I'll be blunt, I don't have the best relationship with comic book cartoons. I'm able to appreciate some of them these days like the Incredible Hulk cartoons, but I feel a lot of them fall into the same series of tropes and cliches that basically make them as run of the mill as an animated sitcom, I feel like I'm the only one who noticed this. Now, comic book adaptations, familiarities aside, are enjoyable if you're into that scene, though it's hard to deny most of them have some serious issues. They could be forgivable if they came out at a time long before a gold standard is set like the old Marvel cartoons, but for stuff like She-Hulk Attorney at Law and DC Superhero Girls...
At your own risk.
But when it comes to shows like those, either I avoid it knowing I'd have little good to say about it, or I give it a shot after seeing some clips and I'll see how I feel about it from there, and here we are now.
Background
Spawn is a comic book character created by Image Comics co-founder Todd McFarlane, and one of many Image properties that received a hell of a lot of interest. In the mid-90s, Spawn received a massive marketing push, from video games, to toys, to movies and a television series, and for better or worse they saw the light of day. Though I imagine it was through marketing people became familiar with Spawn, I know I was.
My first exposure to Spawn was through a trailer for the 1997 film that turned up on an old VHS tape I had. I was unfamiliar with the character and assumed this was some B movie tribute, Spawn was a mutant and Clown was an evil wacky political figure or something. If you want my opinion on the film, I can understand why some things about it were changed compared to the comics, like changing Terry Fitzgerald's race and removing Chapel, but whether it was Todd's influence or not, it feels like people actually cared during its production, as nearly everything else is done to properly replicate elements of the comics, Michael Jai White did a good job as Spawn and John Leguizamo absolutely nailed Clown. You can certainly do a lot worse when it comes to superhero films, especially New Line Cinema titles released during that period. After all, 97 was the year of Annihilation.
As for the series it's another interesting coincidence. I left a comment praising the animation in the music video for Korn's Freak on a Leash, and I said yeah, I want to see a cartoon animated like this. Someone recommended Todd MacFarlane's Spawn to me, and after a few years I got around to checking it out... just to find context for a scene I saw on YouTube. Although going through it, it seemed more familiar than I expected, like I watched this long ago in reruns, or my folks actually let me watch it, I know they let me watch The Sopranos with them.
Let's just get into the series proper.
Plot and Characters
This won't be a plot summary, but just to get you into the loop, Spawn centers on Al Simmons, a government assassin who is betrayed by his partner and killed. He bargains with Satan stand-in Malebolgia in order to return to earth and reunite with his wife Wanda, but as his death was arson-based he is rendered disfigured, and now sent to recruit souls to join Malebolgia's army, in this case, souls of those who have done wrong and would be destined for hell.
This is made clear early on, so even if you haven't read the comics you can at least jump right in without needing that much knowledge of the character. An adaptation works best when you don't need to be immediately familiar with the initial source material. With so many adaptations taking on radically different directions with little connection to the sources that originated them, it's a huge mess.
However, that doesn't mean you'd be losing some context if you're new to the series, and it shows for a lot of the characters. I'm not aware of their allegiances, motivations or overall relevance to the plot, so admittedly I had to look them up so I have some idea to what to expect, especially when each are well written characters in their own right. Firstly, Angela. She had only made one appearance in the animated series proper. I had assumed she would be a bounty hunter sent to kill Spawn, and I was kinda right. At least somewhere in the comics she was initially sent by heaven to destroy Spawn, it fails but not on black and white terms. The role was kinda switched by the end of the series, where Jade was given the role. I heard this was due to legal issues between Todd and Neil Gaiman and if the latter had no role in the series that could've spelt trouble, although Angela would've appeared in the show's fourth season had the series kept going.
But when it comes to Spawn characters outside of those immediately connected to Spawn, I've gotta talk about Sam and Twitch. Now, on the surface they appear to either be corrupt cops or those who would become a thorn in Spawn's side, but basic research and getting through the series revealed that wasn't so. In truth, Sam and Twitch are poised as being good cops in a precinct riddled with corruption, that point being made especially clear in the show's last season, when beforehand they were just investigating incidents Spawn either had a hand in or happened to be at the right place at the right time for. People like to immediately depict cops as outright corrupt, whether it comments on police brutality or just pokes fun at them, so it's nice to see something not only serve as antithesis to that, but maintain its commentary on corruption in the police force. Even when said commentary is on the nose, it's at least relevant to the plot and key characters and carried out in a way that makes either character shine, from reflecting Sam's genuine care for justice beyond his more loutish nature, to Twitch's bravery, determination and analytical nature.
I certainly thought they were great, and so did everyone else. They not only got a cameo in the 1997 film, but they even got a spin-off comic series.
Clown, aka the Violator, marks the perfect balance between entertaining and sadistic, or just one who delights in fucking with people's minds. He was summoned to ensure Spawn kills those with souls to be damned to be recruited into Malebolgia's army. The film portrays him as more comedic but otherwise in line with his comic depiction, while the animated series is the latter in full force, either works for the material they are given. On the opposite extreme, Cogliostro, once the Black Knight who had managed to escape Malebolgia's grasp, seeks to help Spawn avoid a similar fate. Regretfully in the comics he becomes a villain, but hey as long as it wasn't so he could get into the pants of a deviantArt OC so be it. This seems to be a later occurrence in the comics so the animated series was spared from one of the most desperate attempts at drama since ever.
Of course there're people who're relevant to Spawn's former life as Al Simmons, and this series does not take those details for granted. He wants desperately to see his Wanda one last time and he takes the opportunities, only for her to be appropriately disturbed by what is now at his disposal. His best friend Terry married her and had a child, and though Spawn was appropriately angry that he got further than he did, he realized it wasn't out of malice and at least found closure on that. Spawn was even able to confront his physical killer, Chapel, and of course he wouldn't show any mercy, having him live with the guilt, but having the strength to not have his soul claimed by Malebolgia. Finally, Jason Wynn, basically the whole reason things fell into place. Spawn indirectly served as a key to unlocking Wynn's corrupt practices, including black market trading. Whenever he strikes, he sends others to do so and is determined to keep his conquests in check. However, after becoming severely burned from a mythical mask, apparently the unmade fourth season would've had him seek redemption... either apologizing to Spawn or trying to have his soul be made pure so he can go to heaven, though the latter seems to be the case as he feared his actions against Al Simmons would catch up to him.
The seasons can be summed up like this.
The first season exists to establish Spawn and his motivations, as well as him settling into Rat City, an alleyway serving as a sanctuary for the homeless, and one where a number of shady dealings take place no doubt thanks to Wynn and for the first season, Tony Twist, who is promptly dealt with after Spawn makes quick work of Overt-kill, whom Twist sends to deal with a stake in their affairs.
The second season sees Spawn confronting Chapel and Terry finding himself scrutinized by Wynn after learning of his black market dealings, while Spawn is seen as a protector of Rat City. This also sees the introduction of Washington Post reporter Lisa Wu, who is soon revealed to be Jade, which the third season would confirm. As for the third season, Spawn realizes he can no longer get back to his old life as Wanda outright rejects him out of pure fear, a series of events would help clear Terry and expose Wynn, Twitch would survive an attempted assassination by his and Sam's superior officer and confirm his connection to Wynn, Jade willingly gives up after discovering Spawn's humanity is stronger than prior hellspawns she was sent to kill, and by dying a warrior's death she can maintain a place in heaven, and the series ends with Spawn wanting his humanity back. To some, this seems like a bad end, but this can be seen a number of ways, like how he is willing to be dead, knowing he's now a burden to those he cares about and can never live the life that was yanked from him, while realizing those who have wronged him were dealt with
Acting
Keith David as Spawn is complicated, because it isn’t Keith David playing Spawn, just Keith David. All that changes role to role is the script and the direction. Play his Spawn with his Goliath (Gargoyles) and I’m sure you’d find some similarities. Of course that isn’t to say it’s a bad performance by any stretch, but I can’t say the voice is necessarily unique. About the only time it seemed sorta different was when he played Atlas in Teen Titans.
But to be fair, let's bring up another example of an actor who is well recognized for one role, even though it's a similar performance across the board. Lisa Ortiz is often considered to be the superior actor for Amy Rose. However, if you've seen other 4Kids dubs, you'd realize it's the same voice most of the time. But, that can be forgiven if the role suits a character better than others. Lisa is to Amy what Keith is to Spawn, and he gets it down solid, an emotionally broken man who is cold to the world and those who seek to harm him and those he cares about.
Then there's one of the more interesting actors for Tony Twist, interesting in that he's played by the same guy, James Keane, who played Mr. Green on Hey Arnold!, and I say it that way because Hey Arnold! came before Spawn's animated adaptation. Keane also played Sam in this show, so it turns out he has more range than I'd expect of him.
And there’s not a single piece of Tara Strong or Grey DeLisle to be heard, it’s a breath of fresh air. We do however get Kath Soucie, sure, I'm okay with that, I know little of her personal life and her voice isn't as obnoxiously stale and repetitive as Grey DeLisle's, and she isn't a raging bitch like Tara Strong. Bite me.
But that's not all. We got the voice of Mulan playing Jade, James Hong; guy from the Seinfeld episode The Chinese Restaurant doing a role, Jennifer Jason Leigh got to play a character one time too, and there's a rule that says if it exists, Eric Roberts has to lend his voice one time. Inherently, it's a mixture of actors either not entirely in the loop of traditional voice acting or already are, and it can work, I know it did here.
Layers
There is some hidden complexity within even the smallest of things. Take for instance Spawn's encounter with that bad cop in the fifth episode. He threatens Gareb, but his anger was due to the stress of seeing one of his right hand cops and others literally blown up by a deranged priest who turns out to be Clown. Of course you wouldn't root for the cop but you kinda understand what led him to go bad, even get some irony of Spawn making him a message board, and after getting killed by Clown he gets the message about Spawn's presence to Sam and Twitch. This actually helps to give more weight and motivation to later scenes, for instance, Twitch's encounter with Spawn. Spawn has already determined cops to be outright crooked, but Twitch manages to demonstrate a stronger moral compass, and bravery in the name of learning the truth, and Spawn returns the favor with a warning, which really is him being nice.
You can even see such strong motivations with the other characters. Wynn is a uniformly corrupt individual, but he fears for his life upon realizing what he had created in Spawn, and he becomes determined to destroy him to save his own ass. Clown can seem like a hardass, but it's kind of his job, he wants to make sure Spawn fulfills his obligations. Terry married Wanda, but he never meant to infringe on foreign territory, and Chapel seemed to express repressed guilt over killing Al, before it drove him insane. Then Sam and Twitch, throughout the entire series leading up to a hell of a finish, and of course Jade which not only put her through an arc but helped better establish Spawn's humanity.
A great show is more than the sum of its parts, and I feel Spawn went above and beyond in that regard. It's really something you have to see for yourself.
The Animation
I was directed to this series because I loved the animation in the Freak on a Leash video, and I was not disappointed here. The animation was produced in house at HBO, and they also worked on Hot City which came out around the same time. MadHouse are credited to producing the show's title sequence. MadHouse is a prevalent anime production company, but they've had a hand in some American productions. For instance, they produced the animation for the second season of Street Fighter: The Animated Series.
However, MadHouse merely served as a contractor for other companies. In the first season, animation was split between KoKo Enterprises, Sheen Production and Sung Production. Koko were involved in quite a bit, producing the animation for the first season of Static Shock, Superman The Animated Series and took on animation services for Men in Black: The Series after the first season. For the second season it looks like MadHouse took on a more direct role in animation production alongside DR Movie. DR Movie also happened to produce the animation for Men in Black: The Series, but also produced the third season for Avatar: The Last Airbender, episodes of The Batman including The Batman Vs. Dracula, one episode of Teen Titans, they helped produce the Death Tome segment in The Simpsons Treehouse of Horror XXXIII, DC Superhero Girls, Justice League/Unlimited, they did one episode of Street Fighter, Masters of the Universe: Revelation, oh, they even did Loonatics Unleashed and High Guardian Spice.
It's important I highlight the more anime type shows and lesser stuff to demonstrate how subtle their work is on a visual basis in Spawn, but soon.
Okay, back on track, the last season was handled through Mook Co., who produced the first season of Men in Black: The Series, Swat Katz: Radical Squadron and the Scooby-Doo direct-to-video films from Zombie Island to Cyber Chase. At first I thought they were the ones behind the entire series, but I was wrong.
With Todd McFarlane playing a major role in the series' development, either he'd have plenty of freedom to take advantage of, or he's just there to make people happy. Okay this isn't going anywhere, what I'm trying to say is that things are drawn and animated to act like a direct translation of the comics. It's a huge contrast to the overt anime aesthetics and overtones present in other comic book adaptations. Now, it seems like most comic book adaptations outsource their work to Japan or equivalent studios in Korea in order to better replicate the action, but somewhere along the line people cut the middleman and decided to bank on the growing popularity of anime in the states.
Or maybe I'm overthinking it.
Spawn's animation is great, but far from perfect. They tend to take shortcuts and reuse animations, but most shows do and they're not as blatant as say... The Real Ghostbusters in its twilight seasons. Of course it's of no hinderance to the constant action going on, it isn't too complex, but it isn't too simple either. The art design provides a gritty appearance that compliments Spawn quite nicely, if it was overtly anime-esque, it would lose its punch, its grit, and just be a faceless series.
Senseless Comparisons
In a way, I feel that Spawn set a good standard for comic book shows that seek to be dark, well Batman: TAS aside. There're a lot of shows I can compare Spawn with, so let's begin with another series adapted from an Image Comics series, Invincible.
The differences are night and day. Spawn employs a more grounded comic translated appearance, while Invincible embraces the anime schtick wholeheartedly. It feels like a Cartoon Network action show from the mid-late 2000s but with blood and cursing, and of course their brand of humor. It can be enjoyed on a surface level, but when someone comes along and does it better, it's hard to really deny that.
Take the introductions of Monster Girl there and Angela here. With the introduction of Angela, you get a quick hint to her hero appearance, and when she goes into the alley you expect her to show her powers, but she just uses melee and anything subtle. You’d expect her to go full hero, but they don’t play into it, all you’d expect is for those creeps to get their asses handed to them, just no way of knowing how.
With Monster Girl, it's like this. There's a character who looks like she doesn't belong there. She is provoked into showing her power, this has been done. Now, it can be done right, don't get me wrong. Take Fantastic Four: World's Greatest Heroes' introduction to She-Hulk in the sure. Yes, she is shown at the start of the episode, but you know who we don't see right away? Jennifer Walters. Hence, it's possible to be surprised by its reveal for those who haven't read the comics, and yeah, the series features somewhat different takes on existing Marvel characters so there is a chance to be surprised. Not to mention, they didn't mention her name, like Invincible did with Monster Girl, thus eliminating any sense of surprise and dragging it out to make it look like a huge reveal. I'm just saying.
Next up, let's resurrect an old punching bag of mine for some extra blows, Teen Titans. Spawn did an episode that tackled racism, but handled it in the best possible way, show, don't tell. You would think they would make it where Terry or Spawn are maligned for being African American, but no, they have a psychopath who kills African Americans for dark intent, and the racist motivation behind it isn't stated outright. This episode has enough faith in its viewers to let them connect the dots, whereas Teen Titans spoonfeeds the message, pussyfoots around directly focusing on those who would face prejudice, because Tamaranians don't exist, and above all, rather than take the opportunity to incorporate lore from the comics, they make up a character that exists solely to push the message.
And yes, Static Shock tackled racism direct, but they handled it better by committing to the kind of racism people are the most aware of, and I'm happy that episode is getting more and more recognition for it, while Troq isn't as much. Consider this a segway into the next section.
Getting Away With It
Spawn was able to get away with a lot of stuff, though some would argue it was because it aired on a premium cable network and at a time when kids would likely be asleep, midnight to be exact. That's a good argument, but I feel that any show, anywhere could get away with stuff, well, beyond overt gruesomeness and gratuity, whether it's premium or basic cable, network television or syndication. To better explain my point, let's refer to Stripperella, Static Shock and Swat Katz.
Stripperella aired on a basic cable channel, and if you didn't get the idea from the title, it's a show about a superhero who happens to be a stripper, and yes, that profession is shown full stop. In spite of that, there's more to the show than it. Stripperella feels like it's trying to pay tribute to silver age comic stories, or just parody the genre, or maybe Stan Lee was clearing his desk drawers, I dunno. What I'm trying to say is that they got away with showing T&A on basic cable, lest the copy I saw was sourced from a DVD, but hey, they were wiling. For syndication, let's turn to Swat Katz. This show got a way with quite a bit, especially for stuff I bashed Teen Titans for skimping on, like characters going insane for whatever reason, even death, with some gruesome killings shown, shadow or not. Now yes, syndication lacks the standards network television does, hence producers were able to get away with a hell of a lot more, but what about that network example? Networks are ones that crack down on no-no stuff the most often.
Well... Static Shock.
Racism focused episode aside, Static Shock went dark a decent amount of times, and they never held back for anything. They made it clear Virgil's mom died under harsh circumstances, they highlight her death and the impact on the family, they put one character in critical condition as a wake-up call for Virgil to take his heroic obligations seriously, the first episode featured a gang war, hell, need I remind you of Jimmy, where a gun is blatantly shown, well, again, in a straight up depiction of a potential school shooting, oh, need I forget how the weapon is fired and someone gets hurt, on network television.
But wait, isn't The WB technically a cable network, same with Cartoon Network, beyond Kids WB shows airing on WB affiliates in syndication? I mean Teen Titans was also in the same boat as Static Shock, but you could argue Static Shock did a hell of a lot more than Teen Titans did in highlighting serious issues, and above all committing to genuinely dark stories. I'd argue that Static Shock serves as a kids equivalent to Spawn for going above and beyond, showing writers genuinely cared about making engaging content, and Spawn just helped inspire me to see just how it could be done, or how it has been.
Now, if you really want to see the differences in impact an episode could have, compare Teen Titans' Haunted to Spawn's Home, Bitter Home.
Relationship
As far as how I feel about the show, I have the same relationship with it that I do with Koala Man. Both of them are great shows and vouching for their quality is a hill I'd be happy to die on. The issue is that I don't like to participate in discussions of either, because I know where they'd lead. Spawn got cancelled too soon, Koala Man was created by the same guy behind Smiling Friends, do the math. I still like the shows, but I know it can go south if I encounter the wrong people.
Not only did I bring up Koala Man for that, but because both represent the best of two sides of a superhero show. Koala Man is a well written comedy with glimpses of character complexity and motivations made clear, all in series about a man coping with his past and a midlife crisis, I guess. Meanwhile, Spawn is a well written horror drama with clever dialog helping to provide some relief every once in a while. Bringing back Teen Titans just to get this out, Koala Man is set in an absurdist world so you can take the weird things happening as a given and they let the jokes flow without resorting to tropisms to get a laugh out, and Spawn has every right to commit to more gruesome acts, both because of its midnight slot on a premium network and already being based on a gruesome comic book series.
I don't know how else to end this, so let's go on.
Do I Want to see More?
So, seeing what I've said, do I want Spawn to get another season? Well the answer to that, is no. I don't. You're probably confused, lest you've seen my philosophy before. The thing about continuing, what if the ending turns out to be a letdown? A journey is only as good as the destination, if the end sucks it will drag down the experience of the rest of the series because you know that’s how it will end and there is nothing you can do about it, Camp Lazlo and Star Vs. beckon. There's also the matter if one more season is gonna be enough, will people be fine with that, or will they just keep asking for more? Ask for an inch, but take a mile. And of course people can indirectly kill the good will in seeing things continue. I never want to see Infinity Train or Glitch Techs with how clingy people are to those.
Then there's the matter of unintentional cockiness, had with shows like Sonic SatAM and Teen Titans, where they immediately end with either a cliffhanger, or a downer, something to gaslight people into thinking they want more. My philosophy on television shows go like this, treat every season finale like it's your series finale, leave off on a note that you can pick up the pieces on or satisfying enough to accept, which is something Spawn did, by having Spawn reaffirm his want to be human. You may say he hardly evolved, I'd say you're confused. Spawn wanting his humanity suggests he knows he can't get his old life back, but also won't be the leader of Malebolja's army, he is willing to die, but we don't see it. It could've been worse.
Okay yes, there's the matter of Spawn impregnating Wanda with a child that would serve as a decider for the fate of the world, but it would take a long time before the baby would be able to make a conscious decision and act on it. There's another element to the fourth season, but I'm not gonna bring it up, knowing how people on Twitter would lose their minds and that's another series thoroughly ruined by total goons.
Final Thoughts
Spawn is an underrated gem, for sure, but given the climate of cartoon culture, maybe it's for the best not that many people know about it, let this be like a secluded spot a select few people know about, a well kept secret not tainted by idiots, like Mission Odyssey.
I would say HBO turning away from animation after Spawn and Hot City concluded ironically predicted the state of HBO Max, but then you realize stuff like The Life and Times of Tim and The Ricky Gervais Show existed.
