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Rob Liefield retires from Super Hero Comics

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Ppl actually trace porn?

Also, who is she?
 
If we play a game where we drink a shot of vodka everytime find an error in Liefeld drawing we would all die of alcohol poisoning.
 
Can't totally hate on a man that created SUPREME. Granted, he was nothing more than an older, murderous, more self-righteous and self-absorbed version of Superman but seeing him destroy other super heroes while quoting scripture was enjoyable.
 


I'm failing to see the funny in this one. The other images have their obvious flaws, but this isn't anywhere near them in terms of absurdity.

That's actually a decent Badrock (originally Bedrock) render. He's as big as a house, super broad and massive.
 
I'm failing to see the funny in this one. The other images have their obvious flaws, but this isn't anywhere near them in terms of absurdity.

That's actually a decent Badrock (originally Bedrock) render. He's as big as a house, super broad and massive.

There's a serious lack of depth going on between his right arm and torso, if someone had arms that fucking huge they'd be having serious problems just tucking them in like that. Also, the way his body is curved, his right pectoral would about half the size of his left. The "i" on his chest also isn't curving in proper perspective with his body.
 
There's a serious lack of depth going on between his right arm and torso, if someone had arms that fucking huge they'd be having serious problems just tucking them in like that. Also, the way his body is curved, his right pectoral would about half the size of his left. The "i" on his chest also isn't curving in proper perspective with his body.


Yeah, it's not perfect by any stretch... but it's also not really worthy of mocking like some of his other transgressions.
 
Yeah, it's not perfect by any stretch... but it's also not really worthy of mocking like some of his other transgressions.

It's certainly not his worst image, but it still amazes me that despite the fact that this guy is terrible at rendering in almost every aspect that he managed to become as successful as he did.
 
It's certainly not his worst image, but it still amazes me that despite the fact that this guy is terrible at rendering in almost every aspect that he managed to become as successful as he did.


Yeah, I get ya. One of teh reasons he's been so successful is that he churns this crap out and can meet a deadline. Something editors look at favorably.

He probably really is a nice guy irl, so that could play into it.
 
Yeah, it's not perfect by any stretch... but it's also not really worthy of mocking like some of his other transgressions.

It's certainly not his worst image, but it still amazes me that despite the fact that this guy is terrible at rendering in almost every aspect that he managed to become as successful as he did.

Yeah, I get ya. One of teh reasons he's been so successful is that he churns this crap out and can meet a deadline. Something editors look at favorably.

He probably really is a nice guy irl, so that could play into it.
I remember reading that too. Made me think the industry had some pretty damned lousy standards if thats all it took
 
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Indeed, Spider-Man!

This one doesn't bother me. Spiderman's bubble shaped calf is the only thing that makes me roll my eyes.

I'm not sure what's going on with one of Juggernaut's arms, being colored yellow. But that could be a printing error. Same for the teeth.
 
This one doesn't bother me. Spiderman's bubble shaped calf is the only thing that makes me roll my eyes.

I'm not sure what's going on with one of Juggernaut's arms, being colored yellow. But that could be a printing error. Same for the teeth.

Take a closer look at Spider-Man's hands.
 
I'm failing to see the funny in this one. The other images have their obvious flaws, but this isn't anywhere near them in terms of absurdity.

That's actually a decent Badrock (originally Bedrock) render. He's as big as a house, super broad and massive.

I think the author is making fun of the over-crinkled armpit and the ridiculously criss-crossed veins.
 
Some one paid him for this artwork. It was published. A man or group of men looked at his work and said "Yes Rob, I would like to pay you for this work and publish it for all the land to see."

He bought houses and cars with the money that was paid him for this work.

On his taxes, he lists "artist" as his profession.

Aliens could land outside my house and offer me the secrets of the universe, and nothing they could show or tell me would be as amazing as the knowledge that Rob Liefeld makes a living as an artist.
 
Some one paid him for this artwork. It was published. A man or group of men looked at his work and said "Yes Rob, I would like to pay you for this work and publish it for all the land to see."

He bought houses and cars with the money that was paid him for this work.

On his taxes, he lists "artist" as his profession.

Aliens could land outside my house and offer me the secrets of the universe, and nothing they could show or tell me would be as amazing as the knowledge that Rob Liefeld makes a living as an artist.
Rob Liefeld did something really amazing and quit Marvel to retain creative rights. Not quite as masterful as McFarlane's run or Jim Lee's career but he had his share of smart choices.

IP control = the moneys

This isn't true for every creator for the big publishers, but one can miss out on a lot of money from not having creator's rights.
 
I remember Liefeld and similar artists of the early to mid 90s made me stop reading superhero comics for a good 10 years. There were a lot of attempts at anime art that wasn't quite right and early computer coloring/lettering that I just didn't like too. I think his Avengers #1 was one of the last comics I got, only returning to superheroes around the time Civil War was getting a lot of press.

What I never understood was why so many people back then loved it. I recently came across an X-Factor of his with the letters section just gushing about the amazing art. It wasn't just in letter sections though, I knew a lot of people who went crazy for it, and the sales proved it. The fact that comics seemed to be selling their best when they were at their worst has always made me wonder about capitalism. I read the book Grant Morrison put out recently, Supergods, and he mentions how the few issues of Spawn he wrote during that time period got him some of the best money he's ever made from comics.
 
Rob Liefeld did something really amazing and quit Marvel to retain creative rights. Not quite as masterful as McFarlane's run or Jim Lee's career but he had his share of smart choices.

IP control = the moneys

This isn't true for every creator for the big publishers, but one can miss out on a lot of money from not having creator's rights.

Before that, somebody at Marvel hired him. Somebody looked at that work and gave a thumbs up. I remember distinctly when he destroyed The New Mutants. He shit all over that book and was paid to do it. It was mystifying then and it's still mystifying today.
 
I remember Liefeld and similar artists of the early to mid 90s made me stop reading superhero comics for a good 10 years. There were a lot of attempts at anime art that wasn't quite right and early computer coloring/lettering that I just didn't like too. I think his Avengers #1 was one of the last comics I got, only returning to superheroes around the time Civil War was getting a lot of press.

What I never understood was why so many people back then loved it. I recently came across an X-Factor of his with the letters section just gushing about the amazing art. It wasn't just in letter sections though, I knew a lot of people who went crazy for it, and the sales proved it. The fact that comics seemed to be selling their best when they were at their worst has always made me wonder about capitalism. I read the book Grant Morrison put out recently, Supergods, and he mentions how the few issues of Spawn he wrote during that time period got him some of the best money he's ever made from comics.

In defence of the EXTREEEMMME comix of the time, Silvestri, Liefield, McFarlance etc did bring a new style to mainstream comics that had been a bit still for at least 10 years at that time. The new style did get old quickly, and was quickly taken to excess, but at least it was new.

I quite liked the comics of the 70's and early 80's, but by 1990 they were stale as hell.
 
Before that, somebody at Marvel hired him. Somebody looked at that work and gave a thumbs up. I remember distinctly when he destroyed The New Mutants. He shit all over that book and was paid to do it. It was mystifying then and it's still mystifying today.

That book went from average 1980s superhero art stuff

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to HOLY SHIT THIS IS AMAZING SIENKIEWICZ I LOVE YOU

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and finally to Liefeld

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What a roller coaster ride that was
 
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His ridiculous anatomy gets plenty of love, but don't forget the plagiarism.
The nozzle on Cable's gun is crooked in relation to the rest of the weapon.

This fucking guy deserves all the hate he gets. I can't believe he still gets hired.
 
I was about to say that I can't draw as well as him, and give him a pass for that...


...but then I realized that having shame in my lack of skill and sparing the world from seeing it puts me on a higher moral standing than him, so I feel better.

The fact that his most recent things all have every one of his characteristic flaws, and he takes money in exchange for these is reprehensible.
 
New Liefeld interview! Mostly about his current DC books, but it also contains this gem:

Finally, I wanted to ask about your recent comments on Twitter echoing Grant Morrison's desire to wrap up your current run of work-for-hire gigs in favor of getting back to creator-owned work full time. What's your personal timeline for making that move, and how quickly do you expect your new stuff to roll out?

Well, my issue isn't with DC as they've been fantastic to me, in every way. The last couple years working with everyone there has been the best pro experience I've had with either of the big two. I've been itching to tell more adult stories. For me, it's a reflection of everything that I've been consuming for years -- just harder, more adult fare that I could really only do on my own. It's not a reflection on any company other than subject matter and the levels of "mature" content I'd be able to produce. More gore, blood, sex, violence, like any good cable show. It starts on my "Bloodstrike" arc, and then there's a new title I'm launching mid 2013.
 
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