1 July 2025

Podcast: Image Comics: The Roaring Nineties

 

Available from all your usual podcast providers, or listen here:  

It's all well and good talking about comics, but they are obviously a visual medium - pretty pictures!  Therefore, to accompany each episode, we also do a little blog post with some images and other extras to give you some context as to what on earth we're talking about!   

 

 What Have We Been Reading Recently?

Batman The Cult #1-4 (1988)
Published by DC Comics
Written by Jim Starlin
Art by Bernie Wrightson
Colours by Bill Wray
Lettering by John Costanza 



 
 
Absolute Flash (2025)
Published by DC Comics
Written by Jeff Lemire
Art by Nick Robles
Colours by Adriano Lucas
Letters by Tom Napoltano
 


 
 

The Roaring Nineties

Superman #75 - an estimated 6m copies sold!

Superman #75 bagged Platinum Edition - aimed squarely at collectors/investors

Unity #1 - the crossover would help put new Valiant Comics on the map, and launch the 90s mega-crossover fad

Dale Keown's Pitt #1 - the second issue would take 6 months to arrive

Tribe #1 from Larry Stroman - another where the second issue took 6 months

Spawn #21 - released before #19 & 20 because they were running so far behind

Deathmate, the Image and Valiant crossover plagued by delays, is considered by many to mark the end of the boom and start of the bust









29 June 2025

Early Image: Spawn - Blood Feud

The Give Me Comics or Give Me Death podcast is available from all your usual podcast providers, or see all episodes here

For Season Two of the podcast we've taken an in-depth look at the foundation and history of Image Comics.  To accompany that we've done a blog series on comics published by Image in their exciting and chaotic formative years - 'Early Image'.  


Spawn: Blood Feud #1-4 (1995)
Written by Alan Moore
Art by Tony Daniel and Kevin Conrad
Lettering by Tom Orzechowski
Colouring by various
 
When Alan Moore returned to the mainstream and superhero comics after his self-imposed exile it seemed both appropriate and baffling that he would choose Image Comics.  Moore had become disillusioned with the industry following disputes with DC Comics over creator's rights, ownership, and unfair financial deals - grievances shared by many of the Image partners and the motivation for setting up their own publishing company.  However, early Image comics were lambasted for their poor quality, style over substance, and unprofessionalism - the polar opposite of the reputation Moore had established for himself.  Even more surprising were the titles that Moore took on in those formative Image years; his own homage to Silver Age comics 1963, and Rob Liefeld's teen-boy take on modern superheroes with Supreme, Glory, and Youngblood, as well Jim Lee's alien sci-fi action team WildC.A.T.S.  But nestled in there was Todd McFarlane's Spawn - a tale of an ex-CIA operative who is killed and then resurrected as a 'Hellspawn', and uses newly found superpowers to fight evil.  The dark supernatural elements mixed with traditional superheroics were a perfect match for Moore's experience with the likes of Swamp Thing, Captain Britain, and Marvelman.  After writing an issue of the regular Spawn series, a couple of miniseries featuring Spawn's nemesis The Violator, he teamed up with rising-star artist Tony Daniel for the 4-issue series Spawn: Blood Feud.
 
Spawn's costume had always seemed like it had a life of its own; McFarlane's art style had the hero's cloak flowing endlessly around his panels, and chains flying in every direction in imitation of the way he had once drawn Spider-Man's webbing.  Moore runs with the premise and explicitly makes it a sentient being from the depths of hell, living in a symbiotic relationship with Spawn and having its own needs - being fed, principally.  One has to assume Moore intentionally leaned into the comparisons with the Marvel character Venom, who was co-created by McFarlane himself.  The realisation for Spawn that his costume is more than just a spiky cool set of threads coincides with a spate of horrific killings on the New York streets and alleyways he calls home.  With Spawn unable to recall his nighttime activities, and hearing a voice in his head claiming to be his own costume, the scene is rather obviously set for him and the reader to assume the thing has taken on a life of its own and is the mysterious monstrous murderer.  
 
The police - generally inept, as they always seem to be in superhero comics - call in a specialist to help with these killings.  John Sansker struts onto the scene, decked out in designer suits and hulking over the hapless police detectives, declares Spawn to be a vampire, commits to taking him down, and orchestrates a media campaign against him.  To the surprise of no-one, Sansker, turns out to be more than just a guy who works out at the gym a bit too much, and is in fact the villain responsible for the killing spree.  Moore cleverly tips his hat to the true perpetrator right out of the gates, by giving us first-person POV scenes for both the murders and Sansker's introduction to the police.  In typical Moore fashion, and a riposte to the prevailing trend in other Image titles at the time, the tale ends without an action packed, splash-page filled, showdown between Spawn and his antagonist, with Sansker escaping through the sewers to see another day and (oddly) a pledge to takeover Hong Kong in 2070.   What we are left with is an understanding from Spawn as to the nature of his costume and their relationship, and an interesting deepening of the Spawn lore for other writers to investigate.
 
 
Tony Daniel had come out of nowhere to take over regular pencilling duties on Marvel's X-Force, ironically taking over from Greg Capullo who had left to work with McFarlane on Spawn.   His work there was decent enough - if a bit in hock to X-Force co-creator Rob Liefeld - but there was little there to suggest he was the right pick for a more considered horror influenced comic, or someone to pair with a legend like Moore.  However, without doubt he stepped up for Blood Feud.  Working with inker Kevin Conrad, he combines the expressive manga-light faces of Joe Quesada with the darkness and dirtiness of McFarlane.  His storytelling and page composition is outstanding - though that may be more due to the famously detailed scripting from Moore himself.  The POV scenes of the killings are particularly well done, terrifying and gory whilst maintaining the mystery of the perpetrator.  Perhaps his best work is on Spawn's living costume, especially when separated from its host; he brings a real believability to this swirling, amorphous, hell being, and imbues it with its own personality.  The only misstep in the art is the use of computer graphics for bubbles in a couple of underwater scenes - against the dark pencilled art the effect is incredibly jarring and serves only to make you realise you're looking at computer generated images.  

Alan Moore's work on various Image characters proves that a good writer can elevate even the most hopeless of characters.  Spawn was already one of the more interesting concepts from the Image founders, but in Moore's hands in Blood Feud, we get an intriguing horror mystery that brings a genuinely interesting concept to life.  Add in great art from Tony Daniel, and it is definitely one of the early Image comics that had stood the test of time. 
 
 

23 June 2025

Podast: Image Comics - Toddmagedon

Available from all your usual podcast providers, or listen here:

 

It's all well and good talking about comics, but they are obviously a visual medium - pretty pictures!  Therefore, to accompany each episode, we also do a little blog post with some images and other extras to give you some context as to what on earth we're talking about!   

 

 What Have We Been Reading Recently?


Sachs and Violens #1-4 (1993)
Published by Epic Comics
Written by Peter David
Art by George Perez
Colours by John Stracuzzi
Letters by John Workman
 


 
Adrift on Painted Sea (2024)
Pubslihed by Avery Hill
By Tim Bird 
With paintings by Sue Bird
 



 

Todd McFarlane

 
A cover from McFarlane's brief Batman stint 

McFarlane's record breaking Spide-Man #1 

 
McFarlane's darker take on Spider-Man 

The cover to McFarlane's record breaking (again) Spawn #1

 

12 June 2025

Podcast: Image Comics: Secret Origins

Available from all your usual podcast providers, or listen here:

 

It's all well and good talking about comics, but they are obviously a visual medium - pretty pictures!  Therefore, to accompany each episode, we also do a little blog post with some images and other extras to give you some context as to what on earth we're talking about!   

 

 What Have We Been Reading Recently?

The Vertigo Weekly Reader

Substack by Mark Mosedale - "A chronological(ish) deep dive into DC Comics' Vertigo imprint, starting with Alan Moore's Swamp Thing and running to the end of the British Invasion. Analysis, reaction, wild tangents, magic(?), other business."


Absolute Superman (2024/25) published by DC Comics
Written by Jason Aaron
Art by Rafa Sandoval
Colours by Ulises Arreola Palomera 
Letters by Becca Carey
 


 

 

 

The birth of Image Comics 


Spider-Man #1 by Todd McFarlane


X-Force #1 by Rob Liefeld


X-Men #1 by Jim Lee 


Shadowhawk #1 by Jim Valentino


Spawn #1 by Todd McFarlane

Youngblood #1 by Rob Liefeld

Savage Dragon #1 by Eruk Larsen

Cyber Force #1 by Marc Silvestri


Wetworks #1 by Whilce Portacio

WildC.A.T.S. by Jim Lee






 

 

 

 


28 May 2025

Grant's Morrison's Batman Annotations: 52 #30 & 47

The Give Me Comics or Give Me Death podcast is available from all your usual podcast providers, or see all episodes here

See the index for all entries in these Batman annotations here

The weekly series 52 span out of the Infinite Crisis comic/event, following which the holy trinity of DC Comics - Batman, Wonder Woman, and Superman - look a year-long leave of absence (hence the title, it covered 52 weeks in the DC universe in 'real time').   At the conclusion of Infinite Crisis Bruce tells the other two-thirds of that trinity that he intends to 'retrace the steps I first took when I left Gotham. I'll be rebuilding Batman.  But this time it's going to be different....I'm not going alone.'  Accompanied by (at that time the only) Robins (Dick Grayson and Tim Drake), this sets up the premise of Morrison's mission for Batman - to turn him from the dark violent soldier-vigilante character he had become into a brighter better-adjusted superhero.
 

52 #30


This issue catches up with the Batman family and what they're up to during this period, but also clarifying where they stand in the New 52 continuity. Much of the story concentrates on Batwoman - later with Nightwing - and her attempts to tackle Intergang and their leader Mannheim.  However, we also get Morrison's pages featuring Batman, Nightwing, and Robin.  The latter two are on the trail of Batman, who has disappeared into the desert, whilst also discussing whether Bruce has "cracked".  We then find Bruce wandering the desert, when he is set upon by the Ten-Eyed Men of the Empty Quarter, who he allows to attack him in order to kill his 'demon'.

The Cover

 
Based on 14th and 15th century altar pieces and paintings of the Archangel Michael fighting Satan (see below), it here represents Bruce Wayne slaying his demon - the dark Batman personality that he had become.  There is also the clear foreshadowing of the conflict to come when Batman will fight Dr Hurt who may, or may not, be the Devil himself.  Furthermore, the biblical account of the Archangel Michael fighting Satan occurs during the War in Heaven, when Lucifer rebelled against God and was cast down to Earth.  This is essentially the start of Final Crisis, where the New Gods fight their own war and 'fall' to Earth, and is a key part of Morrison's Batman story.
 
 



Page 1

 
It's so appropriate for Morrison's Batman saga to start right back at the beginning.  Here we have early Batman in his original costume (as seen below in Detective Comics #27, his first appearance).  "Things started out so well" goes the Dick Grayson narration.  This doesn't quite fit the story Morrison is telling, because early Batman was pretty dark and violent, before becoming more light-hearted with the introduction of Grayson himself as the first Robin.  



Page 2

 
Here we go on a quick tour through the history of Batman.  Grayson's narration continues, "when you think about everything that happened - it's too much for any man.  Even the strongest".  So on just the second page of Morrison's Batman project the basis of Batman R.I.P. is laid out - all the crazy and traumatic events from Batman's continuity all happened, which begs the question, what would that do to a man?  
 
Panel 3 - Dick Grayson moving out and going to college (Batman #217 - 1969), leaving Batman without the key anchor to his humanity.  Robin's introduction had forced him to become a father figure and a role model with responsibilities. 
  
Panel 4 - The first appearance of Jason Todd in the new Post-Crisis on Infinite Earths continuity (Batman #408 - 1987).  Batman discovers the street orphan stealing the Batmobile's wheels, and recruits him as his new Robin.
 
Panel 5 - Jason Todd's tenure as Robin does not go well.  Here we see Batman carrying Jason's lifeless body after he was beaten to death by the Joker.  In reality, this was the result of a phone-in stunt by DC Comics, where readers voted whether the character should live or die.  The fans, who never took to the surly and angry Robin, narrowly voted to kill him off 5,343 votes to 5,271.
 
 

 

Page 3

 

 
The Batman history tour continues.
 
Panel 1 - Joker shooting, and crippling, Barbara Gordon (Batman: The Killing Joke - 1988).  In the post-Crisis continuity, Barbara had never been Batgirl, and was the niece/adopted daughter of Commissioner Jim Gordon.  Following her paralysis, she would go on to adopt the Oracle moniker and become a provider of intelligence support for various super-heroes.
 
Panel 2 - Bane breaking Batman's back (Batman #497 - July 1993) which would put him out of action for some time.  Batman anointed Jean-Paul Valley (aka Azrael) to take his place.  He turns out to be dangerous and murderous, and is taken down by Batman once his physical recovery is complete.  Interestingly, despite the obvious parallels with Morrison's story, it is barely referenced by them.  

Panel 3 - The panel isn't particularly clear, but it appears to be representing the Cataclysm and No Man's Land storylines (various Batman titles - 1999), in which Gotham City is struck by a massive earthquake.  Following the evacuation and abandonment of the city by the federal government, Batman must try and reclaim a lawless city overrun by gangs and super-villains.
 
Panel 4 - Of course in comics N.E.R.D. (No-one Ever Really Dies), so here we have Batman fighting with the new violent Gotham vigilante The Red Hood, only to discover it is his former Robin, Jason Todd, who has returned from the dead (Batman #641 - 2005).
  
Panel 5 - Tim Drake (the third Robin) and Batman arrive at Tim's father's house too late, and find his body following his murder by Captain Boomerang (Identity Crisis #6 - 2004)
 
Panel 6 - I'm not sure what this panel is depicting.  It potentially looks like Batman holding a gun to the head of Joe Chill (sometimes identified as the murderer of Bruce Wayne's parents), though I'm not aware of any specific comic that occurs in.  Any suggestions welcome!
 
 

 

Page 4 

 
Panel 2 - Tim Drake suspects Bruce wants him and Dick to become the new Batman and Robin, foreshadowing the new dynamic duo in Batman and Robin - though it won't be Tim in the Robin role.
 

Page 14

 
Panel 1.  "My soul is black and I feel sick.  I've lost my resolve."  This is the in story explanation for Morrison's revision of the charatcter.  Bruce himself has had enough of the dark and moody Batman.  It's hampering him.  
 

Page 16

 
Panel 5 - Bruce is making clear his agenda.  He considers the person Batman had become a 'demon' that needed to be killed, and he had been corrupted by "dark, fearful, paranoid urges".
 
Panel 6 - "Batman is gone".  Of course, he isn't, but Morrison is saying that version of Batman is gone, and a new version is coming.  It also anticipates Bruce's death/disappearance in Batman R.I.P. and Final Crisis.
 

  

52 #47

Most of this issue is given over to the ongoing efforts of Batwoman, Nightwing, and The Question, to battle Intergang/the Crime Bible.  We also get updates on Animanl Man, and what's going down in Metropolis - all part of the ongoing 52 storyline.  However, we do get a few pages from Morrison continuing the set-up for their Batman run by undergoing the The Thörgal ritual.
 

Page 1

 
Panel 1 - Nanda Parbat - 'the mountain of delight' in Hindi, is a fictional city high in the mountains near Afghanistan and Pakistan.  It is home to an order of monks and watched over by Rama Kushna - a godlike being.  It is clearly influenced by Shangri-La, the famous fictional secret Tibetan valley that also influenced Marvel's Kunlun (as seen in Iron Fist).  Nanda Parbat is featured again in The Resurrection of Ra's al Ghul storyline early in Morrison's run.
 
Panel 2 - "Bruce isn't my Dad."  The timeline is a bit confusing here as Bruce had actually adopted Tim about a year earlier in publication time, however that occurred in the One Year Later storyline which actually took place after the events of 52.  It also reminds us that Tim's real father was murdered, another dark chapter in Batman's history.
 
The monk explains to Tim - and the reader - that Batman is undergoing the Thörgal ordeal (often later referred to as a ritual) that will cause him to become changed.  It is explained that Bruce will spend seven days in darkness.  But it's worthwhile looking at the Thörgal ritual in more detail, as it is key to Batman R.I.P. 

Thörgal, or Tögal, is a Buddhist ritual, and according to The Tibetan Book of Living and Dying the aim of is to 'enable a person to actualize all the different aspects of enlightenment within themselves in one lifetime'.  This is Morrison's mission statement for the first third of their Batman run; every Batman story happened, so all these different aspects of Batman over the years are real and reflections of the same man.  Morrison intends to make a new, better, Batman, and that can only be achieved by reconciling these differing aspects of Bruce Wayne.  It is said that the ritual requires enormous discipline - and who has more discipline than Batman?  The ritual is practiced in a completely dark setting - in this case a cave, which of course echoes the place most readily associated with Batman.
 

Page 3

 
Panel 3 - "It's like an ordeal...of spiritual purification" - Bruce is purifying himself of the Batman he had become, he's using the ritual to shed the darkness that's increasingly dominated his life and personality.
  
Panel 6 - In the Thörgal ritual one experiences multiple visions - given the horrors that Bruce is trying to move past, it's not surprising he might see such things that would cause a reaction like this.  Note the shadows forming a Batman logo over his face.
 

 

Page 19

 
Panel 5 - The ritual is over and Bruce is reappearing from the cave, by moving the boulder blocking the entrance.  There are obvious links here to the resurrection of Jesus, signifying the resurrection of Batman from the dark 80s/90s character to someone more rounded.  Religious allusions are used throughout Morrison's Batman run.   
 


Page 20

 
Bruce emerges into the daylight, purified of his demons.  By putting a confident happy looking Bruce wayne at the front and the shadow of Batman behind him, we can now see that Bruce is in control of Batman now.


3 May 2025

Grant's Morrison's Batman Annotations: Index

The Give Me Comics or Give Me Death podcast is available from all your usual podcast providers, or see all episodes here

 

 

Given I expect these annotations to be quite a long term project, and encompassing dozens of blog posts, I thought it'd be neater and tidier of me to compile all the posts into an index here for your (and my) convenience:

  1.  Preamble
  2.  Recommended Reading Part 1 
  3.  Recommended Reading Part 2 
  4.  52 #30 & 47