How is looking particularly hellish. There are soldiers of that dark place who are digging a pit. It's a really big one, too. Digging a pit in hell can't be really pleasant for anybody. But these people seem to enjoy it. They're digging a pit for the dead. Want to get them out of the way. There was a war there. There was a battle there. Soldiers of heaven and soldiers of hell are being buried in a massive communal grave. Things are beginning to look particularly bleak in Spawn #360. Writer Todd McFarlane continues his long-running series with artist Brett Booth, inker Adelso Corona and colorist Robert Nugent.

Things aren’t looking particularly good on Earth either. Bludd has won. The Vampire Kingdom has ascended. Hell is on Earth. There’s one guy who is hoping to be able to turn them back but it isn’t going to be easy. There’s been a lot of stress for Spawn and his allies. It’s onl a matter of time before tempers flare. Things could go in a lot of different directions, but the heroes are going to have ot maintain a very sharp focus on everything if they’re gong to be able to improve things.

McFarlane paces the issue quite well. The opening scene in hell sets the stage for what is to happen later. And it also sets the tone very well. Back on earth things aren't very good and McFarland does a pretty good job of delivering the intensity without necessarily resorting to a whole lot of aggressive combat based conflict. So there's a lot going on that seems to be moving in direction that would almost seem to be moving in a way that would bring it all together. The dialogue isn't terribly good. And much of the actual plot is pretty silly. But the conflict is engrossing enough that it doesn't necessarily matter.

And, of course, the art is beautiful. Booth and Corona channel that early 90s image comics style so perfectly that this issue clearly could have come out of that. It could've been conjured from some alternate reality where different artist was doing spun back in the early 1990s. It feels so distinct that was back then. It McFarlane's scripts really well as he was the main perpetrator of that kind of highly-detailed, over-rendered, insanely detailed style that McFarlane managed. Booth and Corona do a good job with it.

There isn't a whole lot of subtlety in an issue of Spawn. It is kind of nice to notice some of the narrative detail, though. And there's every possibility there's quite a bit of foreshadowing going on in the issue that might lead to more further on down the line. The long and winding March of this particular saga really could have been a little bit more coherently laid out. But McFarlane is not a pretty good job of maintaining and interesting story over the y sort of a turning point, though. Precisely what kind of turning point is not likely to become clear anytime soon.

Grade: B