Read Ebook {PDF EPUB} Spawn #8 by Alan Moore Spawn #8 by Alan Moore
Total Page：16
File Type：pdf, Size：1020Kb
Read Ebook {PDF EPUB} Spawn #8 by Alan Moore Spawn #8 by Alan Moore. Newsstand version has UPC code, printed on cheaper newsprint and is missing the 2 page pull-out poster in the centerfold. The Newsstand version is only 36 pages rather than 40 pages. Awards 1994 - Eisner Award - Best Writer - Alan Moore - Nominated This issue is a variant of Spawn (Image, 1992 series) #8 [Direct]. [no title indexed] (Table of Contents) Spawn / cover / 1 page (report information) in Spawn (Juniorpress, 1996 series) #2 (1996) in Spawn (Infinity Verlag, 1997 series) #4 ([Juli] 1997), #4 ([Juli] 1997) in Spawn - Origem (Pixel Media, 2007 series) #2 (março 2008) in Spawn Origins Collection (Image, 2010 series) #1 (March 2010) in Spawn: Edición Integral (Planeta DeAgostini, 2010 series) #1 (Junio 2010) Indexer Notes. Cover art is an homage to the cover of Spider-Man (Marvel, 1990 series) #1 (August 1990) Brian K Vaughan Won Alan Moore Gen 13 Auction – And Is Giving It Away. A few weeks ago, Bleeding Cool told you that Scott Dunbier was auctioning off an unpublished Gen-13 script by Alan Moore to help pay the medical bills of comic book creator Bob Wiacek . And it seems that in a hotly contested auction, it was Brian K Vaughan , co-creator o f Y The Last Man and Saga who was victorious at a bid of $3433 for the faxed pages. But he's not keeping it to himself. On Instagram he wrote; Happy Friday, scrollers! Recently, legendary comics creator Bob Wiacek (who inked some of my favorite images ever, including the cover to Uncanny X-Men 210, easily the most badass thing my 10-year-old self had ever seen) has been dealing with some costly health issues. Enter editor extraordinaire @sdunbier, who offered to help raise some funds for Bob by auctioning off the only existing script of an unpublished GEN13 Annual by our greatest living writer, Alan Moore (with Mr. Moore's generous permission, of course). And guess which aging fanboy used some of his ill-gotten Hollywood blood money to acquire this important piece of comics history? The unfinished story (still over 35 pages long!) is a sharp, surreal satire of X-Men, Teen Titans, and the entire industry of that era, and Moore puts more thought into each of his panel descriptions than most of us put into entire series. Anyway, rather than hoarding this lost treasure in my BKVault, I thought I would share it with those of you who are kind enough to donate ANY AMOUNT to Bob Wiacek's GoFundMe page (link in bio!). Please just forward your donation receipt to this email: ThanksForHelpingBobW at gmail dot com, and my correspondence wiener dog Hamburger K. Vaughan will eventually send you back a private link to a scan of the script for your personal reading pleasure. Thanks so much for whatever you can do to help, and I hope everyone is staying safe and sane out there. Here is the GoFundMe page, and this is the e-mail to send your donation receipt to: [email protected]. Don't be stingy. The great god Glycon will know. As a preview, here's the text from page one: The Coming Of The Collector Page 1. Panel 1. Okay, we start off with a big full page splash picture inside Gen 13's high tech headquarters. Everybody… which includes Fairchild, Rainmaker, Freefall, Burnout and Grunge, is just lounging around looking bored. Burnout sits somewhere towards the left foreground. He has conjured a naked dancing girl made out of flame on the palm of his hand and is only just looking up from this towards the background as Queelock, Gen Thirteen's interdimensional pet, comes bursting out of a hyper-space colour-effect in the centre of the immediate background, coming towards us and holding something in its mouth, or however it usually holds things. Somewhere towards the right foreground we see Rainmaker sitting around reading a book: Rubyfruit Jungle by Rita Mae Brown. She too looks up as the Queelock explodes luminously into the space of the room. More towards the background, Fairchild lowers the massive weights that she has been working out with and also looks at the Queelock, as does Grunge, who is hanging upside down from a beam or something, reading a comic book…Probably its a copy of "Blood-splashed Hooters" or something. Freefall, floating cross-legged in front of the television in the background also looks round. In the Queelock's jaws he is holding some sort of large and peculiar package in a sort of clear plastic envelope that has all sorts of high tech fastenings and is clearly the work of an advanced interdimensional civilization. There is some sort of large, flat and strangely shaped silvery metal plate inside the translucent envelope, but we can't really make out what it is. In fact, the translucent envelope will turn out to be the high tech interdimensional equivalent of a giant mylar bag, but we don't find that out until the last four pages of the book. In the foreground, Burnout has a sour and bored expression as he glances up from his dancing fire-girl towards the Queelock and its mysterious parcel. The Gen Thirteen logo goes up towards the top left somewhere, while the title lettering goes down towards the bottom. LOGO: GEN 13. BURNOUT: Uh-oh. BURNOUT: LASSIE'S come home, and I think she's trying to TELL us something. TITLE CAPTION: You will never forget.. Tor.com. Science fiction. Fantasy. The universe. And related subjects. The Great Alan Moore Reread. The Great Alan Moore Reread: Spawn. Tor.com comics blogger Tim Callahan has dedicated the next twelve months to a reread of all of the major Alan Moore comics (and plenty of minor ones as well). Each week he will provide commentary on what he’s been reading. Welcome to the 32nd installment. The story goes like this: Jim Valentino, one of the original Image Comics founders, contacted Alan Moore to see if Moore would write a few issues of Shadowhawk . Moore, five years removed from writing superhero comics, declined. But even without having seen any of the Image Comics, he was interested in the idea of doing some work with Image, even if Shadowhawk wasn’t something he was compelled to write. He’s been quoted as saying, “all I really knew about Image was that they’re the opposite of DC and Marvel and that sounded pretty good to me.” “I figured,” Moore added, “that if they’re making mischief, then I’m generally in favor of them.” A bit before that, Moore had been approached by one or more of his former collaborators, maybe Steve Bissette, maybe Rick Veitch, maybe both, and they talked about jumping on board with Image by creating their own retro-series, 1963 , which would be written in bombastic Silver Age style, to contrast with the modern heroes coming out from the company at the time. The 1963 project was the first thing Moore started working on under the Image umbrella, and that’s likely where the original Jim Valentino contact originated. Still, as I mentioned, Moore said “no” to Shadowhawk , but while working on 1963 he received another call from another Image founder. Todd McFarlane asked Moore to write an issue of Spawn for him. This time, Moore said yes, and it ended up hitting the stands a month before the first installment of 1963 . So while I’ll get to my reread of 1963 in a couple of weeks, we have some Spawn to look at first, and not just one issue, because Moore went on to write over a dozen issues featuring the character or related spin-offs. That means Alan Moore wrote more pages of Spawn or Spawn- related comics than he wrote of almost any other superhero comic in the 1980s. Interesting, no? Especially because no one would ever refer to Alan Moore was “writer of Watchmen , From Hell , and Spawn ” or anything of the sort. But write Spawn he did. And though he never seemed happy with any of his Image work in retrospect—he has discussed how he tried to write for the demands of a new audience in the Image comic book stories, when he should have been just writing what he wanted to write all along the Spawn -related stuff has its own merits. Is it Watchmen or A Small Killing or From Hell or Marvelman ? No, but it just may have helped set the groundwork for the kind of comics that would become extremely popular a decade later. The Mark Millar/Joe Quesada/Post-Warren Ellis era of the 2000s may have actually begun in 1993, when Alan Moore tried to pander to an audience he didn’t fully understand. Let’s see what that means! Spawn #8 (Image Comics, Feb. 1993) If you don’t know much about Spawn, all you really need to know is this: he’s a formerly dead special-ops agent who was given a second chance at life, after making a deal with the devil, or with a devil-like being called Malebolgia. Horribly scarred, Spawn wears a full-face mask and lots of cool chains and spikes and a supernaturally-long cape, and he skulks around homeless folks and pines after his old life, and sometimes fights monsters and supervillains. As a comic book character, he’s a great visual, and the early Todd McFarlane-centric issues have a distinctive, professional-grade-but-juvenile D.I.Y. charm.