Following the massive success of Deadpool (the movie), you’d think studios would be rushing to get in business with the co-creator of Deadpool (the comic) — seeing as Rob Liefeld has a few other comic-book creations that could make for decent films in the right hands. It seems at least one studio has caught on, as Paramount and Akiva Goldsman are teaming up to produce a film adaptation of Liefeld’s Avengelyne series.
If you’d told me a few years ago that outstanding science fiction could be spun out of a reboot of an old Rob Liefeld comic with that one guy with the swords who grimaces a lot and has padding glued to his face, the first question I’d have to ask is, "Which one guy with the swords was that? There were a couple."
The answer would be Prophet, one of the most fruitful experiments to come out of the 2012 retooling of the defunct Extreme Studios line, and one of the most genuinely enthralling sci-fi comics of the past decade.
Everything old is all-new again in comics, so it's about time that Rob Liefeld's most iconic creator-owned work Youngblood got another day in the sun. Next year, The Rob is bringing Youngblood back to comics with a new ongoing series at Image, alongside co-writer Chad Bowers and artist Jim Towe, whom Liefeld discovered on Twitter.
With the Deadpool movie arriving in cinemas this week, media attention has turned to the character's co-creator Rob Liefeld, and it’s already caused a fair share of controversy. As part of an interview with the New York Times, Liefeld stated that he did “all the heavy lifting” in the creation of Deadpool, and even more bluntly, “I chose Fabian [Nicieza], and he got the benefit of the Rob Liefeld lottery ticket. Those are good coattails to ride.” Liefeld has called the article a "hit piece," but has made similar assertions on Twitter.
Liefeld’s words raise interesting questions about who gets to call themself the true creator of a character. Is it just the initial concept, idea, or design that warrants a creator credit, and does time spent defining a character count for anything?
At the dawn of 1992, comic books were booming. Tim Burton's Batman had kicked off a new wave of big-budget film adaptations. Superhero products could be found in nearly every aisle of every department store and supermarket. New comic shops were springing up in shopping centers and malls, publishers were seeing their highest sales figures in years, and new companies were making names for themselves as serious players. And Marvel Comics was the unquestioned big fish in the pool, with their stock booming in the six short months since they'd gone public, and an unparalleled creative stable.
But big changes were afoot. In December of 1991, Todd McFarlane, Rob Liefeld, and Jim Lee, Marvel's three biggest artists, informed publisher Terry Stewart that the company's policies toward talent were unfair, that creators were not being appropriately rewarded for their work, and that they were leaving, effective immediately. In the month thereafter, they joined forces with a few more like-minded artists from Marvel's top-selling titles, worked out a deal with small publisher Malibu Comics for production and distribution, and decided on the title for their new company --- recycling a name that Liefeld had originally intended for an aborted self-publishing venture. On February 1st, 1992, a press release was sent out announcing the formation of Image Comics.
If there’s one thing we’ve learned from our years on the Internet, it’s that there’s no aspect of comics that can’t be broken down and quantified in a single definitive list, preferably in amounts of five or ten. And since there’s no more definitive authority than ComicsAlliance, we’re taking it upon ourselves to compile Top Five lists of everything you could ever want to know about comics.
Nobody’s perfect, and just because the House of Ideas has been responsible for some of the greatest spectacles in comic history doesn’t mean they haven’t had their fair share of awful moments as well. This week, we point our all seeing eye of judgment at five of the worst offenders.
Welcome to Cast Party, the feature that imagines a world with even more live action comic book adaptations than we currently have, and comes up with arguably the best casting suggestions you’re ever going to find for the movies and shows we wish could exist. Today, we're looking at X-Force, Marvel's paramilitary mutant team, specifically the original version by Rob Liefeld and Fabian Nicieza.
This week, Boom Studios --- which, in the interest of full disclosure, is a company I've done some writing for --- announced that they'd acquired the rights to Power Rangers with plans to launch a new series sometime this year. It's pretty exciting news, but at the same time, the news about a bunch of teenagers with (shockingly positive) attitudes coming to comics always gets me a little bit down, because it reminds me of one of the biggest missed opportunities in the history of the franchise.
See, this isn't the first time that the Power Rangers have made an attempt at conquering the world of superhero comics, and there was a time when they only made it through one issue with a story that was more notable for the books that it advertised and never came out than what happens in the issue itself. The year was 1996, the comic was Power Rangers Zeo, and the man who had the license... was Rob Liefeld.
You may have missed it, but last week Frank Cho posted an image he'd drawn on a sketch cover of Spider-Gwen in a pose reminiscent of the Milo Manara Spider-Woman cover that drew a lot of negative attention. Many people were grossed out by Cho's drawing, including Spider-Gwen artist Robbi Rodriguez, while others jumped to Cho's defense, like J. Scott Campbell and Rob Liefeld. What began as not that big of a deal turned into the latest hot mess to preoccupy the industry, so let's talk about outrage and complacency in comics.