this is a art book. If wanna see some great poses, fights, and designs, this is worth going through and enjoying it for the art alone. I certainly did. And first half is decent enough with the stories. But the second half is pretty bad and not really worth reading at all if I'm being 100% honest here.
A 2 out of 5.
Back in the late 80's Todd made a name for himself, and Marvel wanted that name all over their books so in the 90s they gave Todd his own Spider-Man book. This was huge, and it became one of the best, if not best, selling issue for Marvel at the time. With Todd's over the top but stylish art, Marvel couldn't lose on this move.
Reading it over 30 years later the art is still flashly and alive, which is nice, but the stories? Ouch.
The first is probably one of the better in the collection, Torment, but it's basically about a voodoo like woman trying to torment Spidy. She's using the Lizard as a weapon against him, forcing Spider-Man to eventually clash with the Lizard. The fights are brutal, and this is a darker take for the web-head. I will say it starts off interesting enough, and some great looking panels, but the story simmers down quick.
Then we get a Hobgoblin that's a two parter and it's not bad either. Actually pretty fun, and Hobgoblin is as cool looking as ever. Add in a little boy who's been basically brainwashed by the Goblin and Spider-Man and Ghost Rider working together but also at odds with each other and you have a entertaining story.
Then we take a dip down into Wendigo as our main villain or plot point for the next story. This one is extremely drawn out with a terrible subplot for Peter Parker as a reporter to deal with. Wolverine is entertaining enough coming into this story but even he can't save this sad as hell and boring team up by the end. Boring would best describe this one.
Which is more than I can say for the terrible Moribus closing storyline that was not only confusing but hard to following. Mcfarlane was leaving Marvel soon and you can see it. Then a single issue with Juggy fails to live up to other issues of Spider-man vs Juggernaunt, and this one is a sleepy story with the terribly bland x-force to boot.
Overall this is a art book. If wanna see some great poses, fights, and designs, this is worth going through and enjoying it for the art alone. I certainly did. And first half is decent enough with the stories. But the second half is pretty bad and not really worth reading at all if I'm being 100% honest here.
A 2 out of 5.
October 30, 2022
I remember, when I was young, the moment when Todd McFarlane joined the Spiderman comics series. His art style was something fresh and unique. It really appealed to me. Thus this collection of McFarlane's Spiderman work was really cool.
Collecting Spiderman 1-14, and 16. and X-Force #4. The best story is the "Torment" story arc. A witch has cast a spell on Spiderman and the Lizard causing deep conflict. A cool and creepy story.
Then the story covers Spiderman and Morbius, the Living Vampire, and it's an interesting story about Morbius living in the sewers and his influence over the Morlocks.
The weakest story was the X-Force crossover where Spiderman and the X-Force must face the Juggernaut in combat.
The volume ended with some cool interviews, alternate cover art and some cool artwork. If you're a McFarlane fan, or a Spiderman fan, then you will really enjoy this collection.
Collecting Spiderman 1-14, and 16. and X-Force #4. The best story is the "Torment" story arc. A witch has cast a spell on Spiderman and the Lizard causing deep conflict. A cool and creepy story.
Then the story covers Spiderman and Morbius, the Living Vampire, and it's an interesting story about Morbius living in the sewers and his influence over the Morlocks.
The weakest story was the X-Force crossover where Spiderman and the X-Force must face the Juggernaut in combat.
The volume ended with some cool interviews, alternate cover art and some cool artwork. If you're a McFarlane fan, or a Spiderman fan, then you will really enjoy this collection.
July 6, 2023
Marvel: So, Todd, how much kidnapping, torture, child abuse and disturbing artwork will there be in this new series of our friendely neighborhood Spider-Man?
Todd McFarlane: Yes.
Todd McFarlane: Yes.
January 6, 2022
Enjoyable.
November 9, 2021
If I had to choose one word to summarize how I feel about this book, it is “conflicted”
On the one hand, you have the first two stories (Torment, Issues 1-5. And Hobgoblin, Issues 6 and 7) and all it is, is genuine fantastic art with terrible writing that is so concerned with being dark that sounds like Linkin Park lyrics. And i found enjoyment in that. It’s not for everyone, but it is doing exactly what it is trying to do. And I liked those stories for what they were. Beautiful illustrations with not much substance behind it all. Side note, I think this is the greatest Spider-Man art of all time. John Romita SR is second place but I think this is perfect art and a pleasure to look at. And I was content with reading the remaining 7 issues assuming this was all the book had to offer. Perfect art and the lyrics to In The End.
I was wrong
Perceptions, Issues 8-12 were fantastically written on top of having that same old 10/10 art. A great action packed and wonderfully paced story about animal cruelty involving the Wendigo and Wolverine.
And then Sub City came along and was a dip in writing quality again, but definitely still better than the first two stories, but still a dip.
I’m just left asking what the hell happened? All of these stories have something for someone.
1. Torment. Great Art.
2. Hobgoblin. Great Art and an interesting interpretation of the Hobgoblin.
3. Perceptions. Great Art, Great Writing
4. Sub-City. Great Art, Black Suited Spidey
All good in their own right, but Perceptions seems like it was written by a different person. It may seem like I’m complaining. I don’t mean to, I still had a great time reading this book even in the lesser storylines.
So if you are to take anything away from my unorganized and incoherent rambling, it is this, go into this book expecting great Art, and mid, to good, to great writing, and you’ll have a good time with it.
8/10. Will read again.
On the one hand, you have the first two stories (Torment, Issues 1-5. And Hobgoblin, Issues 6 and 7) and all it is, is genuine fantastic art with terrible writing that is so concerned with being dark that sounds like Linkin Park lyrics. And i found enjoyment in that. It’s not for everyone, but it is doing exactly what it is trying to do. And I liked those stories for what they were. Beautiful illustrations with not much substance behind it all. Side note, I think this is the greatest Spider-Man art of all time. John Romita SR is second place but I think this is perfect art and a pleasure to look at. And I was content with reading the remaining 7 issues assuming this was all the book had to offer. Perfect art and the lyrics to In The End.
I was wrong
Perceptions, Issues 8-12 were fantastically written on top of having that same old 10/10 art. A great action packed and wonderfully paced story about animal cruelty involving the Wendigo and Wolverine.
And then Sub City came along and was a dip in writing quality again, but definitely still better than the first two stories, but still a dip.
I’m just left asking what the hell happened? All of these stories have something for someone.
1. Torment. Great Art.
2. Hobgoblin. Great Art and an interesting interpretation of the Hobgoblin.
3. Perceptions. Great Art, Great Writing
4. Sub-City. Great Art, Black Suited Spidey
All good in their own right, but Perceptions seems like it was written by a different person. It may seem like I’m complaining. I don’t mean to, I still had a great time reading this book even in the lesser storylines.
So if you are to take anything away from my unorganized and incoherent rambling, it is this, go into this book expecting great Art, and mid, to good, to great writing, and you’ll have a good time with it.
8/10. Will read again.
January 5, 2022
It's so refreshing to see everyone's favourite web-head tackle such dark subject matter for a change in this extremely adult take on Spider-man. Gripping and fast paced with some genuinely unsettling moments Todd McFarlane proves why he is a comic book master yet again
June 9, 2017
Just about the worst Spider-man book I've ever attempted to read. I gave it a good try with an open mind but... I really just hated everything about it.
April 12, 2026
(Zero spoiler review) 2.5/5
God damn it really irks me when an uppity artist thinks they've got what it takes to be a writer. And if there was ever an example of an artist unduly flexing their absolutely unwarranted ability to write the book they were drawing, its Todd McFarlane's run on Spiderman. You kinda get the feeling they would roll their eyes whenever a script came in, then blow about a metric shit tonne of smoke up his arse, just to keep him drawing the damn thing. Talentless ten year old edgelords could probably do a better job if I'm honest. And the art doesn't even look amazing whenever Todd isn't on inks. But when he is... You understand why they let him write the damn thing. Anything to keep the man drawing. It really is a shame they couldn't have gotten a generational writing talent on there with him. Could have been something for the ages. 2.5/5
OmniBen.
OmniBen.
God damn it really irks me when an uppity artist thinks they've got what it takes to be a writer. And if there was ever an example of an artist unduly flexing their absolutely unwarranted ability to write the book they were drawing, its Todd McFarlane's run on Spiderman. You kinda get the feeling they would roll their eyes whenever a script came in, then blow about a metric shit tonne of smoke up his arse, just to keep him drawing the damn thing. Talentless ten year old edgelords could probably do a better job if I'm honest. And the art doesn't even look amazing whenever Todd isn't on inks. But when he is... You understand why they let him write the damn thing. Anything to keep the man drawing. It really is a shame they couldn't have gotten a generational writing talent on there with him. Could have been something for the ages. 2.5/5
OmniBen.
OmniBen.
September 28, 2022
It was impossible to get all the McFarlane Spider-Man comics when they were printed in the 90s--collectors and speculators bought them up as fast as they could. So this is actually the first time I've read them all in order.
McFarlane was quite the sensation at the time, and while some of his stuff is pretty cheesy now (Mary Jane's hair and outfits in particular) his take on Spider-Man was innovative and definitely changed the way the character was drawn for decades (lots of webs, huge eyes, thinner body, and humanly impossible spider-like poses).
The stories are kind of meh in retrospect. The villains are cool (he complained about having to use ones not in use in the four other Spider-Man comics of the time) but who doesn't like the Lizard, Ghost Rider, Hobgoblin, Morbius (It was Morbin' time way back when!) and Juggernaut?
Spider-Man was the first comic McFarlane actually wrote--he was known more for his art--and while his stories aren't bad (except the confusing X-Force crossover thing) they aren't anything groundbreaking, though they are certainly darker and more adult than other Spidey comics (though in line with Batman, Judge Dredd, and a lot of other comics at the time).
The themes, insofar as there are any, are also in line with the times--Spidey looks askance at the vengeance dealing "heroes" and anti-heroes of the era, like Wolverine and Ghost Rider. Why can't they be more like your friendly neighborhood Spider-Man? Ironic because McFarlane's stories veered more into their territory, with bits of horror and darkness all about.
Anyway, it's silly to over-analyze comics from 30 or 40 years ago, and these are a fun (if slightly dark) read. It's a shame the voodoo villain never really gets fleshed out or a good final battle.
Worth it to see McFarlane's skinny Spidey again, plus the wicked, overflowing teeth of the Lizard, Hobgoblin, Wendigo and more. Excelsior! (Yeah, McFarlane didn't really do the Marvel massive adjective thing either.)
And maybe also for the sheer ridiculousness of the X-men/Force/Factor bonanza, when Marvel cranked out multitudes of overdrawn 90s X-team characters with impossible costumes, "edgy" attitudes, and not much else.
McFarlane was quite the sensation at the time, and while some of his stuff is pretty cheesy now (Mary Jane's hair and outfits in particular) his take on Spider-Man was innovative and definitely changed the way the character was drawn for decades (lots of webs, huge eyes, thinner body, and humanly impossible spider-like poses).
The stories are kind of meh in retrospect. The villains are cool (he complained about having to use ones not in use in the four other Spider-Man comics of the time) but who doesn't like the Lizard, Ghost Rider, Hobgoblin, Morbius (It was Morbin' time way back when!) and Juggernaut?
Spider-Man was the first comic McFarlane actually wrote--he was known more for his art--and while his stories aren't bad (except the confusing X-Force crossover thing) they aren't anything groundbreaking, though they are certainly darker and more adult than other Spidey comics (though in line with Batman, Judge Dredd, and a lot of other comics at the time).
The themes, insofar as there are any, are also in line with the times--Spidey looks askance at the vengeance dealing "heroes" and anti-heroes of the era, like Wolverine and Ghost Rider. Why can't they be more like your friendly neighborhood Spider-Man? Ironic because McFarlane's stories veered more into their territory, with bits of horror and darkness all about.
Anyway, it's silly to over-analyze comics from 30 or 40 years ago, and these are a fun (if slightly dark) read. It's a shame the voodoo villain never really gets fleshed out or a good final battle.
Worth it to see McFarlane's skinny Spidey again, plus the wicked, overflowing teeth of the Lizard, Hobgoblin, Wendigo and more. Excelsior! (Yeah, McFarlane didn't really do the Marvel massive adjective thing either.)
And maybe also for the sheer ridiculousness of the X-men/Force/Factor bonanza, when Marvel cranked out multitudes of overdrawn 90s X-team characters with impossible costumes, "edgy" attitudes, and not much else.
October 8, 2020
Pues estuvo bien. ¿Como olvidar aquellos años cuando los superhéroes estaban super ponchados y hacían poses imposibles para cualquier contorsionista en los posters y portadas? Los 90´s fueron una época extraña y fue cuando los antihéroes, los personajes rudos y por supuesto los personajes grotescos estaban de moda y todos los medios como el cine, la televisión y los cómics querían reflejar una sociedad problemática con historias que involucraban el sexo, las drogas y las armas. En esos tiempos a pesar de que no había tanta libertad creativa como los fans quisiéramos creer, lo cierto es que la gente que vivió en ese entonces normalizaba más ciertos temas de los que hoy en día sería imposible escribir incluso si solo se insinúan.
Tormento y Mascaras de Todd McFarlane es precisamente eso; un producto de su época y una recopilación del trabajo de este guionista/artista con Spiderman. Para ponerlos en contexto, la época dorada de los cómics había finalizado y después de una caída en picada, la cosa poco a poco se fue recuperando, aunque jamás al mismo nivel de las glorias pasadas. Fue entonces que Marvel con la idea de renovar a sus personajes y de volver a vender con lo que en ese entonces era una novedad y para atraer lectores más adultos, trajo a Todd McFarlane para que trabajara con el personaje que más lectores tenía: Spiderman. Aunque este al igual que otros personajes del medio como Batman ya tenían varias series regulares, por lo cual a Todd se le dio su propia serie llamada “Spider Man” a secas donde el sería el guionista principal y el artista encargado de dibujar aunque para ser honesto, muchos fans (incluyéndome) pensamos que se le da mucho mejor el dibujo que la escritura, pues fue su estilo tan llamativo lo que en ese entonces atrajo de nuevo la atención a Spidey, tanto así que por lo que tengo entendido, Todd logró que se vendieran 3 millones de ejemplares de su primer número convirtiéndose en el cómic más vendido de la historia y si le sumamos a eso que fue el creador de Venom con ese diseño tan letal de sus primeros números y que posteriormente dejó Marvel por la falta de libertad creativa para fundar Image Comics y crear a Spawn (uno de los personajes más memorables de la época) pues creo que no podemos dudar de su talento y de que el hombre vende historietas.
Entonces ¿Qué me pareció Tormento y Mascaras? Regular sería la forma más simple de resumirlo pero creo que es una respuesta muy insípida para una introducción a la reseña tan larga, así que voy a ser claro y les diré que disfrute mucho esta edición y que en general las historias me gustaron pero como ya lo dije antes, lo de Todd McFarlane es el arte no la escritura y en estas historias podemos encontrar un dibujo espectacular, Spidey se ve intimidante para los criminales y sus villanos se ven grotescos como si fueran versiones de pesadilla de los mismos.
Hablando más en concreto del contenido de esta edición se nos presentan 4 arcos argumentales:
Tormento: Contiene 5 números donde se nos narra una batalla sanguinaria entre El lagarto y Spiderman y que sirve como secuela a La última cacería de Kraven, mientras que en los primeros 2 números se nos da un preámbulo para la batalla, los últimos 3 solo serán eso, una brutal pelea por sobrevivir donde incluso podemos ver a Spidey usando fuerza letal, al lagarto devorando gente y criminales que se ponen de lo más violentos con sus víctimas…
Mascaras: De solo 2 números, Spidey y Ghost Rider deberán hacer equipo para detener a una versión psicótica y asesina de Hobgoblin que ha sido enloquecido por un demonio a cambio de obtener poderes satánicos (muy en la onda de Spawn), el problema es que después de aniquilar a un montón de personas, un niño sobreviviente se ha encariñado con el…tema turbio y como dije antes, al día de hoy ya no se podrían escribir de estas cosas, vamos que incluso vemos a Spidey torturando a un cocainómano para obtener información…
Sub-ciudad: También de solo 2 cómics, unos seres humanos deformes que practican la endogamia y que viven en las antiguas estaciones del metro abandonadas de New York están secuestrando vagabundos para alimentar a Morbius con su sangre, de todas las historias aquí es donde más se puede ver el arte grotesco que después sería algo regular en Spawn, lo que más me gustó es que podemos ver de regreso al traje negro, lo raro es que aquí se observa que Peter y Mary Jane tienen una vida sexual curiosa por lo menos y creo que es donde más se nota que estos cómics estaban enfocados para adultos.
SABOTAGE: Se compone de 2 cómics; Spiderman hace equipo con los X-Force para detener a Juggernaut y Black Tom que acaban de volar el techo de las torres gemelas….ya se ya se, se que es redundante pero al día de hoy si Marvel se atreviera a volver a hacer esto seguro los cancelarían en redes porque esta fue una gran tragedia que cambió al mundo, pero dejando del lado eso esta fue la historia que menos me gustó porque aunque el resto no son para nada profundas y solo son una excusa para ver a Todd dibujando monstruos teniendo batallas encarnizadas contra Spiderman, al menos las 3 anteriores tienen un preámbulo y un contexto del porque suceden estas batallas, tenemos los conflictos de Peter con Mary Jane y a los ciudadanos de una New York indiferente opinar sobre lo que pasa en la ciudad, acá en SABOTAGE Spiderman se mete a una pelea ya empezada y aunque todas las historias tienen finales que se sienten abruptos o como que les faltó algo, en estos cómics literal la lucha no llega a nada, sin mencionar que las frases de los X-Force y sus personajes si son bastante infantiles al menos en este cómic y como que desentona con el resto de historias.
A pesar de todo yo tengo varias cosas muy claras, la primera es que no estoy arrepentido de haber comprado esta edición pues fue como abrir una ventana al pasado antes de “lo políticamente correcto” y ver con mis propios ojos los inicios del hombre que revitalizó a Spiderman y que con su estilo tan llamativo terminó siendo imitado por el resto de artistas hasta convertirse en un estándar para la época, lo segundo es que el arte me encantó DEMASIADO, es algo tan único que yo creo que solo por eso ya vale la pena adquirir este tomo y la tercera razón fue que no se que le pasa a los cómics de hoy en día que las batallas cada vez son más cortas en los paneles dejando a los fans con ganas de ver adaptaciones cinematográficas de sus héroes para ver a detalle esas peleas, a Todd nada de eso le importa y te da peleas larguísimas de varias páginas sobre todo en Tormento que son los últimos 3 cómics de pura golpiza y castigo para Spiderman y el Lagarto, algo que hasta ahora no había experimentado en ningún cómic, sobre todo con Spiderman porque como ya sabemos el drama también es un elemento que ocupa muchas páginas en sus historias y pues me gustó verlo relegado para variar y darle paso a la acción, así que si, recomiendo Tormento y Máscaras para los nostálgicos y los que tengan ganas de ver esta etapa tan extraña de Spiderman y ¿Por qué no? disfrutar de un dibujo increíble…
Tormento y Mascaras de Todd McFarlane es precisamente eso; un producto de su época y una recopilación del trabajo de este guionista/artista con Spiderman. Para ponerlos en contexto, la época dorada de los cómics había finalizado y después de una caída en picada, la cosa poco a poco se fue recuperando, aunque jamás al mismo nivel de las glorias pasadas. Fue entonces que Marvel con la idea de renovar a sus personajes y de volver a vender con lo que en ese entonces era una novedad y para atraer lectores más adultos, trajo a Todd McFarlane para que trabajara con el personaje que más lectores tenía: Spiderman. Aunque este al igual que otros personajes del medio como Batman ya tenían varias series regulares, por lo cual a Todd se le dio su propia serie llamada “Spider Man” a secas donde el sería el guionista principal y el artista encargado de dibujar aunque para ser honesto, muchos fans (incluyéndome) pensamos que se le da mucho mejor el dibujo que la escritura, pues fue su estilo tan llamativo lo que en ese entonces atrajo de nuevo la atención a Spidey, tanto así que por lo que tengo entendido, Todd logró que se vendieran 3 millones de ejemplares de su primer número convirtiéndose en el cómic más vendido de la historia y si le sumamos a eso que fue el creador de Venom con ese diseño tan letal de sus primeros números y que posteriormente dejó Marvel por la falta de libertad creativa para fundar Image Comics y crear a Spawn (uno de los personajes más memorables de la época) pues creo que no podemos dudar de su talento y de que el hombre vende historietas.
Entonces ¿Qué me pareció Tormento y Mascaras? Regular sería la forma más simple de resumirlo pero creo que es una respuesta muy insípida para una introducción a la reseña tan larga, así que voy a ser claro y les diré que disfrute mucho esta edición y que en general las historias me gustaron pero como ya lo dije antes, lo de Todd McFarlane es el arte no la escritura y en estas historias podemos encontrar un dibujo espectacular, Spidey se ve intimidante para los criminales y sus villanos se ven grotescos como si fueran versiones de pesadilla de los mismos.
Hablando más en concreto del contenido de esta edición se nos presentan 4 arcos argumentales:
Tormento: Contiene 5 números donde se nos narra una batalla sanguinaria entre El lagarto y Spiderman y que sirve como secuela a La última cacería de Kraven, mientras que en los primeros 2 números se nos da un preámbulo para la batalla, los últimos 3 solo serán eso, una brutal pelea por sobrevivir donde incluso podemos ver a Spidey usando fuerza letal, al lagarto devorando gente y criminales que se ponen de lo más violentos con sus víctimas…
Mascaras: De solo 2 números, Spidey y Ghost Rider deberán hacer equipo para detener a una versión psicótica y asesina de Hobgoblin que ha sido enloquecido por un demonio a cambio de obtener poderes satánicos (muy en la onda de Spawn), el problema es que después de aniquilar a un montón de personas, un niño sobreviviente se ha encariñado con el…tema turbio y como dije antes, al día de hoy ya no se podrían escribir de estas cosas, vamos que incluso vemos a Spidey torturando a un cocainómano para obtener información…
Sub-ciudad: También de solo 2 cómics, unos seres humanos deformes que practican la endogamia y que viven en las antiguas estaciones del metro abandonadas de New York están secuestrando vagabundos para alimentar a Morbius con su sangre, de todas las historias aquí es donde más se puede ver el arte grotesco que después sería algo regular en Spawn, lo que más me gustó es que podemos ver de regreso al traje negro, lo raro es que aquí se observa que Peter y Mary Jane tienen una vida sexual curiosa por lo menos y creo que es donde más se nota que estos cómics estaban enfocados para adultos.
SABOTAGE: Se compone de 2 cómics; Spiderman hace equipo con los X-Force para detener a Juggernaut y Black Tom que acaban de volar el techo de las torres gemelas….ya se ya se, se que es redundante pero al día de hoy si Marvel se atreviera a volver a hacer esto seguro los cancelarían en redes porque esta fue una gran tragedia que cambió al mundo, pero dejando del lado eso esta fue la historia que menos me gustó porque aunque el resto no son para nada profundas y solo son una excusa para ver a Todd dibujando monstruos teniendo batallas encarnizadas contra Spiderman, al menos las 3 anteriores tienen un preámbulo y un contexto del porque suceden estas batallas, tenemos los conflictos de Peter con Mary Jane y a los ciudadanos de una New York indiferente opinar sobre lo que pasa en la ciudad, acá en SABOTAGE Spiderman se mete a una pelea ya empezada y aunque todas las historias tienen finales que se sienten abruptos o como que les faltó algo, en estos cómics literal la lucha no llega a nada, sin mencionar que las frases de los X-Force y sus personajes si son bastante infantiles al menos en este cómic y como que desentona con el resto de historias.
A pesar de todo yo tengo varias cosas muy claras, la primera es que no estoy arrepentido de haber comprado esta edición pues fue como abrir una ventana al pasado antes de “lo políticamente correcto” y ver con mis propios ojos los inicios del hombre que revitalizó a Spiderman y que con su estilo tan llamativo terminó siendo imitado por el resto de artistas hasta convertirse en un estándar para la época, lo segundo es que el arte me encantó DEMASIADO, es algo tan único que yo creo que solo por eso ya vale la pena adquirir este tomo y la tercera razón fue que no se que le pasa a los cómics de hoy en día que las batallas cada vez son más cortas en los paneles dejando a los fans con ganas de ver adaptaciones cinematográficas de sus héroes para ver a detalle esas peleas, a Todd nada de eso le importa y te da peleas larguísimas de varias páginas sobre todo en Tormento que son los últimos 3 cómics de pura golpiza y castigo para Spiderman y el Lagarto, algo que hasta ahora no había experimentado en ningún cómic, sobre todo con Spiderman porque como ya sabemos el drama también es un elemento que ocupa muchas páginas en sus historias y pues me gustó verlo relegado para variar y darle paso a la acción, así que si, recomiendo Tormento y Máscaras para los nostálgicos y los que tengan ganas de ver esta etapa tan extraña de Spiderman y ¿Por qué no? disfrutar de un dibujo increíble…
August 13, 2021
Really good. What I would consider classic spiderman from my childhood. Unmatched art, and a nice collection from back then.
November 10, 2022
3.5/5
A pretty good collection of Spider-Man comics. The XForce and Morbius stories were not great but the others were mostly good.
A pretty good collection of Spider-Man comics. The XForce and Morbius stories were not great but the others were mostly good.
May 9, 2020
Tom zawiera 3 historie napisane i narysowane przez Todda McFarlane'a i jedną, gdzie obowiązkami dzieli się z Robem Liefeldem.
Tam gdzie twórca m.in. Spawna działał sam, jego mroczne rysunki i scenariusze tworzą świetną, duszną i niepokojącą atmosferę. Zło jest wstrętne, a dobro pełne wątpliwości. Bardzo mi się ten klimat i strona wizualna podobają. Niestety, McFarlane pisze znacznie gorzej niż rysuje. Każdej z trzech historii brakowało porządnego finału, który rozładowywałby napięcie towarzyszące czytelnikowi od pierwszych kadrów. Mimo tego, czytało się całkiem przyjemnie, a kolejne strony cieszyły oczy.
Niestety, ostatnia opowieść (fragment opowieści?), gdzie Spidey sprzymierza się z X-Force by pokonać Juggernauta, jest totalną porażką. Historia jest irytująco chaotyczna i też nie ma sensownego zakończenia. Ale to i tak pikuś przy stronie wizualnej. Pierwszą część niby też stworzył McFarlane, ale gdyby nie jego podpis, to miałbym spore wątpliwości. Mroczna atmosfera zniknęła, a dodatkowo wszystkie postaci wyglądają, jakby ktoś chciał sparodiować jego styl. To i tak nie jest najgorsze, bo w części drugiej i ostatniej stery przejmuje Rob Liefeld i o mój borze! Wszystkie listy i artykuły przedstawiające go jako najgorszego rysownika Marvela znajdują tu uzasadnienie. Anatomia, perspektywa? Jebać. Pistolet ma być duży, mięśnie i piersi jeszcze większe, a talie jak u osy. I tak mało stóp jak się da. Tak w skrócie można przedstawić motto Liefelda. Ciągle nie mogę dojść do siebie po obejrzenie jego groteskowych dzieł.
Podsumowując: 3/4 przyzwoite, 1/4 tragiczna. więc jeśli nie jesteś psychofanem Todda McF, możesz spokojnie sobie podarować zakup tego tomu.
Tam gdzie twórca m.in. Spawna działał sam, jego mroczne rysunki i scenariusze tworzą świetną, duszną i niepokojącą atmosferę. Zło jest wstrętne, a dobro pełne wątpliwości. Bardzo mi się ten klimat i strona wizualna podobają. Niestety, McFarlane pisze znacznie gorzej niż rysuje. Każdej z trzech historii brakowało porządnego finału, który rozładowywałby napięcie towarzyszące czytelnikowi od pierwszych kadrów. Mimo tego, czytało się całkiem przyjemnie, a kolejne strony cieszyły oczy.
Niestety, ostatnia opowieść (fragment opowieści?), gdzie Spidey sprzymierza się z X-Force by pokonać Juggernauta, jest totalną porażką. Historia jest irytująco chaotyczna i też nie ma sensownego zakończenia. Ale to i tak pikuś przy stronie wizualnej. Pierwszą część niby też stworzył McFarlane, ale gdyby nie jego podpis, to miałbym spore wątpliwości. Mroczna atmosfera zniknęła, a dodatkowo wszystkie postaci wyglądają, jakby ktoś chciał sparodiować jego styl. To i tak nie jest najgorsze, bo w części drugiej i ostatniej stery przejmuje Rob Liefeld i o mój borze! Wszystkie listy i artykuły przedstawiające go jako najgorszego rysownika Marvela znajdują tu uzasadnienie. Anatomia, perspektywa? Jebać. Pistolet ma być duży, mięśnie i piersi jeszcze większe, a talie jak u osy. I tak mało stóp jak się da. Tak w skrócie można przedstawić motto Liefelda. Ciągle nie mogę dojść do siebie po obejrzenie jego groteskowych dzieł.
Podsumowując: 3/4 przyzwoite, 1/4 tragiczna. więc jeśli nie jesteś psychofanem Todda McF, możesz spokojnie sobie podarować zakup tego tomu.
October 24, 2026
The life of a Spider-Man fan is fraught with pain and suffering. Especially so when a run such as this is considered one of the better eras of Spider-Man. Don't get me wrong, following on from Kraven's Last Hunt must have been a difficult task since I consider that story arc to be one of the absolute strongest in Marvel history.
I didn't find the involvement of the witch particularly compelling. It felt like a broken record following on from Kraven. She didn't do anything particularly unique to bring down Peter Parker. She just threw a more frenzied Lizard after him. I would have found it more interesting to see Kirk Conners enacting his own vengeance against Spider-Man. All the same, it was interesting to see him overwhelmed against a villain he's so often beatne handily. I can think of other comics such as Batman Knightfall and The Cult, which worked the concept stronger.
I did enjoy the out of hours life of Peter and MJ. It added some sizzle to proceedings, and I finally finally saw some agency in Mary Jane's actions. Her concerns were vindicated, and she didn't come off as a whiney killjoy.
I think the high point of this volume was Peter's involvement in a rare excursion to Canada, facing off against the Wendigo. It was a very tragic example of journalism, first and foremost, an aspect of Peter's character that is too often forgotten. His integrity as a hero also spreads to his integrity as a reporter. He holds the press to account for their part in sensationalising the murders of 2 children.
Even more unbelievable was how Todd and company were able to give Wolverine a role in the plot that wasn't overbearing and actually played to his better elements. He is a hunter, he's part animal, and as such, he respects the balance between man and nature, often chastising the townfolk for needless killings of animals. While the ending is abrupt, it serves the narrative of alter-ego superhero comics where not everything is as it seems.
The art style is undeniably iconic. But there's a reason we left this busy style behind. I think this was just about the perfect dose of Todd McFarlane in this volume. Best to leave Spawn alone for the time being.
I didn't find the involvement of the witch particularly compelling. It felt like a broken record following on from Kraven. She didn't do anything particularly unique to bring down Peter Parker. She just threw a more frenzied Lizard after him. I would have found it more interesting to see Kirk Conners enacting his own vengeance against Spider-Man. All the same, it was interesting to see him overwhelmed against a villain he's so often beatne handily. I can think of other comics such as Batman Knightfall and The Cult, which worked the concept stronger.
I did enjoy the out of hours life of Peter and MJ. It added some sizzle to proceedings, and I finally finally saw some agency in Mary Jane's actions. Her concerns were vindicated, and she didn't come off as a whiney killjoy.
I think the high point of this volume was Peter's involvement in a rare excursion to Canada, facing off against the Wendigo. It was a very tragic example of journalism, first and foremost, an aspect of Peter's character that is too often forgotten. His integrity as a hero also spreads to his integrity as a reporter. He holds the press to account for their part in sensationalising the murders of 2 children.
Even more unbelievable was how Todd and company were able to give Wolverine a role in the plot that wasn't overbearing and actually played to his better elements. He is a hunter, he's part animal, and as such, he respects the balance between man and nature, often chastising the townfolk for needless killings of animals. While the ending is abrupt, it serves the narrative of alter-ego superhero comics where not everything is as it seems.
The art style is undeniably iconic. But there's a reason we left this busy style behind. I think this was just about the perfect dose of Todd McFarlane in this volume. Best to leave Spawn alone for the time being.
July 14, 2025
This is very much a product of its time. Huge 90s nostalgia hit and has a very McFarlane vibe when at times I thought am I reading Spawn?
There were some solid, funny moments here with the wolverine team up being my favourite story. But also some pretty forgettable issues and storylines where not a lot happens.
Throughout reading it I just didn't feel like I was reading a typical Spider-Man story even though there were some of the classic characters here. It's still Spidey though so it was a fun enough time.
Art was decent, like I said McFarlane has a very distinct style and there were some pretty striking pages. That cover and under slip case cover is just beautiful.
Quick easy read though and worth it for any Spiderman fan.
PS. If you don't know how long it takes for Spidey's webs to dissolve you will by the end of this book.
There were some solid, funny moments here with the wolverine team up being my favourite story. But also some pretty forgettable issues and storylines where not a lot happens.
Throughout reading it I just didn't feel like I was reading a typical Spider-Man story even though there were some of the classic characters here. It's still Spidey though so it was a fun enough time.
Art was decent, like I said McFarlane has a very distinct style and there were some pretty striking pages. That cover and under slip case cover is just beautiful.
Quick easy read though and worth it for any Spiderman fan.
PS. If you don't know how long it takes for Spidey's webs to dissolve you will by the end of this book.
December 4, 2023
Re-reading these stories, for the first time chronologically. The years have been both cruel and kind. There's no denying that Todd McFarlane's art was innovative. He was one of the giants of the industry (still is), and he redefined the look of Spider-Man for a new generation. That's the art.
Now the writing... well, McFarlane refers to himself as more of a storyteller than a writer. Basically, he's letting the art tell the story. Sometimes that's enough, sometimes it isn't. In concept, the stories are thrilling. But when it comes to the dialogue scenes, the weaknesses start to show. Many of Spider-Man's jokes here are particularly cringeworthy. I personally love some of the darker-themed Spider-Man stories, so I appreciate what McFarlane was trying to do, but the execution left something to be desired.
Now the writing... well, McFarlane refers to himself as more of a storyteller than a writer. Basically, he's letting the art tell the story. Sometimes that's enough, sometimes it isn't. In concept, the stories are thrilling. But when it comes to the dialogue scenes, the weaknesses start to show. Many of Spider-Man's jokes here are particularly cringeworthy. I personally love some of the darker-themed Spider-Man stories, so I appreciate what McFarlane was trying to do, but the execution left something to be desired.
November 27, 2017
the art is (mostly) pretty, but his writing is blah, and by the end the whole thing just feels rushed and phoned-in
July 10, 2024
Darker than any Spiderman stories I remember, not that im a guru. Maybe it’s the McFarlane effect. Excellent art, good story.
June 22, 2025
I like the art of Todd McFarlane but the story is not that good. I can see that the dark themes from Spawn first started here.
February 22, 2026
man, this shit is dark
i love hopeful, street-level spider-man but sometimes you just need to see him beat up child abductors and cult leaders. there's no doubt that mcfarlane's art is phenomenal and remains iconic, i got him on my t-shirt, in my dreams (homage covers in my holy grail), and my 1:10 spider-collectible inspired by issue #06 featuring good old gobhob
this man is a cultural leader. sure, the storytelling isn't amazing, spectacular, or ultimate but it's solid. he gets brownie points by spotlighting several of spidey's rouges' gallery and oh, did i mention peter is married to mj and they're in love???
enough said. 3/5
i love hopeful, street-level spider-man but sometimes you just need to see him beat up child abductors and cult leaders. there's no doubt that mcfarlane's art is phenomenal and remains iconic, i got him on my t-shirt, in my dreams (homage covers in my holy grail), and my 1:10 spider-collectible inspired by issue #06 featuring good old gobhob
this man is a cultural leader. sure, the storytelling isn't amazing, spectacular, or ultimate but it's solid. he gets brownie points by spotlighting several of spidey's rouges' gallery and oh, did i mention peter is married to mj and they're in love???
enough said. 3/5
September 5, 2022
One of my favourite Spider-Man runs of all time and the art is just perfect. My favourite storyline was torment. It reminded me a lot of Kravens Last Hunt.
September 5, 2026
Genuinely peak 90's Spider-man
August 31, 2019
Ojć, zestarzał nam się Spidey, zestarzał. I nie byłoby w tym nic złego, ale omnibus McFarlane'a fabułą niestety nie stoi.
Zasiadając do lektury zdawałem sobie sprawę, że zajmie mi ona trochę czasu, gdyż omawiany Spider-man, to poza tomami z Daredevilem, stanowi najobszerniejszą pozycję w mojej bibliteczce. Lektura nie trwała jednak aż tak długo, bo Spidey akcją stoi.
Autor nieco pogłębia relacje pomiędzy Peterem a Mary Jane, ale wiele więcej z tych stron nie wyciągniemy. Scenarzysta nie dba o zawiła fabułę, a stawia raczej na efektowne walki, szybkie akcje i wizualnie dopieszczone rysunki.
Zaczyna się od historii z Lizardem, który poluje na ludzi, przy czym jest bardziej krwiożerczy niż dotychczas. Okazuje się, że ktoś na niego magicznie wpływa. W mrokach kryje się jakaś tajemnicza osoba, która ma najwyraźniej osobisty uraz do Spider-mana. Giną kolejni ludzie. Konfrontacja jest nieuchronna.
Potem McFarlane na warsztat bierze Hobgoblina, ale akurat jego wątek był chyba najsłabszy z wszystkich czterech tu zapodanych opowieści. Sytuację ratuje tutaj udział Ghost Ridera. Nieco dalej przyjdzie Pająkowi wyjechać poza miasto i zapoznać się ze sprawą morderstw, w które zamieszany wydaje się być Wendigo.
Jest to najlepszy kawałek tomiszcza, choćby ze względu na współpracę Petera z Wolverinem, no i w sumie zaskoczyło mnie odkrycie, kto stał za całą intrygą. Na końcu czeka nasz jeszcze przeprawa z Morbiusem, żyjącym wampirem. Też w sumie niezła. I ci jego karykaturalni pomocnicy...
W ramach finalnego bonusu dostajemy jeszcze historię, w której Pajęczak łączy siły z X-Force, ale sama historia była miałka oraz nudnawa, nie mówiąc już o archaicznej kresce.
To co rzuciło mi się w oczy podczas lektury omnibusa to fakt, iż zebrane historie są bardzo mroczne. Ludzi giną tu częściej, rysunki są dość jednoznaczne, a przeciwnicy trochę za bardzo karykaturalni czy wręcz odpychający, choć zdaje się, że tak miało być. Dobór antagonistów i ich wygląd nie jest przypadkowy(bardzo niepokojący). Jednakże jako, że McFarlane kończył już współpracę z Marvelem to mógł sobie na to pozwolić. Przez to tomik rekomenduje raczej starszym odbiorcom. Klimat ma. No i zapewni taką nieco bezstresową rozrywkę.
Zasiadając do lektury zdawałem sobie sprawę, że zajmie mi ona trochę czasu, gdyż omawiany Spider-man, to poza tomami z Daredevilem, stanowi najobszerniejszą pozycję w mojej bibliteczce. Lektura nie trwała jednak aż tak długo, bo Spidey akcją stoi.
Autor nieco pogłębia relacje pomiędzy Peterem a Mary Jane, ale wiele więcej z tych stron nie wyciągniemy. Scenarzysta nie dba o zawiła fabułę, a stawia raczej na efektowne walki, szybkie akcje i wizualnie dopieszczone rysunki.
Zaczyna się od historii z Lizardem, który poluje na ludzi, przy czym jest bardziej krwiożerczy niż dotychczas. Okazuje się, że ktoś na niego magicznie wpływa. W mrokach kryje się jakaś tajemnicza osoba, która ma najwyraźniej osobisty uraz do Spider-mana. Giną kolejni ludzie. Konfrontacja jest nieuchronna.
Potem McFarlane na warsztat bierze Hobgoblina, ale akurat jego wątek był chyba najsłabszy z wszystkich czterech tu zapodanych opowieści. Sytuację ratuje tutaj udział Ghost Ridera. Nieco dalej przyjdzie Pająkowi wyjechać poza miasto i zapoznać się ze sprawą morderstw, w które zamieszany wydaje się być Wendigo.
Jest to najlepszy kawałek tomiszcza, choćby ze względu na współpracę Petera z Wolverinem, no i w sumie zaskoczyło mnie odkrycie, kto stał za całą intrygą. Na końcu czeka nasz jeszcze przeprawa z Morbiusem, żyjącym wampirem. Też w sumie niezła. I ci jego karykaturalni pomocnicy...
W ramach finalnego bonusu dostajemy jeszcze historię, w której Pajęczak łączy siły z X-Force, ale sama historia była miałka oraz nudnawa, nie mówiąc już o archaicznej kresce.
To co rzuciło mi się w oczy podczas lektury omnibusa to fakt, iż zebrane historie są bardzo mroczne. Ludzi giną tu częściej, rysunki są dość jednoznaczne, a przeciwnicy trochę za bardzo karykaturalni czy wręcz odpychający, choć zdaje się, że tak miało być. Dobór antagonistów i ich wygląd nie jest przypadkowy(bardzo niepokojący). Jednakże jako, że McFarlane kończył już współpracę z Marvelem to mógł sobie na to pozwolić. Przez to tomik rekomenduje raczej starszym odbiorcom. Klimat ma. No i zapewni taką nieco bezstresową rozrywkę.
March 27, 2022
Pretty good time. McFarlane makes some fun composition and design choices. And the stories aren't bad but they aren't great either. Spidey is like weirdly right wing but this is old so you can't be too surprised
January 7, 2022
Todd McFarlane is an amazing artist, too bad he can’t write
January 12, 2025
I love the atmosphere that McFarlane creates with his dark and gritty artwork, it helps Spider-Man stand out in this run in ways that I see DC characters usually contrasted in.
Fire artwork
Fire artwork
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