hi we're doing mini commissions to test the waters
somewhat detailed armour/outfits
gore/animals/nsfw/etc. but ask first
hateful stuff (words, symbols, etc.)
i'm not fully sure what i'm okay and not okay with drawing, but this is just the baseline. i'm usually cool with most things.
PLEASE have references and an idea of what you'd like, it'll be easier for me to visualize and tweak the concept that way
more detailed pieces will obviously take me more time, i will keep you updated throughout the process
i'm inexperienced in terms of doing this so please have patience with me, these are literally just test commissions so i can figure things out
payment upfront through PayPal
max 2 characters for a piece (for now at least, the lineart takes me a very long time and i like not having carpel tunnel thank you)
if you have any questions or queries pls reply to this or drop by my askbox
feel free to contact me through my dm's if you're interested :)
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Dave Sim’s Spawn #10
Holy multiverse, Batman! This 1993 issue of McFarlane’s Spawn penned by Cerebus creator Dave Sim is nuts! Kind of a fun read in the context of the upcoming Spawn “universe” that McFarlane/Image is launching in the post-issue-#300-of-Spawn landscape. This ish has a lot to say about artists’ ownership of characters and ideas and the hope that Spawn represented in the face of the Big 2′s mechanization of their corner of the industry [and their treatment of the artists fueling their business]. (Also, a lot of great, eerie art).
Spawn was coming up on a year of publication when this issue hit the newsstands, and McFarlane was celebrating by having some guest writers hop on for a one-off. Gaiman had introduced an angelic huntress Angela in the prior issue and Frank Miller would write the following one. But here, Dave Sim in the form of his Cerebus ardvark was to be Spawn’s Vergil through an afterlife of meta-textuality of authorship and the capital-i Industry.
There’s this weird Plato’s Cave-esque metaphor where the creators of famed superheroes from throughout time are held prisoner at the mercy of the Industry because they Sold Out. Or something. It’s sympathetic of course-- as we know, people like Bill Finger had no say in the way that they were left without credit, not to mention control, and a finger is pointed at Marvel and DC for controlling and withholding the fate and marketing of properties that shouldn’t belong to them in the first place.
I haven’t read any Cerebus so I can’t speak to that, but I assume this meta, philosophically noir tone is commonplace in that book. Spawn up to this point--even in the nightmarishly lucid fantasy romp of Gaiman’s issue-- has been dark, brooding and violent, but not exactly intellectual. A surrealist issue of commentary like this might make us question whether we are to read all of Spawn’s edge-lord grim-dark as actually deep metaphor.
Then again, there’s still some Megadeth-style cheese. Even though the artists, creators and heroes which have inspired and paved the way for Spawn and McFarlane are all imprisoned, they are still able to blast Spawn full of their magical fourth-world Creativity energy.
There’s enough detail and intention to warrant reading into this metaphor somewhat, but there’s also enough to it that I know some of it would escape this ameteur comic historian’s notice. There’s a lot of heart behind the aspects of it that are loudly heavy-handed though.
It’s a little off-the-rails for me at the very end when some point is made that his daughter who isn’t actually his daughter is proof that Spawn isn’t sold-out. But uh, sure. And here we are a year or so short of 3 decades and Spawn is about to have a big push. I would use the word “come-back” but that honestly isn’t right. Spawn enjoyed their big #300 issue a year and a half ago and even then it didn’t seem so much a surprise they made the big 300 and more just a confirmation that Spawn was more than just a 90s trend after all.
I’m not saying that anyone is out here hyping all 300 issues and 3 decades of Spawn. It was never about telling the most mind-bendingly written stories. Spawn and Image Comics as a whole, and everything McFarlane, Jim Lee and Liefeld were trying to do back in the day during their big shift away from the Big 2 is still pretty endearing and Spawn is emblematic of that pathos. Of course, the creation of Image was less a departure from the Big 2, and instead re-insisted on the autonomy of the Artist and Creator so that these artists could return to the Big 2 if/when they wanted. It amounted to a bit of a scolding in the end-- if not an important and due one that should continue to be heeded.
Skip ahead a couple decades and a half and Image and Spawn have both stuck around. Hell, Invincible is airing on Amazon Prime Video, an Image property, created by the guy who also launched a little zombie universe you might have heard of. Image opened doors for excellent creators like Robert Kirkman and by so doing became one of the Big’s itself in a way, and I guess that was always the idea.
Now Spawn is launching a couple extra books for the first time in a while. Just because it can maybe? In the very first books, McFarlane was insisting on Image as its own universe. The Young Bloods and Savage Dragon all kicking around on the same planet. While Grifter has wound up back in the clutches of Gotham though, perhaps Spawn itself has always been enough to sustain its own universe, no forced, nonsensical Walking Dead or Invincible cameos needed.
And by surviving into the 2020s, Spawn can prove that it was more than just the launch-pad for a franchise of (admittedly excellent) toys. And if naysayers worried a little too much of the 90s itself hung like an albatross on Al Simmons’ shoulder, well, your not wrong. But doesn’t the entire genre have the ghost of the Golden and Silver age haunting its every step? So Spawn can be the first classic “Bronze” age anti-hero main-stay. If you ask me, he made the Hall of Fame and then some.
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