Powers of X #4 Review

Powers of X #4
Writer: Jonathan Hickman
Artist: R. B. Silva
Colors by Marte Gracia
Letters by Clayton Cowles
Release Date: September 11, 2019
Cover Price: $4.99
Publisher: Marvel Comics

What it’s about…

As Cerebro does as it was intended to do, Sinister does what Sinister does best and the future comes to an end. Superstar writer Jonathan Hickman (FF, NEW AVENGERS, INFINITY) continues his reshaping of X-History alongside breakout artist R.B. Silva (UNCANNY X-MEN). The Future of the X-Men begins here!

What I thought about it.

Powers of X #4 could easily have been a filler issue, one created simply to pad the upcoming trade paperback. I’m sure many readers will feel like this comic was a waste of time. But I like that Jonathan Hickman uses this issue to take a step back from the bigger story arc to show us some of the plans and steps that Professor Xavier took years ago to completely change the course of mutant history.

My favorite part of Powers of X #4 comes right at the beginning where we get to see Xavier and Magneto meeting with Sinister and his clones. They try to convince Sinister to stop collecting human DNA and to focus on just collecting mutants genetic material. Jonathan Hickman continues to show us, Xavier, making some strange choices and even some indecent proposals. With only a couple of weeks to go, this will hopefully all lead to a devastating conclusion.

But the best part of the Sinister meeting was Sinister complaining about not having a cape. Hickman’s take on Sinister is so enjoyable to read, I hope we see more of him when the Dawn of X books launch next month. Sinister has never been my favorite X-Men villain, but I have to admit he stole the show in Powers of X #4.

In the art department, R.B. Silva’s art is fantastic throughout this issue. This might be his best work in the series so far in fact, and I’ve loved his stuff in the previous issues. Silva’s Magneto is menacing and the different versions of Sinister looked amazing and he managed to give them all a personality. In Powers of X #4, Silva also gets to draw a sequence showing the birth of Krakoa, and the sequence is breathtaking with a ton of panel detail.

In the end, Powers of X #4 was a pleasant surprise. Despite the issue of not moving the main story forward, it was interesting to see how some plotlines began. As I said before, the meeting between Xavier, Magneto, and Sinister stole the show for me. But the Krakoa scenes were rather good as well. I still don’t know where Jonathan Hickman is taking things, but for now, I’m enjoying the ride.

Powers of X #4 score: A-

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Better late than never review: Aladdin

Possible spoilers ahead!

Don’t worry people, I’m not going to bore you with a long recap of what happens in “Aladdin.” If you saw Disney’s 1992 animated classic, then you already know the key characters and how the story unfolds. However, I will say that out of all of Disney’s live-action remakes of the last few years, Guy Ritchie’s “Aladdin” was the one remake I went out of my way to avoid like the plague.

There were several reasons for this, but the main reason was the marketing for “Aladdin.” Disney’s marketing department once again did a terrible job. None of the trailers for “Aladdin” did anything to spark my interest. The photos in Entertainment (we used to be) Weekly looked bland too, making the entire film look like a pale imitation of a nearly 30-year-old animated film. Thankfully though I was dead wrong, because neither the trailers of the photos do “Aladdin” justice.

I take back everything bad I said ahead of release, because as it turns out, “Aladdin” is a really good movie. Guy Ritchie pays respect to the original film, but he also adds more depth to the characters of Aladdin (Mena Massoud) and Jasmine (Naomi Scott). Mena Massoud is very likable as the homeless thief Aladdin, and the friendships he forges with Genie and the magic carpet–as well as his relationship with pet monkey Abu–are fun to see develop. As the movie went on, I got the sense they all formed a family together. Not a conventional one perhaps, but a family nonetheless.

Naomi Scott, meanwhile, elevates the role of Jasmine beyond standard Disney princess fare–and the chemistry Scott and Massoud share makes the love story between Aladdin and Jasmine work well. I also liked that she had a sense of ambition and wants to follow in her father’s footsteps to lead her people and become the next Sultan of Agrabah, even if tradition doesn’t allow it. Scott is also likable in her role, and for me, Jasmine was the standout in the film. Scott got some of the best lines in the movie and her “Speechless” song is one of the best new additions to the world of “Aladdin.”

Speaking of songs, no need to worry because everyone’s favorite songs are all here, starting with a rousing version of “Arabian Nights” for a prologue. Even many of the jokes from the animated film remain, and the cast can give it all their spin which made everything feel fresh. But the key here is that new material adds to the entertainment, it does not take anything away from the 1992 movie.

As I mentioned earlier, the marketing campaign for “Aladdin” wasn’t very good, and probably the biggest worry from the trailers and tv ads was the Genie (Will Smith). But Will Smith’s take on the character works well. Smith never tried to imitate Robin Williams, which would have been foolish. Instead, Will Smith relies on his comedic talents and charms. Genie even gets a romantic interest in the form of Jasmine’s handmaiden and friend Dalia (Nasim Pedrad). Their blossoming relationship had some of the sweetest moments in the film.

The only character I had a problem with was Marwan Kenzari as Jafar. He’s not a bad actor, but he was too young to play Jafar. The part should have gone to an older man, someone who had a more menacing voice. In this film, I never got the feeling that Kenzar was a legitimate threat to Aladdin and the Genie. Also, I was disappointed that the 1992 plotline where Jafar changes the law so he can marry Jasmine was a minor plotline in the live-action film.

For the most part, the special effect in “Aladdin” is pretty good. Genie looks great and his magic got the attention it needed to make it stand out. The only time I thought the special effects looked weak was during the flying carpet scenes. The chase in the third act almost looked like they were using rear projection, and I swear they sped the film up during the “One Jump Ahead” sequence.

That all said, “Aladdin” is still quite good. It’s not perfect, but it’s the most fun I’ve had with a Disney remake. The film is epic and a visual feast. The classic music gets a fresh spin thanks in large part to Will SMith’s Genie but also thanks to Mena Massoud and Naomi Scott. If nothing else “Aladdin” has shown me I shouldn’t judge Disney’s live-action remakes until I see the movie. 

“Aladdin” score: B+

Comic Flashback: DC versus Marvel #1 (1995)

Amid the sea of the comic book Bad Girls, gimmick covers, and the market implosion on the 1990s, once the nice thing was that the people at Marvel and DC got along. With goodwill between companies, in late 1995 the two publishers launched the one comic book crossover all comic fans had always dreamt about: DC versus Marvel. Or Marvel versus DC, depending on which company was publishing that particular issue

DC Versus Marvel/Marvel Versus DC #1
“Round One”
Writer: Ron Marz (with thanks to Peter David)
Pencillers: Dan Jurgens & Claudio Castellini
Inkers: Josef Rubinstein & Paul Neary
Letterer: Bill Oakley
Colorist: Gregory Wright
Separations: Digital Chameleon
Assistant Editors: Chris Duffy & Joe Andreani
Editors: Mike Carlin & Mark Gruenwald
On Sale Date: December 12, 1995
Cover Price: $3.95
Published by: DC Comics

The series opens with Spider-Man (Ben Reilly) swinging around Manhattan when he is suddenly interrupted by his Spider-sense, which draws his attention to a strange glowing box in an alley below. As the web-slinger approaches, the box erupts in a blaze of light, causing Spidey to vanish. When the hero wakes up, he finds himself in Gotham City, and standing over him is none other than the Joker!

Meanwhile, in Westchester County, Gambit, Storm, and Wolverine are in the middle of a battle with the unstoppable Juggernaut. Just as Juggy is about to pound on Wolvie’s face, he blinks out of reality, reappearing outside the Daily Planet Building in Metropolis. As he tries to figure out what the heck is going on, Juggernaut gets the traditional super-villain Metropolis welcome: a punch in the face by Superman.

Back where we started in Manhattan, that refrigerator box that sent Bent Reilly to Gotham starts emitting beams of light. The homeless man guarding it tries to hold it back, but it’s to no avail. We then get single-page scenes to introduce the rest of the key characters. First, we see Captain America who is fighting someone from Hydra, until he too vanishes. Next in Gateway City Wonder Woman saves some people from a bridge and she too vanishes.

At the same time back at Marvel land, the Hulk smashes some trees to make firewood for him and Betty. She doesn’t find the smashing bit funny, as she prefers the Professor Hulk persona. But before either can say anything else, the Hulk vanishes. We then jump to Hawaii where Superboy is getting to know a pair of lovely ladies. The fun ends when Superboy’s on-again/off-again girlfriend Tana Moon catches him in the act. But before she lets him have it, Superboy also vanishes.

Somewhere in space, Lobo is in the middle of a brawl with some thugs just before he vanishes. Back at the Xavier School for Gifted Youngsters, the X-Men try to figure out what happened to the Juggernaut. As Professor X searches for answers, a glowing light surrounds Wolverine, Gambit, and Storm… and they vanish just like Juggernaut did earlier. But all these characters are not alone, as dozens of DC and Marvel heroes and villains are overtaken by the light.

I can’t explain the level of excitement I had when DC versus Marvel came out. The day the first issue came out was the same day I took the drivers test for my license. Since I passed the test, the first place I drove to was New England Comic in Quincy Ma. Guess I wasn’t alone in the excitement department, because there was a line waiting for the store to open that day. As soon as the doors opened I ran to the new release rack to make sure I got a copy.

Once I read the issue however, the results were mixed. I’m a Ron Marz fan, but the story here felt rushed. It was like they were trying to cram a 64-page story into a 32-page book. That ended up with almost zero character development or answers as to what force is bringing the heroes and villains to these worlds. Some scenes demanded more time, but in most cases only got a few panels of action.

At the time it was easy to say this was only the first issue, but the entire mini-series was the same way. Everything happened so fast that we didn’t get a chance to enjoy every moment, I’ll give you an example: In what is arguably the best scene in DC versus Marvel #1, Batman is in the Batcave where Bullseye suddenly materialized and took Robin hostage. Batman hurls a Batarang at Bullseye, who catches it and sends it and throws it back, but by then Batman has leaped into action and takes Bullseye out.

Just before he passes out, Bullseye mumbles “You’re even faster than Daredevil.” But when the dust settles, Robin begins to glow and vanishes, reappearing at the Massachusetts Institute that Generation X calls home. Good stuff, right? Too bad we joined the action mid-scene and what we do get to see only lasts a few panels. Even today I feel like we got robbed of what could have been an epic showdown between Batman and Bullseye.

The art in the issue also looked rushed. It doesn’t help that artists Dan Jurgens and Claudio Castellini have very different styles. Jurgens is more traditional, but his art in DC versus Marvel #1 is not up to par with any of his previous work. Castellini was extreme 90’s at its best and worst, with characters looking like possessed versions of themselves. And don’t get me started on what he did to Wolverine’s hair!

When DC versus Marvel was announced, they said the fans would vote on who the winners would be. Right there I thought it’s gonna be Marvel in a landslide. But that didn’t diminish my excitement for the mini-series. If I recall correctly, there were even rumors that depending on the voting, Marvel and DC might trade a character for a year or so. The thought of Thor joining Wonder Woman on adventures or Catwoman battling it out with the Black Cat was too good to pass up.

The character switch never happened, but we did get the Amalgam comics line, some of which were quite good. Still, I think DC versus Marvel could have been better. If I’d had a say I would have made the even a year-long saga. The main book lasts 12 issues, but all the monthly books tie-in,  that way we could have seen Spider-Man adjusting to working at the Daily Planet, Robin as leader of Generation x, Lobo and Wolverine in a team-up book, Captain America teaming up with Justice Society and so much more.

An event of that size may have helped the comics industry during a time it nearly went out of business. But I guess the quick buck was the easier way to go for Dc and Marvel. With all that said, would I recommend checking out DC versus Marvel?  Well, yeah. Even though it’s not the best crossover the two companies ever published, it was still fun seeing some of this character interact with one another. And the way things are between DC and Marvel today, we’ll probably never see this again.

Movie Flashback: The Maid (1991)

Martin Sheen is one of those rare actors that can act in just about anything. Sheen is also one of those actors that everyone knows, whether it’s from his work in classic films like “Apocalypse Now,” or for his later work as president Josiah Bartlet on tv’s “The West Wing” (my favorite show ever). 

But the first time I saw Martin Sheen in anything was in a little 1991 movie called “The Maid.” Never heard of it? You’re probably not alone.

In “The Maid,” Martin Sheen stars as Anthony Wayne a corporate merger specialist from America who just moved to Paris to take a job at the bank where the beautiful Nicole Chantrelle (Jacqueline Bisset). To help him adjust to the move, his new boss has given Wayne a few days off before he begins work. During one of these days, he sees Cantrelle at a restaurant. and immediately falls for her not realizing who she is.

Hoping to meet this beautiful woman, Wayne follows her from the restaurant to her nearby apartment building. Completly love-struck by now, Wayne wanders into her apartment where she mistakes him for the new maid and caretaker for her terror of a daughter, Marie (Victoria Shalet). Since he still has a few days off, Wayne goes along with the masquerade so he can get close to Chantrelle. He even finds an apartment in the same apartment building where Chantrelle lives with her daughter.

During the next few days, Wayne frantically juggles the dual identities. Even when he goes to meet his bosses, he makes sure to hide from Chantrelle. Back at her place, he pays a cleaning service to tidy up at the apartment and does his best dealing with Marie. Over the next few days, Wayne succeeds as a domestic and becomes a father-figure for Marie. He’s even become a confidant for Nicole Chantrelle.

Unfortunately for Anthony Wayne, at the same time he’s serving as Chantrelle’s maid, she’s is being courted by  C.P. Oliver (Jean-Pierre Cassel). He’s a suave married loan applicant, whose shifty dealings caused the collapse of several American institutions that lent him money in the past. Oliver is the reason the bank hired Wayne in the first place so that he could look into the man’s past loans.

Everything changes after Chantrelle find out Oliver is married. She informs her bosses that giving him a loan is a bad idea, but Oliver convinces them to give the application another look, which they give to Wayne to look over.  Things get even worse when Nicole and Wayne end up spending the night together, only for her to discover who he is. She’s furious at him but they still have to work together on the C.P Oliver account, assuming she doesn’t kill him first.

The always likable Martin Sheen is charming as Anthony Wayne becomes a maid. As for Jaqueline Bisset, she looks better than ever here and she’s terrific as a powerful banker. Together they create some lighthearted comedy and it works well. Victoria Shalet as Marie is quite good, and her scenes with Sheen are some of the funniest in the film. The corporate subplot is also interesting and adds another layer of drama to the entire film.

I first discovered “The Maid” on VHS in the early 1990s. I liked the movie mostly because of Martin Sheen. But thinking about it now, it is kinda creepy that he would just follow Jaqueline Bisset home as he did. That would be considered stalking 101 by today’s standards. this is a moment that doesn’t age well, but the rest of the film is quite fun.

“The Maid” is a movie that most people probably don’t remember or know about, but it does have its share of fans, which includes me. And because “The Maid” is a romantic comedy, it is a rare entry in Martin Sheen’s resume. As far as I know, this is the only rom-com he’s ever done, but he does show the comedic timing that made President Bartlet so likable years later. For whatever reason, this movie has never been released on DVD, but if you can find it someplace, it’s worth a shot.

The truth about My Two Dads

Everyone who watched tv growing up probably has an argument about which decade had a better class of sitcoms. For me, that would be the eighties, the era where sitcoms were “filmed before a live studio audience.” The 1980s saw massive hits like “The Cosby Show,” “Cheers,” “Growing Pains” and “Family Ties.” But there was also a slew of sitcoms didn’t hit rating records, but had their fair of fans too. For me, one of those shows was “My Two Dads.”

This is a show that I watched when it originally aired but had forgotten about until I came across it a few days ago on some cable channels that airs only old tv shows. For those who are too young or can’t remember the series, “My Two Dads” premiered in 1987 and starred Paul Reiser, Greg Evigan, Staci Keanan, Florence Stanley and Dick Butkus. But the show I remember watching in the late 1980s is very different from the one I watched a few days ago.

The way I remembered “My Two Dads” is that young Nicole (Staci Keanan) was the daughter of Michael Taylor (Paul Reiser), who’s wife had recently died. Because his job had crazy hours, he wasn’t able to be at home with his daughter that much and he was in danger of losing custody. So a judge ordered his brother Joey (Greg Evigan) to come live with Michael and Nicole to help out. But it turns out I was wrong all these years.

The actual premise of “My Two Dads” begins when 12-year-old Nicole Bradford is left orphaned after her mother’s passing. Shortly thereafter, Judge Margaret Wilbur (Florence Stanley) places her in the custody of two former best friends who haven’t spoken in over a decade. One is Michael, a successful financial adviser, and the other is struggling artist Joey. Michael and Joey’s friendship ended when the two fought over the same woman, who was, of course, Nicole’s mother. That’s why both guys are suspected of being her biological father.

When “My Two Dads” originally aired, I often wondered why Judge Wilbur kept showing up at Micheal and Joey’s apartment. One time my mom told me it was probably to check how the family was doing. But I guess I never paid attention to the opening credits because as the theme song plays, the Judge says she owns the building Nicole and her dads live in. This makes more sense that her just popping in for no apparent reason.

Learning all of this blew my mind (it was a slow night). This meant that for the better part of my life I had been living a lie. I had to tell someone, so the next morning I asked my wifey if she remembered “My Two Dads.” When she said she had watched the show too, I told her how I remembered the show. She looked at me and laughed, saying that I had mixed “My Two Dads” with “Full House” and “Mrs. Doubtfire.”

Re-watching “My Two Dads” last week also made me wonder why Michael and Joey never took a paternity test to see if either of them was Nicole’s biological dad. But that probably would have brought the series to an abrupt end. After thinking about all of this for a while, I concluded wifey was right. I guess was thinking of multiple things and in my mind, it became a twisted version of “My Two Dads.”

But that still doesn’t explain what Dick Butkus was doing on this show.

Legion of Super-Heroes: Millennium #1 Review

Legion of Super-Heroes: Millennium #1
Writer: Brian Michael Bendis
Artists: Jim Lee, Dustin Nguyen, Andrea Sorrentino, Andre Araujo, others
Colors: Alex Sinclair, John Kalisz, Dave Stewart & Jordie Bellaire
Letters: Dave Sharpe
Release Date: September 4, 2019
Cover Price: $4.99
Publisher: DC Comics

What it’s about…

Brought to you by some of comics’ greatest talents, this epic story spans 1,000 years and, for the very first time, connects all of DC’s future timelines! Starring the unlikeliest of DC heroes as she learns to cope with newfound immortality and roams through the disparate societies of Batman Beyond, Kamandi and Tommy Tomorrow, wrestling with her inner demons and desperately trying to find her purpose in an ever-changing world. Do not miss this truly unique take on tomorrow’s DC Universe, all leading up to a special launch on the millennium!

What I thought about it…

I’ve been a Legion of Superheroes fan since 1994s Zero Hour event. The #0 issues of Legion of Super-Heroes and Legionnaires were the first Legion books I bought. Since then I’ve stuck around for several of DC’s Legion reboots and the highly underrated Saturday morning cartoon. But with every change DC made to the comics,  I felt like I wasn’t reading about the same team I met in 1994. I finally gave up on the Legion just before the New 52, and when DC announced that Brian Michael Bendis would be responsible for the next chapter of the Legion, I had mixed feelings.

Brian Michael Bendis’ writing has always been hit or miss with me, and I’m afraid that Legion of Super-Heroes: Millennium #1 is a miss. But perhaps the best way to describe this comic is a missed opportunity. I say that because DC and Bendis missed a chance to introduce a new generation of readers to the Legion of Super-heroes. Instead, Bendis pulls a fast one by not having the Legion in Legion of Superheroes: Millennium #1 at all.

So after all the waiting and the excitement fans had, DC Comics failed to deliver the return of the Legion. Instead, we get a comic starring Rose, of Rose and Thorn. A character I haven’t seen in ages and forgot about. In the first chapter of Legion of Super-Heroes: Millennium #1 Rose gives an older Supergirl her convoluted history. Thorn is one of her personalities, one who has issues controlling her super-powered aggression. Rose, on the other hand, doesn’t have superpowers. Or, does she?

I have no idea because Legion of Super-Heroes: Millennium #1 jumps from story to story without really explaining anything. In one chapter Rose meets the Batman from Batman Beyond, but I don’t know if this is in the past or after Rose spoke to gramma Supergirl. Later Kamandi (I think) shows up in another chapter that has something to do with Superman’s costume. This comic was confusing, and going back to see if I missed something didn’t help. But worse of all was when I kept thinking the Legion would show up in the next page.

Best that I can figure, Rose keeps going without any signs of aging. She’s also managed to keep her multiple personalities at bay for some time. But now the problem she uses has run out, which mean Thorn’s going to make a reappearance and she’s going to be mad at being kept under wraps for so long. While I feel bad for what Rose is going through, I keep wondering what (if anything) this has to do with the Legion of Super-Heroes?

The one good thing I can say about Legion of Super-Heroes: Millennium #1 is that the artwork is spot on. Jim Lee’s work for me is timeless, and I’ll scoop it up any chance I get. Lee’s older Supergirl looked terrific, and I wouldn’t mind seeing more of this character but only if Jim Lee is on board to draw. Dustin Nguyen, Andrea Sorrentino and the rest of the art team also did an excellent job, so even though the story sucked, the book was nice to look at.

In the end, the Legion of Super-Heroes isn’t back yet. Brian Michael Bendis has said that he wants to tell a Legion of Super-Heroes story that is consistent throughout, and maybe he will do just that in the upcoming Legion book. For now, however, all we have is a Rose story that would have made a fine back-up feature in an issue of Action Comics.

Legion of Super-Heroes: Millenium #1 score: C-

Spawn #300 Review

Spawn #300
Script by: TODD MACFARLANE & SCOTT SNYDER
Pencils by: GREG CAPULLO, TODD MACFARLANE, J. SCOTT CAMPBELL, JASON SHAWN ALEXANDER & JEROME OPENA
Inks by: TODD MCFARLANE, JONATHAN GLAPION, J. SCOTT CAMPBELL & JASON SHAWN ALEXANDER
Colors by: FCO PLASCENCIA, BRIAN HABERLIN, PETER STEIGERWALD & MATT HOLLINGSWORTH/ Letters by TOM ORZECHOWSKI
Released: SEPTEMBER 4, 2019
Cover Price: $7.99
Published by: IMAGE COMICS

What it’s about…

SPAWN MAKES HISTORY! With this 300th issue, SPAWN becomes the longest-running independent series in comic book history. To celebrate, legendary artists TODD McFARLANE and GREG CAPULLO return with ALL-NEW interior pencils, with additional art provided by JASON SHAWN ALEXANDER, J. SCOTT CAMPBELL, and JEROME OPE A, a cavalcade of celebratory covers, and additional writing by SCOTT SNYDER! And next month, RECORDS WILL BE BROKEN with SPAWN #301!

What I thought about it…

Spawn #300 is a 72 celebration of Todd McFarlane’s creation. This comic surprised be, not just by its $7.99 cover price, but because it manages to honor the past 27 years of Spawn while at the same time, look towards the next era for the character. To help him celebrate this milestone issue, Todd McFarlane brought together a star-studded creative team featuring Scott Snyder, Shawn Alexander, J. Scott Campbell, Greg Capullo, Jerome Opena, and, of course, McFarlane himself. And with talent like that, the result of their efforts is nothing short of spectacular!

Not only does Spawn #300 turns Spawn’s world upside down, but it also serves as a sort rebirth for the character that sets a new course for good old Al Simmons. This book also brings back a few familiar faces and some new ones that will likely play a role in upcoming storylines. As someone who read Spawn when it launched in 1992, it was nice to see some of the old faces that I remember, including the newsreaders who have even aged somewhat.

For those wondering, the comic contains plenty of gore too. There are horror and action in this comic as well, but there’s also a ton of character development, perhaps the most I’ve ever seen in a Spawn book. Because of all of this, Spawn #300 feels important, fresh and exciting and should spark interest in long-time readers as well as new ones. I know it sparked it in me, I’ve already pre-ordered issued #301-303.

As for the story by Todd Mcfarlane and Scott Snyder, I don’t want to go into detail about the changes Spawn #300 makes to the main character and his supporting cast because explaining one thing might spoil the entire issue. However, I will say the changes made by Todd McFarlane and the rest of the creative team has added a new layer to what was already a very complex character. And unlike many comic book events of today, these changes seem like they will redefine Spawn for many years to come

Usually, I’m not a big fan of comics with so many artists. With so many syles you often get characters that look nothing like they did a few pages before (I’m looking at you Daredevil #375). Changing artist mid-story can also lead to some jarring mid-scene clashes in style. But thankfully in Spawn #300, the talented roster of artists turn in some stunning artwork. Each chapter of the book suites whoever the artist was, and for that alone, this enough to justify the price of admission.

In an era where Marvel Comics relaunch their books every year and a half and DC Comics has relaunched their entire universe a couple of times, it’s nice to see a comic reach #300. I miss going to a comic shop and finding comics with big numbers on the cover. Today there are only a few books with their original numbering left, so this may be one of the last time we see a series reach issue #300.

In the end, I would say Spawn #300 surpassed any expectations that I had. This is a milestone issue that is epic in every way possible: it closes old chapters, opens new ones, sets a new status quo, and does so with an amazing creative team. This is one time where Todd McFarlane deserf=ves to celebrate because Spawn #300 more than delivered on the hype.

Spawn #300 score: A