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 A few weeks ago, Bleeding Cool told you that Scott Dunbier was auctioning off an unpublished Gen-13 script by Alan Moore to help pay the medical bills of comic book creator Bob Wiacek .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extraordinaire @sdunbier, who offered to help raise some funds for Bob by auctioning off the only existing script of an unpublished GEN13 Annual by our greatest living writer, Alan Moore (with Mr.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. These were slick-looking comics with bad taste. An entire generation of comic book readers fell in love with them, for both of those reasons. Alan Moore came in to write Spawn not out of any love for the character or its concept, but because he could use a paying gig at the time (when A Small Killing and early work on From Hell and Lost Girls weren’t making him any money), and because he liked the challenging of writing this new kind of comic. Something based more on spectacle rather than substance. That’s what he gives us in Spawn #8, and because he doesn’t turn the issue into an Alan Moore comic, but rather adapts his approach to suit the series, he ends up producing an unusual variation on his style, with a clear intelligence at work beneath the utterly inane violence and base humor. He tapped into the side of himself that delighted in the more brutal “Future Shocks” or the absurd excesses of “D.R. & Quinch” and then splattered that approach all over McFarlane’s Spawn mythology. Issue #8 doesn’t even feature Spawn at all. The character appears as a nightmarish apparition, haunting a vile human who has ended up in Hell. Spawn, in this Alan Moore comic, is but a figure of terror, and yet Moore constantly provides comedic portrayals (gamely drawn by creator Todd McFarlane) of the “hero’s” costume, as we see gooey Spawn and fat Spawn by the time the story’s done. It’s all just part of Mister Chill-ee’s journey. Mister Chill-ee, the protagonist of this Moore-scripted issue, is a child murderer, an ice-cream-truck predator, and his tour through the afterlife is the entire plot of the story. Moore gives us a vile, cartoonish version of Dante’s Inferno in this one issue, as we learn about the various levels of Hell (and Heaven, because in the Spawn cosmology, it’s all part of the same, larger structure). We also meet the Vindicator, brother of Spawn nemesis the Violator, and like all the “Famous Phlebiac Brothers” these monstrous, insectoid demons are as annoying as they are dangerous. Moore mocks the Spawn mythology as much as he celebrates it in his first issue here, though, as the creator of four of the Phlebiac Brothers (all except for Violator), he’s responsible for expanding the mythology exponentially. The Phlebiac Brothers, and their petty bickering and violent sense of brotherhood, will be recurring characters in much of Moore’s Spawn-related comics work. At the time of its release, Spawn #8 was Moore’s grand return to superhero comics. He hadn’t done anything for “mainstream” audiences since he left DC. And yet Moore’s name isn’t even mentioned on the cover of this issue. But readers knew he was involved ​ it was certainly no secret, and the Image hype machine (loud enough at the time to generate million-selling issues for the upstart company) let everyone know that Moore was returning to his superhero roots. But what readers of the time probably didn’t know ​ I certainly didn’t know it, when I picked up Spawn #8 off the comic book stands in 1993 ​ was that Moore wasn’t going to rehash his greatest hits. He wasn’t going to Watchmen -ize Spawn . Instead, he would just play with it. Bat it back and forth a bit, like a curious animal. And by returning to his roots, he would channel some of his darkly comic 2000 A.D. work into the Image style. It was a shocking disappointment in 1993. In 2012, it reads like a forecast of what was yet to come in the comic book industry. But after issue #8, Moore wasn’t done with Spawn . He jumped off to produce two spin-off series starring the Violator character, and I’ll talk about those next week, but he also wrote a handful of other Spawn issues before he was finished, and though I’ve provided much of the context already, I’ll run through those quickly . Spawn #32 (Image Comics, June 1995) Alan Moore and Tony Daniel provide the six-page back-up in this issue, which acts as a prologue to their Spawn: Blood Feud miniseries. The short introduces monster-hunter John Sansker, a character who will play the lead villain in the miniseries, and like Moore’s other work for the Todd McFarlane wing of Image, this stuff is all played as absurdly grotesque comedy. The prologue, by the way, is titled “Preludes & Nocturnes,” presumably as a joke aimed at Alan Moore disciple Neil Gaiman whose ponderous dark fantasy Sandman series would have been the belle of the “sophisticated suspense” comics ball of the mid-1990s mainstream. “Preludes & Nocturnes” was the subtitle of the Sandman trade paperback that compiled the first half-year of stories from the series. Alan Moore’s “Preludes & Nocturnes” are a bit more savage, and ultra-violent, and about as far away from the sensitive and thoughtful fantasy of Sandman as you can get. Spawn: Blood Feud #1-4 (Image Comics, June-Sept. 1995) Now here we go! Alan Moore’s first full-fledged Spawn story, actually featuring Spawn in the protagonist’s hot seat. And Spawn is a vampire! Except, not really. These four issues give us an almost unbearably endless cycle of scenes involving Spawn’s now-sentient costume (possessed by a demon) and the monster hunter John Sansker who pursues the seemingly-vampiric-but-actually-a-victim-of-his-own-costume title character. This is not prime Alan Moore, though he seems to be enjoying the ridiculous scenes he churns his characters through. Moore’s first Spawn story is a better one. And so is his first Violator story, which I’ll get to next week. Blood Feud is too over-indulgent, and over-the-top without quite enough humor to make it pleasurable. Or maybe it’s packed with humor that doesn’t come across in Tony Daniel’s art, but Daniel seems game, and he’s doing his best Todd McFarlane impression throughout. It just doesn’t work as a compelling story. At all. The pacing even seems off, as the disoriented Spawn (who is under the influence of the demonically-possessed costume) stumbles around and then John Sansker pursues him. Spawn ditches his costume ​ so it’s a lot of naked-ish, horribly disfigured Spawn ​ and Sansker turns out to be “Jean Sans-Coeur” aka “Heartless John,” a would-be Lord of the Vampires and his whole monster-hunting shtick is just a way to eliminate the competition. A self-mocking premise to hinge the series on, which is all well and good, but that’s about all it is: a premise with a bunch of loudness to follow. There’s a fight. Then, the characters kind of just run off. The end. Disappointing, not because it’s unlike Alan Moore’s best work, though it is, but because it doesn’t even have the humorous edge of Moore’s juvenile-but-funny work. Violator gets it right in all the ways that Blood Feud seems like a dull, reheated story that Moore couldn’t quite grab and control all the way through. Then again, the thing about the sentient costume and the hero’s rejection of it seems like a direct parody of the whole Spider-Man/Venom relationship, and Todd McFarlane was the artist of that story back when he worked at Marvel. So this is Moore parodying the work of the creator of Spawn by riffing on a story completed before the creation of Spawn? By using Spawn to do that? Yes. That may be a confusing layer of intent, if that’s what was going on, but that doesn’t mean there’s any additional depth here. What about what I wrote up above, that this Alan-Moore-at-Image stuff was somehow an influence on the comic books of the decade that followed? Well, you can’t really get that sense from this small stack of Spawn issues. There’s a hint of something. A hint of an intelligence beneath all the pandering. A knowing sensibility about what’s going on, but not quite a giddy celebration of it. Moore’s execution seems uncertain here. He’s finding his footing in the new, Image Comics, spectacle-as-substance landscape. But I need to talk about some of the Spawn spin-offs and related Image titles before I can dive into my thesis about 1990s Image Alan Moore building the foundation for 21 st century superhero comics. More to come next week! NEXT TIME : The Admonisher comes, um, admonishin’ ​ Violator and friends! Spawn Vol 1 8. Billy Kincaid is reborn in Hell. He drops out of a green goo and immediately kills animals to cover his naked body. He is continually and randomly terrorized by flashbacks of Spawn killing him. He runs into a half-naked woman and small group of individuals. A small girl explains to them about the culture of hell as they are systematically picked off. A Soul-Trapper takes people off to the Sixth Sphere of Hell to sing for them. Others are picked off by the Prime Nomad to serve as hardware in a macro computer on the 10th, and highest sphere of hell. Soul-Trapper taking souls. As Billy sleeps, he's continually haunted by the vision of Spawn and wakes up. As he looks at the small girl, he decides to kill her to satisfy his itch. The girls sheds her skin and congratulates Billy for finally passing the test. The Vindicator reveals his true form as one of the five Phlebiac Brothers. He escorts Billy to the Either Sphere of Hell where he will serve in Malebolgia's army. When Billy sees the costume he has to wear resembles Spawn's, he freaks out and runs away. Vindicator casually explains the suit is a K3-Myrlu suit that is a continually evolving parasite that will combine with his central nervous system for life. Spawn comic books issue 8. "In Heaven!" Story by Alan Moore. Art by Todd McFarlane. Includes a B&W poster of Spawn by Frank Miller. Child murderer, Billy Kincaid, awakens in a strange dark place and he is not alone. One by one, the members of his group are taken, destroyed, or devoured by the macabre denizens of this foreboding place. One by one, until only Kincaid and small child remain. When this sick man cannot deny his base instincts, he soon learns that there are fates worse than death when one is sent to Hell! Cover price $1.95. This item is not in stock. If you use the "Add to want list" tab to add this issue to your want list, we will email you when it becomes available. Signed by Al Simmons A.K.A "Spawn" with certificate of authenticity and photo (Certificate issued by Space Travelers Comics & Promotions June 10, 1995). Alan Moore script. Frank Miller poster. Todd McFarlane art. Cover price $1.95. Cover pencils by Dwayne Turner. Carnival of Souls, script by Alan McElroy, pencils by Dwayne Turner, inks by Danny Miki; Suture takes her revenge on the dirty cops that killed her. 36 pgs. $1.95. Cover price $1.95. This is a consignment item. A 3% buyer's premium ($2.10) will be charged at checkout. : Standard, no notable issues Direct Edition Label #DA60B8-013. Direct Edition. (W) Brian Holguin (A) Liam McCormack-Sharp (Cover) Liam McCormack-Sharp Acts of Contrition - It is an age of absolutes: Good and evil, heaven and hell, right and wrong. But, as the young Hellspawn of the Dark Ages continues to battle with a relentless Angelic Hunter named Immaculata, he discovers that heaven's agenda may not be as pristine as it might seem. Meanwhile, DuBlanc, the cruel knight errant is bent on revenge against the Hellspawn moves closer and closer to his goal. FC, 32pg" Cover price $2.50. This item is not in stock. If you use the "Add to want list" tab to add this issue to your want list, we will email you when it becomes available. Newsstand Edition. (W) Brian Holguin (A) Liam McCormack-Sharp (Cover) Liam McCormack-Sharp Acts of Contrition - It is an age of absolutes: Good and evil, heaven and hell, right and wrong. But, as the young Hellspawn of the Dark Ages continues to battle with a relentless Angelic Hunter named Immaculata, he discovers that heaven's agenda may not be as pristine as it might seem. Meanwhile, DuBlanc, the cruel knight errant is bent on revenge against the Hellspawn moves closer and closer to his goal. FC, 32pg" Cover price $2.50. This item is not in stock. If you use the "Add to want list" tab to add this issue to your want list, we will email you when it becomes available. Volume 8 - 1st printing. Collects SPAWN #45-50. Written by TODD McFARLANE. Art by TODD McFARLANE, GREG CAPULLO and TONY DANIEL. Cover by GREG CAPULLO. Double-sized SPAWN issue #50 included for the same price! The SPAWN: ORIGINS family of books shifts into high gear with SPAWN: ORIGINS, VOL. 8! Collecting classic SPAWN issues written by Spawn creator TODD McFARLANE, this edition also features pencil and inking team GREG CAPULLO/TODD McFARLANE, alternating issues with TONY DANIEL/KEVIN CONRAD. Re-live the excitement of one of the best-selling independent comics of all time, and grow your SPAWN: ORIGINS collection!