Retro Review: Batman/Spawn

In 1994, Image and DC Comics provided the comic book world with a dynamic duo no one was expecting. Batman/Spawn: a match made in hell.

In Spawn/Batman Image comics brought in Frank Miller, author of The Dark Knight Returns, Batman: Year One and Sin City, who weaved a tale of  Batman going New York City in search of an arsenal of high-tech weapons and robots that use decapitated human heads as their processors.

Todd McFarlane, creator of Spawn, was the artist for this Image creation and what a creation it was.

Simultaneously, DC released a Batman/Spawn story in which The saga of Virginia Dare and Roanoke is retold by writers Alan Grant, Chuck Dixon, and Doug Moench.  Klaus Janson rendered the art for this special issue.

Spawn visits Gotham City and initially finds himself in conflict with Batman. However, after his costume mysteriously “holds back” in his battle with Batman, they find mutual respect and ultimately battle “the demon Croatoan” who was working for Satan, collecting souls for the devil’s army. Eventually in the battle, Spawn and Batman defeat the demon and close the door to Hell.

NYC – Concrete Jungle Where Dreams Are Made

Kudos to both companies for allowing Batman to visit NYC in the Image issue and for Spawn to visit Gotham in the DC issue. It’s clear there’s a home field advantage in the storytelling as the turf war is evident, but somewhat mediocre in the DC story.

Frank Miller’s Batman is basically a Clint Eastwood voice playing in your head when you read this book. Miller constantly has Spawn facing the ire of Batman’s dialogue. The Dark Knight frequently calls Spawn “a punk” and “undisciplined.” He even calls Spawn a “boy” at the end, and I’m not sure that was politically correct then nor now given that Spawn is African-American, but I actually just see it as Batman calling hos opponent a child and a novice. This isn’t the Batman we’re used to, but then again, Miller writes a bitter Bat and it’s clearly stated that this Batman/Spawn story isn’t in continuity, but rather a companion piece to Miller’s Batman: The Dark Knight Returns.

It’s evident that Miller and McFarlane wanted Spawn to have the upper hand as he basically kicks Batman’s rear all over NYC.

Miller’s Batman clearly has issues with any superbeing who threatens him in combat and power, while Spawn clearly recognizes that Batman is a hero in his own right, but he doesn’t give an inch.

Miller writes a great story and provides a voice for each character that’s true to each character. In fact, Miller portrays Alfred as great as any author ever has. Who knew that Alfred was such a “smart-ass” to Bruce?

And In This Corner: With a Better #2 Pencil Than Anyone…

Todd McFarlane is known as the “Todd Father” for a reason. He’s drawn Batman before, and provides a sharper pencil than anyone in the business. While he’s better known for Spider-Man and Venom, McFarlane illustrates with such precise skill that the capes certainly flow in the Image version of Batman/Spawn.

In fact, you wonder how much fabric can there be swinging around NYC! Between the capes and chains, who can fight?

The culminating art piece… a batarang firmly implanted into Spawn’s burnt skull with green cytoplasmic ooze dripping down his face. Again, McFarlane loves his violent pictures and this one leaves a lasting impression.

Klaus Janson’s art work is solid, but it isn’t McFarlane. His art and colors are “busy.” The care that was taken in the Image production is simply not there in the DC issue. The larger frames in the DC comic are worth a glance or two, but the comic is a blur of color and blunt lines.  Advantage – IMAGE