And then Sub City came along and was a dip in writing quality again, but definitely still better than the first two stories, but still a dip.

Which is more than I can say for the terrible Moribus closing storyline that was not only confusing but hard to following. Mcfarlane was leaving Marvel soon and you can see it. Then a single issue with Juggy fails to live up to other issues of Spider-man vs Juggernaunt, and this one is a sleepy story with the terribly bland x-force to boot. Terror, Jude (March 3, 2017). "Oh Snap! Todd McFarlane Throws Stones At "Slow" Artists From Roof Of Glass House At Emerald City Comic Con". Bleeding Cool. Retrieved January 17, 2018. Gallaher, Valerie (October 1, 2012). "Todd McFarlane Sues Al Simmons". MTV. Retrieved January 17, 2018.Kato, Matthew (August 2004). "McFarlane's Evil Prophecy". Game Informer. No.136. p.99. Archived from the original on December 26, 2007 . Retrieved July 21, 2017. But, while McFarlane’s art is terrific and his macro-plotting intriguing, his dialogue and micro-plotting are dicier. The dialogue is often florid and grandiose, and while that can work for some characters (the religious fanatic Hobgoblin, for instance, or Morbius the Living Vampire during a low point), it can drag – or worse, eat characters whose voices should be distinct. The Ghost Rider is a supernatural hero with ties to religion, but he’s got his own history with his powers and the powers-that-be. His language and cadences should be his own. Instead, his dialogue hews close to the Hobgoblin’s extravagant, pseudo-religious speechifying, so much so that it gets distracting. Gardner, Eriq (October 1, 2012). "Todd McFarlane Sues Ex-Employee Claiming to Be Inspiration of 'Spawn' Character". The Hollywood Reporter. Retrieved January 17, 2018.

Seibert, Perry (2008). "The Devil You Know: Inside the Mind of Todd McFarlane (2002)". Movies & TV Dept. The New York Times. Archived from the original on October 7, 2008 . Retrieved March 12, 2012. After leaving inking duties on Spawn with issue No. 70 (February 1998), McFarlane has illustrated comic books less often, focusing on entrepreneurial efforts, such as McFarlane Toys and Todd McFarlane Entertainment, a film and animation studio. And while this may just be a matter of taste, McFarlane’s Spidey quips cannot match his art. They’re wordy and tend to overstay their welcomes, and while there are some solid gags in the run, it never quite catches the right tone on this particular front. McFarlane’s characterization of Peter is strong enough to overcome the issue, but it’s a hurdle nonetheless.The coloring on Spider-Man’s costume makes it look like he’s wearing a puffy costume. The web lines look like stitches and the costume is quilted. Each section is getting its own highlight from a light source high above. Don't get me wrong it's a lovely book to own and the quality was there, for sure, but the quantity seems too sparse and improperly defined to me for a collected edition. For such a titan of the industry like Todd McFarlane or a character like Spider-Man to get such a seemingly limited omnibus seems a little, well... disappointing. Sub-ciudad: También de solo 2 cómics, unos seres humanos deformes que practican la endogamia y que viven en las antiguas estaciones del metro abandonadas de New York están secuestrando vagabundos para alimentar a Morbius con su sangre, de todas las historias aquí es donde más se puede ver el arte grotesco que después sería algo regular en Spawn, lo que más me gustó es que podemos ver de regreso al traje negro, lo raro es que aquí se observa que Peter y Mary Jane tienen una vida sexual curiosa por lo menos y creo que es donde más se nota que estos cómics estaban enfocados para adultos.