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Spawn: Unwanted Violence #2 is written by Todd McFarlane, illustrated by Mike del Mundo, colored by del Mundo with Marco D’Alfonso, and lettered by Tom Orzechowski with Andworld Design. It’s published by Image Comics. Picking up where the previous issue left off, the comic features Spawn standing in the middle of a crime scene. Police, politicians, and even the military attempt to move the hellish antihero to no effect. Meanwhile, Freak continues on his mission and uncovers something disturbing in the war between Heaven and Hell.
I won’t mince words here: the major draw of this book (pun completely unintended) is del Mundo’s art. The first page throws down the gauntlet, featuring Spawn standing immobile as a group of police officers attempt to tackle him. Del Mundo highlights the strain on the officers’ faces, making it feel like they’re actually struggling. And his Spawn is a mysterious, terrifying figure, almost always standing upright and never saying a word. Even the cover will draw you in, with del Mundo substituting Spawn’s signature chains for intertwined ropes of yellow crime tape.
The colors from del Mundo and D’Alfonso also help to set the mood. The entirety of the issue takes place at night, with entire pages wreathed in inky black. Only certain colors break up the seemingly endless night; bright white borders separate the panels, and it’s easy to spot Spawn due to his glowing green eyes as well as his flowing blood-red cape. The colors even seep into the letters, turning sickly green for Freak while keeping up the black and white motif for the narration.
Where the issue fails, once again, is its story. I respect McFarlane for helping to shape Spawn into a character that’s stood the test of time, and I truly believe that comics can and should tackle major issues. After all, heroes from Superman to the X-Men have faced plenty of social issues. But a writer should take the time to think about the issue they want to tackle, and how to tackle it. And in McFarlane’s case, he comes across with the ferocity of a blunt hammer.
The entire reason Spawn is standing where he’s standing is because he thinks a little girl was hurt. Turns out, she recovered, which makes his crusade extremely pointless. And the Freak sideplot, while advancing the larger story that’s spanning in the Spawn titles, feels tacked on. Again, I can’t help but feel that McFarlane should have given this story to a Black writer. It’s not like other writers haven’t tackled the Spawn mythos, and it would have given the story the necessary weight since Al Simmons is a Black man.
Spawn: Unwanted Violence #2 boasts some of the most stunning artwork ever put to a page, but that doesn’t make up for its convoluted and disappointing story. I understand what McFarlane was going for, and I understand his dedication to his creation, but this is one time he should have loosened the metaphorical chains.
Spawn: Unwanted Violence #2 is available wherever comics are sold.
Spawn: Unwanted Violence #2
TL;DR
Spawn: Unwanted Violence #2 boasts some of the most stunning artwork ever put to a page, but that doesn’t make up for its convoluted and disappointing story. I understand what McFarlane was going for, and I understand his dedication to his creation, but this is one time he should have loosened the metaphorical chains.
Born and raised in Texas, Collier “CJ” Jennings was introduced to geekdom at an early age by his father, who showed him Ultraman and Star Trek: The Next Generation. On his thirteenth birthday, he received a copy of Giant Size X-Men #1 and dove head first into the realm of pop culture, never looking back. His hobbies include: writing screenplays and essays, watching movies and television, card games/RPG’s, and cooking. He currently resides in Seattle.
