When it was revealed that Matthew Rosenberg was taking over writing on Spawn, I got excited. Not because Todd McFarlane has been bad on the book, far from it – he’s made a creator-owned character into an icon that’s stood the test of time. No, but because fresh blood could mean a new approach and an injection of a different point of view on the character. Enter Spawn #376, a new story arc launch that has had a surprisingly small amount of fanfare from Image Comics. As a surprise launch of something entirely new for the character, I can’t contain how excited I am for what is being built here.
Not only are Matthew Rosenberg and Stephen Segovia taking on Spawn, making this feel new, but the entire world is a very different place. It appears the battle between Heaven and Hell is over, with the world discovering that many folks see no reason to be good anymore. That, and demons literally walk the Earth, at least the ones who didn’t bail entirely. It’s a stark contrast from Spawn doing the hero thing from the shadows, putting him right there out in the open.
Spinning out of King Spawn #55, the real start of Rosenberg’s takeover of two ongoing titles, Spawn #376 opens on a man self-immolating in the street. While some are shocked, others just see it as another poor sap who chose to end things. The general vibe of people is thoroughly established through this, and the ongoing trope of news casters rendered with plenty of text and a few talking heads. It’s safe to say that the series’ ongoing trappings live on, which is a good thing.
Spawn, WHY!?
Credit: Image Comics
From there, we get a man-on-the-street broadcast from Sia Sesanga, who further gets the pulse with multiple mini-interviews. The general state of the world is a big factor in the series, and Rosenberg pulls it off well.
The meat of this story focuses on her last interview with Miles Cerini. A twenty-something twin, he meets his brother and gets the sense that he wants to live a normal life in very abnormal times. That couldn’t be further from the truth for him, as we soon see Spawn do something terrible to his brother, setting in motion a revenge tale, and likely further revelations for Miles to discover. Miles gives us a strong on-the-ground perspective, especially when giant kaiju come knocking later in the issue.
Segovia puts in a great issue of art, with many of the scenes featuring regular people in ordinary real-life situations. When Spawn does show up, he feels otherworldly, a bit like Alessandro Cappucchio’s Moon Knight. The lack of monsters and superhero action feels purposeful, but when they do show up, it’s quick and efficient. You get the impact that our focus is on the ground, much like Alex Ross and Kurt Busiek’s Marvels. Segovia’s realistic art captures that, even if Miles is a bit cartoony-looking.
Colors by Robert Nugent thoroughly entrench the series in realism. It’s a dirty world, and he makes it look as such. When fantastical elements pop off, like giant explosions, you can feel the heat.
Spawn #376 feels like the start of something genuinely exciting. Rosenberg shifts the focus away from cosmic battles and toward the people forced to live in the aftermath, creating a fresh perspective on a character more than three decades old. Combined with Segovia’s atmospheric artwork and a setting transformed by the end of the war between Heaven and Hell, the result is a compelling first chapter that builds intrigue while making the stakes feel larger than ever. A bold new era that makes Spawn feel dangerous, mysterious, and essential again.
You must be logged in to post a comment.