What is your Favorite Art,Drawing or story by Rob Liefeld? 1 1

[rjpb]

I have been referred to as Sheldon both at home by visitors and at work by co-workers. I take it as a compliment.

 

Thus further validating the comparison

[chrisco37]

 

 

Both her left leg and left hand are all effed up. Look at her thigh versus her lower leg. How is her right foot 3 times larger than her left foot?

 

Her left hand is in an impossible position. Try and bend your arm that way. Can't do it. Unless that's her little finger disguised as a thumb.

 

And there is no comparison to Art Adams. The Adams drawings all a superior to any of the Liefeld stuff you've said is his "best". His art is clean. His figures are proportional. His poses are possible.

[HarveySwick]

Thus thread is just ...

 

Lots and lots of and I'm only on Page 22.

 

Kav and Chuck - awesome stuff guys!

Thanks. No one's ever complimented me on my posts before

 

To be fair...he's also defended people in the probation thread who didn't deserve it.

 

[HarveySwick]

Thus thread is just ...

 

Lots and lots of and I'm only on Page 22.

 

Kav and Chuck - awesome stuff guys!

Thanks. No one's ever complimented me on my posts before

 

To be fair...he's also defended people in the probation thread who didn't deserve it.

 

Who, Harvey, Kav, or FeralRabbit?

I've made some terrible judgment calls...

 

I'm learning.

[Jeffro.]

Have absolutely no idea what's going on here...

 

 

Page 1, panel 1: (Boom Boom is sitting on the counter, despite being told numerous times by Cable that they prepare food there. Yuck! Rictor is practicing his fierce Ninja Warrior poses in front of Bart Simpson poster)

 

Boom-Boom: "This counter is a little sticky, has someone been sitting on it...?"

 

Rictor: "Be quiet, you're breaking my concentration!"

 

Boom-Boom: "I need a sandwich."

 

Rictor: "Shut UP, I said!"

 

Panel 2: (Rictor has an epileptic seizure)

 

Rictor: "I'm....having...a....sei...zure....."

 

Panel 3: (Closeup of BB's face)

 

BB "Um, ew. Gross. Don't shart yourself."

 

Panel 4: (wide shot of Rictor and BB)

 

Rictor: "Don't...just...stand...there...give...me....some...help"

 

Panel 5: (BB grabs a pitcher on the counter)

 

BB: "Here, maybe if I throw this water all over you, that will help."

This just made my morning. Still catching up.

 

It's awesome. I'd make a couple changes though

 

Page 1, panel 1: (Boom Boom is sitting on the counter, despite being told numerous times by Cable that they prepare food there. Yuck! Rictor is practicing his fierce Ninja Warrior poses in front of Bart Simpson poster)

 

Boom-Boom: "This counter is a little sticky, has someone been sitting on it...?"

 

Rictor: "Be quiet, you're breaking my concentration!"

 

Boom-Boom: "I need a sandwich."

 

Rictor: "Shut UP, I said!"

 

Panel 2: (Rictor has an epileptic seizure)

 

Rictor: "I'm....having...a....sei...zure....."

 

Panel 3: (Closeup of BB's face)

 

BB "Um, ew. Gross. Don't shart yourself."

 

Panel 4: (wide shot of Rictor and BB. Rictor's seizure mysteriously stops and he starts to do bodybuilding poses)

 

Rictor: (making grunting noises as he poses) "what do you like best, my fierce Ninja Warrior poses or my bodybuilding poses?"

 

Panel 5: (BB grabs a pitcher on the counter)

 

BB: "Dude, I'm gonna bean you with this."

[HarveySwick]

How is there not a thread - "Create a story" - using artwork and blanked out word bubbles...?

 

[MR SigS]

Have absolutely no idea what's going on here...

 

 

 

Page 1, panel 1: (Boom Boom is sitting on the counter, despite being told numerous times by Cable that they prepare food there. Yuck! Rictor is practicing his fierce Ninja Warrior poses in front of Bart Simpson poster)

 

Boom-Boom: "This counter is a little sticky, has someone been sitting on it...?"

 

Rictor: "Be quiet, you're breaking my concentration!"

 

Boom-Boom: "I need a sandwich."

 

Rictor: "Shut UP, I said!"

 

Panel 2: (Rictor has an epileptic seizure)

 

Rictor: "I'm....having...a....sei...zure....."

 

Panel 3: (Closeup of BB's face)

 

BB "Um, ew. Gross. Don't shart yourself."

 

Panel 4: (wide shot of Rictor and BB)

 

Rictor: "Don't...just...stand...there...give...me....some...help"

 

Panel 5: (BB grabs a pitcher on the counter)

 

BB: "Here, maybe if I throw this water all over you, that will help."

This just made my morning. Still catching up.

 

 

Have all our posts convinced to hate Liefeld, when otherwise you would have liked him?

Edited May 8, 2014 by MR-SigS

[Prince Namor]

Really late to this one but my thoughts I guess:

 

I was 9 years old when I read my first New Mutants issue and it happened to be Cables first appearance in New Mutants 87. Something about this mysterious old man just seemed to draw me in. No one knew who he was, his powers, or anything about his metal arm. Favorite line of all time was:

 

“It's metal, doc. I can make another one.” - Cable

"With two paper clips and a screw driver right?" - Doc

 

After that I was hooked and became a huge fan of the New Mutants ending stories as well as a die-hard X-Force fan. The big thing to understand was my age and the fact that I believe he drew things for a specific target audience. This period of time was following the big body builders jumping into the mainstream. The focus of Arnold ensuring children were fit in school, and every character (Rambo, Terminator, Predator) needing some form of larger than life weapon to bring into combat. The outfits seemed to mimic something the Predator would wear and as a child who really cares about feet or body proportions. Boobs were over exaggerated and waist lines seemed to get smaller and smaller and for a kid around 10 - 11 this was all perfect when you throw in characters like the Juggernaut, Warpath, Shatterstar, Cable and Spider-man into the mix.

 

Big thing, he got kids interested in comics and for me that was the best part of his art. Older collectors will always have there favorite artists and for me I don't get them but again don't need to. I enjoy what I enjoy and am trying to get him to sign each of my books he worked on with my X-Force set as well as his New Mutants set.

 

And I think everyone here understands that, not only because it makes sense, but because we've all done it.

 

I would never defend Jim Starlin's Captain Marvel and Warlock (his first two runs) as text book examples of great comic book WRITING, even though for ME it holds up well out of nostalgia.

 

For someone checking it out for the first time in 2014, it probably seems to be full of holes, and not exactly coherent at all times in it's direction and a bit fragmented in it's overall structure.

It is.

Starlin was tripping his bolls off when he did a lot of that stuff, and I could never defend it as great comic book writing.

I can say it was awesome to me, and always will be.

It looks cool.

 

Even the art... though I will always love his art during that period as much as anything I will ever love in this hobby, I know it has it's flaws.

As a personal preference, I liked Starlin's art better when it wasn't as polished and he was tripping on acid.

That's the best defense I can give.

 

To try and defend it all as text book examples of how to do mainstream comics, no... that's not how you do it.

 

And Starlin is a guy that's pretty well respected in the business and been around for 40 years.

 

Putting Liefeld's 'mistakes' in the same category as Kirby, Mignola, Lee, McFarlane... is just silly. Those guys all put in the work to learn fundamentals of sequential art storytelling, so that when they made whatever left turn into their own style they did, it was firmly grounded in the basics to at least some degree.

 

Liefeld has been lazy, unpolished and fundamentally wrong in his work almost since day one. And it's done nothing but get worse.

 

Remembering it as cool, if that's how someone remembers it, is something anyone can understand that loves comics.

 

Remembering it as professionally done quality sequential storytelling art on par with Kirby, Mignola, etc.... well, that's just looking for an argument.

 

Especially since he's considered one of the biggest d-bags in the industry.

 

 

[Darkowl]

Didn't read the whole thread but the Hawk and Dove mini-series is the only thing I ever saw that looked like he spent more than 15 minutes on each page. Other than that, pure junk IMHO.

 

He wasn't bad at first. His 1st Marvel work;

 

 

See, I really like this. Beast looks great (I also don't see anything wrong with his hands or feet), especially when you compare him to this...

 

 

This is one of the absolute worse depictions of the X-Men, and It just gets on my nerves. I'll gladly take Liefeld's X-Men over Quitley's X-Men any day.

 

 

 

 

 

[aggr1103]

Didn't read the whole thread but the Hawk and Dove mini-series is the only thing I ever saw that looked like he spent more than 15 minutes on each page. Other than that, pure junk IMHO.

 

He wasn't bad at first. His 1st Marvel work;

 

 

See, I really like this. Beast looks great (I also don't see anything wrong with his hands or feet), especially when you compare him to this...

 

 

This is one of the absolute worse depictions of the X-Men, and It just gets on my nerves. I'll gladly take Liefeld's X-Men over Quitley's X-Men any day.

 

Not defending Quietly's work at all, but to be fair Beast has been going through a constant mutation and that was part of the New X Men story arc.

[chrisco37]

Again, all the "good" Leifeld stuff is inked by someone else.

 

The Wolverine pic (which is decent) was inked by Scott Williams. And you can see Williams all over that one. It doesn't really look like RL.

 

The McFarlane inked covers look very McFarlane although you can see the RL too.

 

You can see the Liefeld in the Xmen pic, but it's dialed back considerably.

[Prince Namor]

And Al Milgrom did art corrections on that early Liefeld work.

That's when his art looked it's best, when he had another artist to ink his work and make corrections.

[Chip Cataldo]

 

If I ever went out with my suit as wrinkled as those guys' I'd be embarrassed.

 

Peace,

 

Chip

[Darkowl]

Really late to this one but my thoughts I guess:

 

I was 9 years old when I read my first New Mutants issue and it happened to be Cables first appearance in New Mutants 87. Something about this mysterious old man just seemed to draw me in. No one knew who he was, his powers, or anything about his metal arm. Favorite line of all time was:

 

“It's metal, doc. I can make another one.” - Cable

"With two paper clips and a screw driver right?" - Doc

 

After that I was hooked and became a huge fan of the New Mutants ending stories as well as a die-hard X-Force fan. The big thing to understand was my age and the fact that I believe he drew things for a specific target audience. This period of time was following the big body builders jumping into the mainstream. The focus of Arnold ensuring children were fit in school, and every character (Rambo, Terminator, Predator) needing some form of larger than life weapon to bring into combat. The outfits seemed to mimic something the Predator would wear and as a child who really cares about feet or body proportions. Boobs were over exaggerated and waist lines seemed to get smaller and smaller and for a kid around 10 - 11 this was all perfect when you throw in characters like the Juggernaut, Warpath, Shatterstar, Cable and Spider-man into the mix.

 

Big thing, he got kids interested in comics and for me that was the best part of his art. Older collectors will always have there favorite artists and for me I don't get them but again don't need to. I enjoy what I enjoy and am trying to get him to sign each of my books he worked on with my X-Force set as well as his New Mutants set.

 

I think you've nailed It here. I grew up reading comics in the early 90's, and so Liefeld was a big part of what I read. To me, It doesn't matter how "artistically correct" he is, or how frequently he chooses to ignore the rules of basic art. If anything, It just makes things interesting (even though some of his stuff really is difficult to look at, and I can understand some of the critique).

Ironically, some things actually end up getting credit, because they do lack basic components that constitute something as "good". Take movies for example. Troll 2, Plan 9 from Outer Space, and Rocky Horror Picture Show are prime examples of how something can be rejected due to their unorthodox or even "lazy" nature, yet a huge cult following has since been developed. The people included in this cult following can actually find appeal in such hated things, and I just think that's awesome!

 

This whole argument reminds me of Siskel & Ebert, two movie critics who did their best to explain why a movie is good or why a movie is bad. I couldn't tell you how many movies they bashed that are some of my all time favorites, no matter how "bad" they may actually be.

 

 

[awakeintheashes]

 

If I ever went out with my suit as wrinkled as those guys' I'd be embarrassed.

 

Peace,

 

Chip

 

Ahhhhh. You beat me to it.

 

It looks like Archangel is scolding them for wearing such wrinkled suits to church. His suit looks nicely pressed. With that said, what's up with his leg? How is it in that position?

[RockMyAmadeus]

Really late to this one but my thoughts I guess:

 

I was 9 years old when I read my first New Mutants issue and it happened to be Cables first appearance in New Mutants 87. Something about this mysterious old man just seemed to draw me in. No one knew who he was, his powers, or anything about his metal arm. Favorite line of all time was:

 

It's metal, doc. I can make another one. - Cable

"With two paper clips and a screw driver right?" - Doc

 

After that I was hooked and became a huge fan of the New Mutants ending stories as well as a die-hard X-Force fan. The big thing to understand was my age and the fact that I believe he drew things for a specific target audience. This period of time was following the big body builders jumping into the mainstream. The focus of Arnold ensuring children were fit in school, and every character (Rambo, Terminator, Predator) needing some form of larger than life weapon to bring into combat. The outfits seemed to mimic something the Predator would wear and as a child who really cares about feet or body proportions. Boobs were over exaggerated and waist lines seemed to get smaller and smaller and for a kid around 10 - 11 this was all perfect when you throw in characters like the Juggernaut, Warpath, Shatterstar, Cable and Spider-man into the mix.

 

Big thing, he got kids interested in comics and for me that was the best part of his art. Older collectors will always have there favorite artists and for me I don't get them but again don't need to. I enjoy what I enjoy and am trying to get him to sign each of my books he worked on with my X-Force set as well as his New Mutants set.

 

And I think everyone here understands that, not only because it makes sense, but because we've all done it.

 

I would never defend Jim Starlin's Captain Marvel and Warlock (his first two runs) as text book examples of great comic book WRITING, even though for ME it holds up well out of nostalgia.

 

For someone checking it out for the first time in 2014, it probably seems to be full of holes, and not exactly coherent at all times in it's direction and a bit fragmented in it's overall structure.

It is.

Starlin was tripping his bolls off when he did a lot of that stuff, and I could never defend it as great comic book writing.

I can say it was awesome to me, and always will be.

It looks cool.

 

Even the art... though I will always love his art during that period as much as anything I will ever love in this hobby, I know it has it's flaws.

As a personal preference, I liked Starlin's art better when it wasn't as polished and he was tripping on acid.

That's the best defense I can give.

 

To try and defend it all as text book examples of how to do mainstream comics, no... that's not how you do it.

 

And Starlin is a guy that's pretty well respected in the business and been around for 40 years.

 

Putting Liefeld's 'mistakes' in the same category as Kirby, Mignola, Lee, McFarlane... is just silly. Those guys all put in the work to learn fundamentals of sequential art storytelling, so that when they made whatever left turn into their own style they did, it was firmly grounded in the basics to at least some degree.

 

Liefeld has been lazy, unpolished and fundamentally wrong in his work almost since day one. And it's done nothing but get worse.

 

Remembering it as cool, if that's how someone remembers it, is something anyone can understand that loves comics.

 

Remembering it as professionally done quality sequential storytelling art on par with Kirby, Mignola, etc.... well, that's just looking for an argument.

 

Especially since he's considered one of the biggest d-bags in the industry.

 

 

The Poseidon Adventure (1972) is the greatest film ever made.

 

Reality is impervious to childhood memories.

 

[Darkowl]

Didn't read the whole thread but the Hawk and Dove mini-series is the only thing I ever saw that looked like he spent more than 15 minutes on each page. Other than that, pure junk IMHO.

 

He wasn't bad at first. His 1st Marvel work;

 

 

See, I really like this. Beast looks great (I also don't see anything wrong with his hands or feet), especially when you compare him to this...

 

 

This is one of the absolute worse depictions of the X-Men, and It just gets on my nerves. I'll gladly take Liefeld's X-Men over Quitley's X-Men any day.

 

Not defending Quietly's work at all, but to be fair Beast has been going through a constant mutation and that was part of the New X Men story arc.

 

I get that, and I actually find it fascinating that Beast seems to always be mutating, but I'm not quite sure how that justifies a horribly drawn Beast. Then again, that's just my opinion, and I know a lot of people who actually like how he looks in this form.

[awakeintheashes]

Really late to this one but my thoughts I guess:

 

I was 9 years old when I read my first New Mutants issue and it happened to be Cables first appearance in New Mutants 87. Something about this mysterious old man just seemed to draw me in. No one knew who he was, his powers, or anything about his metal arm. Favorite line of all time was:

 

“It's metal, doc. I can make another one.” - Cable

"With two paper clips and a screw driver right?" - Doc

 

After that I was hooked and became a huge fan of the New Mutants ending stories as well as a die-hard X-Force fan. The big thing to understand was my age and the fact that I believe he drew things for a specific target audience. This period of time was following the big body builders jumping into the mainstream. The focus of Arnold ensuring children were fit in school, and every character (Rambo, Terminator, Predator) needing some form of larger than life weapon to bring into combat. The outfits seemed to mimic something the Predator would wear and as a child who really cares about feet or body proportions. Boobs were over exaggerated and waist lines seemed to get smaller and smaller and for a kid around 10 - 11 this was all perfect when you throw in characters like the Juggernaut, Warpath, Shatterstar, Cable and Spider-man into the mix.

 

Big thing, he got kids interested in comics and for me that was the best part of his art. Older collectors will always have there favorite artists and for me I don't get them but again don't need to. I enjoy what I enjoy and am trying to get him to sign each of my books he worked on with my X-Force set as well as his New Mutants set.

 

I think you've nailed It here. I grew up reading comics in the early 90's, and so Liefeld was a big part of what I read. To me, It doesn't matter how "artistically correct" he is, or how frequently he chooses to ignore the rules of basic art. If anything, It just makes things interesting (even though some of his stuff really is difficult to look at, and I can understand some of the critique).

Ironically, some things actually end up getting credit, because they do lack basic components that constitute something as "good". Take movies for example. Troll 2, Plan 9 from Outer Space, and Rocky Horror Picture Show are prime examples of how something can be rejected due to their unorthodox or even "lazy" nature, yet a huge cult following has since been developed. The people included in this cult following can actually find appeal in such hated things, and I just think that's awesome!

 

This whole argument reminds me of Siskel & Ebert, two movie critics who did their best to explain why a movie is good or why a movie is bad. I couldn't tell you how many movies they bashed that are some of my all time favorites, no matter how "bad" they may actually be.

 

 

You forgot "The Room"

[Prince Namor]

Really late to this one but my thoughts I guess:

 

I was 9 years old when I read my first New Mutants issue and it happened to be Cables first appearance in New Mutants 87. Something about this mysterious old man just seemed to draw me in. No one knew who he was, his powers, or anything about his metal arm. Favorite line of all time was:

 

It's metal, doc. I can make another one. - Cable

"With two paper clips and a screw driver right?" - Doc

 

After that I was hooked and became a huge fan of the New Mutants ending stories as well as a die-hard X-Force fan. The big thing to understand was my age and the fact that I believe he drew things for a specific target audience. This period of time was following the big body builders jumping into the mainstream. The focus of Arnold ensuring children were fit in school, and every character (Rambo, Terminator, Predator) needing some form of larger than life weapon to bring into combat. The outfits seemed to mimic something the Predator would wear and as a child who really cares about feet or body proportions. Boobs were over exaggerated and waist lines seemed to get smaller and smaller and for a kid around 10 - 11 this was all perfect when you throw in characters like the Juggernaut, Warpath, Shatterstar, Cable and Spider-man into the mix.

 

Big thing, he got kids interested in comics and for me that was the best part of his art. Older collectors will always have there favorite artists and for me I don't get them but again don't need to. I enjoy what I enjoy and am trying to get him to sign each of my books he worked on with my X-Force set as well as his New Mutants set.

 

And I think everyone here understands that, not only because it makes sense, but because we've all done it.

 

I would never defend Jim Starlin's Captain Marvel and Warlock (his first two runs) as text book examples of great comic book WRITING, even though for ME it holds up well out of nostalgia.

 

For someone checking it out for the first time in 2014, it probably seems to be full of holes, and not exactly coherent at all times in it's direction and a bit fragmented in it's overall structure.

It is.

Starlin was tripping his bolls off when he did a lot of that stuff, and I could never defend it as great comic book writing.

I can say it was awesome to me, and always will be.

It looks cool.

 

Even the art... though I will always love his art during that period as much as anything I will ever love in this hobby, I know it has it's flaws.

As a personal preference, I liked Starlin's art better when it wasn't as polished and he was tripping on acid.

That's the best defense I can give.

 

To try and defend it all as text book examples of how to do mainstream comics, no... that's not how you do it.

 

And Starlin is a guy that's pretty well respected in the business and been around for 40 years.

 

Putting Liefeld's 'mistakes' in the same category as Kirby, Mignola, Lee, McFarlane... is just silly. Those guys all put in the work to learn fundamentals of sequential art storytelling, so that when they made whatever left turn into their own style they did, it was firmly grounded in the basics to at least some degree.

 

Liefeld has been lazy, unpolished and fundamentally wrong in his work almost since day one. And it's done nothing but get worse.

 

Remembering it as cool, if that's how someone remembers it, is something anyone can understand that loves comics.

 

Remembering it as professionally done quality sequential storytelling art on par with Kirby, Mignola, etc.... well, that's just looking for an argument.

 

Especially since he's considered one of the biggest d-bags in the industry.

 

 

The Poseidon Adventure (1972) is the greatest film ever made.

 

Reality is impervious to childhood memories.

 

 

I have very fond memories of that movie as well.

 

 

[Darkowl]

Really late to this one but my thoughts I guess:

 

I was 9 years old when I read my first New Mutants issue and it happened to be Cables first appearance in New Mutants 87. Something about this mysterious old man just seemed to draw me in. No one knew who he was, his powers, or anything about his metal arm. Favorite line of all time was:

 

“It's metal, doc. I can make another one.” - Cable

"With two paper clips and a screw driver right?" - Doc

 

After that I was hooked and became a huge fan of the New Mutants ending stories as well as a die-hard X-Force fan. The big thing to understand was my age and the fact that I believe he drew things for a specific target audience. This period of time was following the big body builders jumping into the mainstream. The focus of Arnold ensuring children were fit in school, and every character (Rambo, Terminator, Predator) needing some form of larger than life weapon to bring into combat. The outfits seemed to mimic something the Predator would wear and as a child who really cares about feet or body proportions. Boobs were over exaggerated and waist lines seemed to get smaller and smaller and for a kid around 10 - 11 this was all perfect when you throw in characters like the Juggernaut, Warpath, Shatterstar, Cable and Spider-man into the mix.

 

Big thing, he got kids interested in comics and for me that was the best part of his art. Older collectors will always have there favorite artists and for me I don't get them but again don't need to. I enjoy what I enjoy and am trying to get him to sign each of my books he worked on with my X-Force set as well as his New Mutants set.

 

I think you've nailed It here. I grew up reading comics in the early 90's, and so Liefeld was a big part of what I read. To me, It doesn't matter how "artistically correct" he is, or how frequently he chooses to ignore the rules of basic art. If anything, It just makes things interesting (even though some of his stuff really is difficult to look at, and I can understand some of the critique).

Ironically, some things actually end up getting credit, because they do lack basic components that constitute something as "good". Take movies for example. Troll 2, Plan 9 from Outer Space, and Rocky Horror Picture Show are prime examples of how something can be rejected due to their unorthodox or even "lazy" nature, yet a huge cult following has since been developed. The people included in this cult following can actually find appeal in such hated things, and I just think that's awesome!

 

This whole argument reminds me of Siskel & Ebert, two movie critics who did their best to explain why a movie is good or why a movie is bad. I couldn't tell you how many movies they bashed that are some of my all time favorites, no matter how "bad" they may actually be.

 

 

You forgot "The Room"

 

I actually have never seen it. I might have to watch it now.