We have nearly eight thousand words for you this week, and we hope you’ll give them all a shot.
Rob Liefeld’s had a big year thus far, and Shawn Starr and I felt it appropriate to hold a lengthy conversation about Liefeld’s legacy and the infamous work that is Youngblood #1. It’s our little attempt to revisit Liefeld’s work and place a statement on it, and while I’m not exactly sure we did that, I know we had fun typing this thing, our EXTREME DIALOGUE.
Also, before the feature, new comer Joey Aulisio and I have a few capsule reviews to supply the variety and make this the “what’d you read?” column it is.
Rub the blood, readers. No one else will.
- – – capsules
Alec Berry / perpetrator
Dancer #1 | Nathan Edmondson, Nic Klein, Jeff Powell | Image
You’ll read this one, and the entire time you’ll just wonder why. Why is this different than any other spy-burn notice-doesn’t tell his woman about the job until things go absolutely wrong story you’ve read, watched or lazily daydreamed about before? Why is Nathan Edmondson a name? Why would Image publish this derivative comic book when they clearly have a sense of what’s better?
And when you arrive at the oh-so clever catch concept on the last few pages, you’ll still just be stuck wondering why, only a little more annoyed at that point.
Dancer falls into a category of comic books too caught up in their own pitch phrases, leaving the lead characters as photocopies of the genre they inhabit and a sense of pacing that believes we, the audience, really want to see Nic Klein draw a guy running down the street and grabbing clothes from his apartment complex. Although, Klein’s probably the one solid enough element of this book to not deem it trash. His facial expressions take on a bit of a Frazer Irving touch here, and any panels depicting empty shells falling from a rifle supply the right amount of atmosphere.
No, the problem’s more on Edmondson’s behalf as he assumes his writing is interesting enough to justify leaving the characters blank until later issues. It’s not. He’s trying to put you right into the middle of the action with a shoot-first, ask questions later approach, but what Edmondson overestimates is his artist’s ability to portray that action and motion. I did just compliment Klein, but on the same token, this guy isn’t a great action artist. He’s good about figure poses and iconography (read Viking), but with action Klein doesn’t capture the interesting moments or little nuances necessary. He just plainly shoots the whole thing, hoping you’ll somehow make it interesting in your own mind because, well, I guess he gave you the basic gist of it.
The only thing that could maybe save this down the line would be to take the concept (a guy hunting himself) and pitting that into a situation involving his wife. Of course, I’m sure that’ll even be made boring too.
Joey Aulisio / writes every eon
RASL #14 | Jeff Smith | Cartoon Books
“You have no idea how this will end, Do You Rasl? YOU HAVE NO IDEA!”
In the penultimate chapter of Jeff Smith’s provocative sci-fi saga, it’s hard not to read those words as indicative of where the reader’s thought process has arrived at this point in the series (or maybe it’s even a Jeff Smith confessional, who knows).
Now while this issue didn’t indulge in the sanguinary mayhem of issue thirteen, it certainly made up for that in the plot twist department. Every page seemed to reveal a new layer and in turn modifying everything you thought you knew about this black and white world. It’s tough to recall a single issue in recent memory with such reckless pacing that managed to maintain such a delicate balance between story and character (except maybe this one). Every layout briskly moves the eye forward whether it’s through another room or another dimension; all under the guiding hand of Smith’s delicately inked line. Jeff Smith reminds you of what a cartoonist is supposed to be capable of in every panel.
Back in 2008, Smith threw his readership and the comics intelligentsia for a loop announcing he was going to do this book, and it’s refreshing to see he is still continuing to do so on each page turn of every issue all the way to the end.
Alec Berry / perpetrator
Epic Kill #1 | Raffaele Ienco | Image
And then Image struck out again. I didn’t buy this one. No way was I paying money, but a friend of mine felt the need to and let me borrow Epic Kill #1 after summing it up as “Kill Bill, but without anything cool.” Epic Kill is supposed to, I guess, celebrate the action movie kill scene by simply taking you through a series of high octane situations in order to build up to an awesome, memorable kill. A respectable venture. It’s just too bad the creator can’t accomplish any of that. None of the necessary techniques are present, and really, the whole tone is off. Epic Kill just boils down into a heap of uninteresting plot (which really just rips off Kill Bill) where the only interesting thing is the “epic kill,” train explosion moment which turns out to be poorly drawn in a “I’m not Frank Quitely, but here’s my best Frank Quitely” kind of way.
This comic book should be over the top and hard: a comic book strictly concerned with the visual end. Instead, Ienco portrays this book as actually wanting, and trying, to tell a story and looses the necessary edge in that concern, and after reading the afterword, Epic Kill ultimately turns into the project of some trying screenwriter, suggesting an attitude of “this is all I had.”
And no, I’m not making that up. Dude wrote three screenplays. He points it out.
Joey Aulisio / a man against hardcovers
Rachel Rising #8 | Terry Moore | Abstract Comics
The issue opens with an elderly man casually chatting with the corpse of his dead wife over breakfast and the morning paper, a scene which wouldn’t seem out of place in Tobe Hopper’s The Texas Chainsaw Massacre, but when used here it mostly falls flat (as you never get the sense that Moore has any affection for work of that ilk). When Moore goes for the disturbing angle it often feels very disingenuous and pandering, but when he takes something potentially disturbing like 2 undead girls arguing about how to repair one of their necks and treats it as a humorous aside, it really works. The ongoing schism of those approaches is what has been making “Rachel Rising” such an interesting yet frustrating work to engage with this past year.
No complaints on the art side of things though, as Moore continues to show why he is a master of the sequential form. On the one hand you have the dynamic detailed page construction of the wolves hunting in the snow (pages 4-8) which are simply breathtaking, not to mention reminiscent of Jorge Zaffino’s beautiful pencil and ink work on “Winter World”. On the other hand you have scenes which are reminiscent of Schulz-ian newspaper strips with gags and all, Moore effortlessly switching between the two styles (maybe the schism goes deeper).
- – – THE EXTREME DIALOGUE a.k.a. “No arrows. These words will have to do.”
written by two guys who have little else to do.
Alec Berry: I forget why we decided to do this, but here we are … preparing to discuss the legend himself, Rob Liefeld, and the legacy-drenched comic book that is Youngblood #1. I would be lying if I said I was not interested in having this conversation.
Of course, it is a big year for Liefeld what with the relaunch of Extreme Studios and his involvement with DC Comics, so it seems appropriate to state Liefeld as a figment of the current zeitgeist. That’s probably why we’re here.
And we need an excuse to talk about Liefeld.
Honestly, I like the guy, and in some sense I feel we’re all way past the days of stunted conversation based solely on “hating” him. Few of those claims possessed any evidence to begin with. People just needed a scapegoat for the trash of 1990s comic books that they took it out on the guy who established one of the decades key aesthetics rather than the numerous imitators who wrung it dry and cannibalized the thing. Liefeld may not produce deep or even always technically efficient comics, but the one thing he has up on a lot of creators is his uncontainable energy, passion and overall voice. That stuff overpowers the mechanical flaws, for me, and while all the energy and love only produces over the top action, I feel that’s wildly appropriate, especially for superhero comics.
A guy like Liefeld humbles the medium, drawing us back from the ever present desire to legitimize what’s created and what’s read; the experience reminds a reader of the childlike wonderment which can be associated with the artform as well as the slightly exploitative element associated with the superhero genre.
And the best part … all of Liefeld’s work is genuine. He’s a genuine motherfucker making the comic books he wants to make while knowing exactly what it is he’s making. He’s not kidding you like a Matt Fraction Mighty Thor pitch which tries to get religious or is made out to be the next great work in modern comics. If Liefeld tells you’re getting a comic about Youngblood fighting terrorists, that’s exactly what you’ll get, no unnecessary varnish applied throughout.
Yet, while I say his work aims low and is low, I do hold this odd opinion that Liefeld’s visual style sort of reworks Kirby’s, in a sense. Kirby influenced super hero cartooning because of the language he created. Liefeld sort of did something similar, I think, but more in terms of an aesthetic and maybe tone. So, yeah, maybe there’s a argument for Liefeld’s higher importance. If you want to go there.
Could I only read Rob Liefeld comics? No. But as part of a varied industry, Liefeld has a place. And that’s without mentioning Image and the historical component you could place on his person.
So, Shawn, let’s get into this and discuss this somewhat larger than life personality and creator.
Where we going?
Shawn Starr: I’m fairly certain I broached the subject during a drunken email at 2 A.M, which is when all my great ideas occur. I’m kind of like Hemingway in that sense. I also like to take credit for other people’s ideas, so I’m kind of like Stan Lee too.
Why would anyone want to discuss Rob Liefeld’s Youngblood, especially after everyone’s told us how inept a creator he is? Simple, Liefeld is one of comics most interesting figures, and Youngblood is one of his most important works.
Also most of those criticisms (as you pointed out) are dubious.
Liefeld was selling 1 million copies of X-Force a month at the age of twenty-two. To put that in perspective, I’m twenty-two and do not sell 1 million copies of X-Force each month. In addition to simply selling comics by the metric ton, Liefeld single handedly defined a decade of comic art, and was a founding member of Image Comics, which, depending on who you ask (*cough* Gary Groth*cough*) represents one of the biggest leaps forward in comic publishing since the inception of the Direct Market.
And, while I don’t subscribe to the quantity equals quality idea, that’s a career which requires inspection.
As you noted, Liefeld has experienced a resurgence of late, with the recent relaunch of Extreme Studios and his work on several DC relaunch titles. Liefeld has at least one book out each week (he’s currently overseeing the production of nine books total) which is more than many small publishers. But, Liefeld wouldn’t be the topic of our discussion today just because he produces nine books a month. I mean IDW puts out at least that many and who cares about them.
There’s something else to Liefeld.
What makes Liefeld, well, Liefeld is his style. When you look at one of his pages or creations it just screams Liefeld, he imbues everything he touches with his essence. If Cable wasn’t weighed down by 500 pounds of guns and ammo, then he wouldn’t be Cable. And that’s Liefeld. Everything he creates is extreme, an action movie on every page, and not just a “failed movie pitch” that comics have recently become the repository for, a genuine action movie. Schwarzenegger in his heyday shit. Which, in an industry of endless possibilities, is a sight for sore eyes.
Liefeld is one of two direct heirs to Kirby, the other being art-comix god Gary Panter. Both creators filtered the essence of Kirby through their own distinct visions, creating dramatically different bodies of work, but always keeping Kirby’s kinetic energy in mind.
Panter filtered Kirby through a punk rock attitude and high art sensibility to create the definitive style of the art-comix movement. He reduced Kirby’s line work to a single jagged line, yet maintained all of the original’s energy. Panter is distilled Kirby. He was even able to capture Kirby’s sense of epic scale (Fourth World), with Jimbo (Panter’s most famous creation) embarking on a tour through Dante Alighieri’s Divine Comedy. Panter took Jimbo biblical, the closest thing he could do to capture Kirby’s cosmic ideals.
Liefeld, in stark contrast, took Kirby’s line work and added onto it (a reverse Vince Colletta of sorts) filtering it through Manga sensibilities and supercharging each page. If Panter was a reductionist, Liefeld was an expansionist. Throwing lines on top of lines, cross hatching each image like a schizophrenic who was about to discover the inner workings of the universe if only he could just ink one more line. And then throwing on some Manga infused speed lines to drive the point home.
His pages are a truly awesome experience.
Liefeld said (in a wonderful interview with Jim Rugg) that he never allowed an inker to touch his faces, because they could never capture that pure “Liefeld-ian” look. He also gave every page one final pass. Another round of rendering. Cross hatching to the nth degree. And that’s where the image becomes a Liefeld image. An entire decade’s worth of artists tried to ape his style, Multi-Media Conglomerates created house styles around him, and yet, no one can draw like Liefeld. Just like no one can draw like Kirby.
If Jaime Hernandez has distilled his art to a single line, Rob Liefeld has distilled his to a thousand.
You say Liefeld’s work plays to the lowest common denominator (in much kinder words), which in some respects is true. There’s no grand theory of life to be found in Youngblood. The first issue has some basal levels of satire, however strained, but it’s not particularly refined or biting. It’s definitely not Watchmen, but then again it was never trying to be. He just wanted to make fun comics, which is something few creators even attempt today. You call it genuine, I call it true to itself. It’s all the same.
What I see as Liefeld’s lasting legacy (besides his involvement with creator rights and Image) is his effect on the current generation of creators. While the initial crop of art-comix creators grew up on Crumb and later Panter, this new generation grew up on Liefeld and Image Comics. It may only be a fleeting moment, but for the next few years his importance is going to become increasingly evident, as the new vanguard of creators move away from the old and begin to reinterpret their childhood influences. Which, by and large, means Rob Liefeld, the defining artists of the 90’s.
The most important art-comix movement since RAW, the Fort Thunder Collective, were the first to begin this distancing from the past. The two most prominent members CF whose angelic line work was so different from what had come before that it redefined the look of much of the genre, and Brian Chippendale who is a self avowed Marvel Fanboy (writing one of the best review sites in comics), on an initial glance one would think of him as an acolyte of Panter, but, and I love this quote, he belongs to the 90’s “When I grew up I didn’t want to draw like Panter, I wanted to be Jim Lee” (this quote is second hand, from the RUB THE BLOOD Inkstuds podcast). Together they show a progression in the medium, away from the old guard and towards something new. To highjack Frank Santoro’s idea (and Comics Comics), they represent fusionism, taking from everything to create something new. And Liefeld is a key component as of late, he defined a decade of art. His influence is impossible to escape. I mean just look at the creators attached to last years RUB THE BLOOD, and you’ll see a who’s who of art-comix.
And that is not even going into the Extreme Studios relaunch, which has produced one of the best sci-fi comics of the decade (Prophet) along with what will soon be heralded as the most progressive take on a female superhero since Wonder Woman was created (Glory). Or the lasting popularity and resurgence of his Marvel work. There was a time (and it still may be) when Deadpool was the most popular character in comics, and just last year Uncanny X-Force and Deadpool MAX were two of the most critically praised Big 2 books being published. None of these titles are by him, but they required him to give them life.
As an aside, the criticisms of Liefeld are largely unfounded. Sure he ignores anatomy, but so does Ware, Crumb, and for a more mainstream and generally excepted example Jim Lee. It’s just that everyone of those guys is given a pass, it’s their “style”, which is true, but the same reasons it’s ok for them to ignore anatomy are, for some reason, not applicable to Liefeld.
Being critiqued for his lack of realism, a feature which his art has never attempted to capture, is missing the point of Liefeld. His art is decadent and expansive. It’s telling that this is what the masses of pseudo-critics jump onto. Realism is largely a constraint on art that individuals try to pass off as valid criticism against something they don’t understand. Kyle Baker summed it up best “in art, as in life, ‘realism’ is for the uncreative.” Of course this is what they latch onto, because they don’t or can’t understand what it is Liefeld is doing.
If Liefeld drew like Alex Ross, I could see the validity in this line of thought, but Liefeld has as much in common with Alex Ross (or Neal Adams) as Matt Brinkman. His style is an extension of himself, not a light-boxed photo from the recent Sports Illustrated Swimsuit Issue, it’s “abstract” and should not be constrained by the idea of realism.
Ok, thats my overlong re-contextualization of Liefeld. I may be completely wrong and participated in a one man historical whitewashing, so do you have anything you want to add, or should we begin this review of Youngblood #1 after our brisk 1,800 word introduction?
AB: That Kyle Baker quote is great.
SS: He posted that on Twitter a couple days ago, and I couldn’t not steal it.
AB: Would you go as far as to say Liefeld is this generation’s Kirby or do you feel his impact isn’t exactly that wide? I feel he’s influential, but I wouldn’t exactly claim his influence to be widespread like Kirby’s. Kirby’s thumb prints are on everything because of the grammar he developed while Liefeld falls more in the camp of an attitude rather than a fundamental. He’s kind of optional, but even then, from the handful of alt comics I’ve touched and the blogs I read, it does appear that some of Liefeld’s brashness works its way through.
I do find it funny, though, that Liefeld suddenly has received this reevaluation. Like many influential people before him, hatred was their initial response. Maybe Liefeld fits that bill, although he was liked, generally, early on because of his difference to what was available at the time.
But, yeah, that’s sort of where we’re at with Liefeld: taking this despised dude and finally finding merit in his work. You could even work Benjamin Marra into your whole thesis as well because like Marra, Youngblood #1 is very much a comic book drawn in the back of some kid’s notebook. It lacks the more obscene elements, but it is still rich with boyhood fascinations. To steal from Ed Piskor, “the early Image comics are like guys playing with actions figures, going “boom!” “bam!” “grrrghh!”
To be honest with you, I didn’t read this and concern myself with the technicalities. I knew going in what it was, so instead, I went in for the spirit, and I think, with that mindset, Youngblood #1 really pays off. You mention this sense of satire that doesn’t exactly shape itself into anything, but I kind of feel it does simply through what the comic is. Youngblood #1, by its quality, does satirize the whole of superhero comics, especially the post-Watchmen mindset of the time, subverting this idea of serious super hero comics to complete ridiculous mish-mash.
The whole flip book approach sort of works to undermine the serious attitude too, bringing back some of that anthology flavor, like with Tales to Astonish.
SS: I’d describe Liefeld as Kirby-lite. I can’t think of any other artist in the past twenty years who has had as great an impact on the medium as Liefeld; he created hundreds of characters and defined the mediums style for a decade, but Kirby is Kirby.
Liefeld probably comes the closest, but Kirby is such a monumental and influential figure that no one could ever truly equal him. Tezuka (Manga), Crumb (Art) and Moebius (Europe) are the only ones who can match him, and even then they feel lacking. Kirby created the North American comics industry almost single handedly; romance comics Kirby, sci-fi comics Kirby super hero comics all Kirby; Liefeld revolutionized one of those, so there is something to be said of him, but I don’t think anyone can really be the “Kirby” of a generation. He’s too important.
Maybe you could describe him as the often trotted out “voice of a generation”, if that doesn’t sound like too shallow a description. I mean, there’s at least 20 “voices” to each generation nowadays so it seems like a meaningless term.
So I guess my answer is no, but with the caveat that no one could really be the Kirby of their generation.
It’s also interesting to point out the differences in Liefeld’s influence. The current “mainstream” comic culture seems to have latched onto his creations (Deadpool, Cable, X-Force) while the alt-comics scene has taken his visual aesthetic and attitude. That’s probably because of the “mainstreams” current incarnation as a Intellectual Property generator, and alt-comic’s focus on style and singular vision.
You mentioned the name of one of my favorite cartoonists Ben Marra, who I almost named dropped in my initial response, but decided not to for some reason. I can’t think of a creator more in tune with pure Liefeld-ian style out there today. His comics are brash and unforgiving, everything I love about Liefeld, and then he throws obscenity on top of it. Scrawlings in a notebook seems to be an apt description for both creators. There’s a childlike essence that exudes from both them that stands out from the rest of the industry. Marra is Liefeld brought up on Gangsta Rap instead of GI-Joes.
Your point on satire makes sense, but I’m not sure if that satire is intentional or not. Where the Image founders crafting a meta-textual Dr. Strangelove, or simply making a B-Movie. Did Liefeld create Youngblood as a reaction to Moore’s intellectualism, or a comic where things blew up. That’s one of those things you need a dig up a brilliant quote to find out. I have a feeling its perceived satire after the fact, and not a great mega-critique played out by Image Comics.
AB: Oh, yeah. I don’t feel it’s intentional. As you said, it’s an effect brought up after the fact, but still, it’s an effect.
SS: Yeah, we’re probably just projecting satire onto them. Us kids and our need for irony and satire in everything we find genuine.
The most likely candidate, by Liefeld, is his mega-event Judgement Day. Which title alone sounds like Final Crisis times ten thousand, but, and here’s the genius of it, it is really just a three issue meta-commentary on the idea of retconing in the guise of a courtroom case, written by Alan Moore.
The book reads like it was written for anyone but Liefeld, and in his hands becomes anything but the procedural drama Moore had intended. Imagine the courtroom scene in From Hell in the hands of Liefeld at his peak, that’s Judgement Day.
Liefeld has this ability to overpower the writer on every page. Liefeld renders each figure in such a way as to make their every action a dramatic moment. Dialogue that’s meant to be subtle becomes laden with invisible exclamation points in the hands of Liefeld; his cross hatching seems to spill over onto the dialogue balloons. The best example of this is his facial rendering (no one inks a Liefeld face except Liefeld for a reason!) where every expression is contorted until it turns into an abstraction that can only described as EXTREME! which even Moore can’t escape.
If Judgement Day isn’t a satire of the idea of comics as literature, and the ubiquitous mega event, then I’m not sure what it is. Besides a testament to Liefeld’s power to overwhelm authorial intent.
AB: That’s the Image era in total. Nothing mattered but the attitude and style, and all other elements either became obsolete or excused. I just like how Liefeld still performs in such a way, and in some sense, represents this era entirely by just being. Liefeld doing a book today is like Gerry Conway doing one. You read it, and it immediately takes you to a certain time like a novelty item.
But Liefeld, as we’ve mentioned, accomplishes a little more than a Gerry Conway retro comic.
Liefeld makes the visual end front and center, which for comic books should be a given, but our culture’s so dead set on writers we lack the necessary attention for the true writing. In some way, I think the Image guys were some odd first step in making the mainstream audience wake up and realize the importance of the artwork in comic books. Until then, plot was really everything for the super hero book. The Image guys didn’t exactly produce the best quality stuff, but by being so flamboyant, they made it impossible not to appreciate the illustration and just forget the plot.
SS: The swagger of youth …
AB: Think about that in context of the a-typical comic reader. Fanboys brushing off the plot to rave about line work (a lot of line work) instead. That’s nuts! It’s some twisted sense of an art comics mentality. I want that world again, but instead, with an even balance where both visual and script matter equally. If that’s possible.
A first step, but an important one in many ways, and sadly it seems with the crash and burn of the 90s, readers and creators buried that step because supposedly art over story generated the fall.
SS: The 90’s were a time when the artist took over, but, and I think this is a key point many critics fail to mention, so were the 60’s. Kirby and Ditko ran Marvel Comics creatively. Stan Lee was merely a editor who dialogued books. When artists are in charge it seems to be indicative of an age of ideas over content. If you look at those era’s you see the creation of thousands of characters, all still in use today, and stories that exude creativity. Writers tend to constrain this expansionism. Look at the past 10 years in mainstream comics and show me a completely original idea from a writer, or even a creation that’s stuck. You might be able to squeak Damien past by Morrison, but he’s a derivative character, just like the Rainbow Patrol over at Green Lantern. I just don’t see that being the same as Kirby creating an entire universe or Liefeld creating the Extreme Studios line.
The problem is that writers have been copying and referencing each other since the start. Moore may have been a singular voice in the comics medium (at first), but he was borrowing from a dozen other writers, it’s just that no one in comics had heard of them. Writing’s a conservative field really, inbred, while art is all about taking a blank canvas and turning it into something more. There may be references and homages but that’s only one panel in a twenty two page pamphlet. It can’t sustain itself for any prolonged period, unlike writing.
Continuity hounds don’t get into comics to be artists, they’re writers for a reason.
Even the “Age of Awesome” collapsed in on itself around the mid-2000’s because it lacked artists capable of seeing it through. The writers of that movement were only able to succeed when they were paired with the best artists in the industry. Casanova needed (needs) Ba’ and Moon, Bulletproof Coffin needed (needs) Shaky Kane and Immortal Iron Fist needed David Aja. When you put Fraction on Iron Man with a lesser artist it all falls apart. Ideas in the hands of a writer can’t sustain themselves past their initial conception.
AB: While Ba’ and Moon give the book its agility, Casanova is Matt Fraction. That’s a book about a writer – showing the journey from wannabe professional to now comics company man, mixed with a sense of sorting through influences, whether they’re life experiences or pop culture tidbits. You can’t take Fraction out of Casanova.
You’re correct to a point. Sure, comic book writers need artists to carry their ideas across the finish line as well as to provide the true impact of these ideas – the visual – but to suggest it’s a one-sided issue seems a bit erroneous. Liefeld’s a great example. His artwork certainly provides the right stylistic punch, but beneath that style, what is there? A poor story lacking a lot of necessary structure and layer. The work needs a writer to give it a sound foundation.
That’s why comic books are most often produced through a team effort. The writer/artist team makes a lot of sense because where the artist can ignore constraints the writer applies them, offering a sound balance to keep a story in order. Stories need order, to a degree. They function through their structure, most of the time. The artist can certainly help add a sense of spontaneity, though, as well as help tell the story and even rewrite a writer’s script to a degree. The artist is most definitely important, but not every artist can be unleashed on their own. Liefeld’s sort of an example of that – as well as many other writer/artists in mainstream comics.
SS: Sure, you need the writer to provide structure. But I’m not sure if those are the kinds of comics I want to read anymore. There are maybe four or five writers who can craft a competent book, and they all reside in the “mainstream”. Artist run every other genre. There’s probably a reason why every major literary-comic is done by a single creator. Or why the art-comix movement is run by singular vision. Michel Fiffe just dropped the best DC comic of the year, as a self-published, one man operation. If you think putting Adam Glass on scripting duties would have improved that book…well I question your judgement.
AB: Singular vision is certainly a preferred circumstance, and it does seem to work well in art comics where I think the mindset is more set on making a complete piece rather than a story installment. But even then, it’s not like there’s one mindset going into the creative process. The mindset of the writer and the artist are two separate things, so even when you have one person writing and drawing a comic, it’s arguable that one person comes from two different places.
Of course, I’ve never made a comic book, so what’s my theory, really? Speculation.
To point out of my personal interest, though, I would agree with you in your current interest. I’m finding myself more and more attentive to cartoonists these days versus collaborative teams, and ideally, I suppose that’s how comics are meant to be. That’s not to say the writer/artist team up is worthless, though, or that writers can’t push their ideas out into the world mostly on their own. Look at Morrison. Quitely certainly adds a lot, but even without Quitely, Morrison still projects his voice.
One example, but it shows the possibility.
SS: I will backtrack a little and concede that Casanova is Matt Fraction, but without Ba’ and Moon going all Steranko on that bitch it would have lost its pop-comics feel. Pop art starts with pop artists. Fraction set the tone, but Ba’ and Moon perfected the aesthetic. That may have been that sweet spot you were waiting for, and it came and went in four years without any mainstream support.
Morrison has a distinct voice (and just to point this out, he did start out as an artist) and Quitely certainly does bring out the best in him, but here’s the thing, Morrison has been hammering home his ideas of hyper-sigils and Superman as god for nearly twenty years in hundreds of comics, and the only time they really resonate is when Frank Quitely comes into the fold. Flex Mentallo and All Star Superman are the clearest examples of Morrison’s ideas and both are illustrated by Quitely. Morrison needs Quitely.
But back to Liefeld…
AB: I’ll give you the point on Morrison. But, yes, Liefeld.
With all the praise we’ve given, we do need to be fair and recognize the faults. Liefeld has certainly influenced some bad. And not even just copycat artists but really whole publishing approaches.
You can either look at Marvel Comics in the mid 90s or just dive into Liefeld’s own back yard with Extreme Studios. With Extreme, North American comics took on a whole new sense of factory line assembly, and Marvel just really took the Image method and completely raped and bled dry any of the charm associated with it (although, third and fourth wave Image titles kind of did this too), creating this culture of comic books dependent on gimmicks above quality (without any of the energy Liefeld or the other Image guys put into the work).
You could even make a case Liefeld had a big influence on internet hate culture, being the shining beacon of it he has been. At least in comic book “discussion.”
Expand on these, Starr. I’m going outside.
SS: Yeah, this part’s inevitable when discussing Liefeld. For all his swagger and attitude, he certainly has his faults. Liefeld has this uncanny ability to overcome most of his artistic weaknesses; he certainly doesn’t care about page to page continuity like every critic on the internet seems to (unless the credits don’t read “Artist: Rob Liefeld”). And, like you, I don’t see most of this as a blasphemous act against comics. The rawness of his art saves it from most of its technical faults.
AB: Yeah. Oddly, enough, I started reading this Replacements oral history by Jim Walsh today, and there’s this great quote from Westerberg about their performance style:
“To like us, you have to try and understand us. You can’t come in and just let your first impression lead you. Because your first impression will be a band that doesn’t play real well, is very loud, and might be drunk. Beneath that is a band that values spirit and excitement more than musical prowess. To me, that’s rock and roll, and we’re a rock and roll band.”
That really sums up Liefeld for me, and in a lot of ways, that’s what I want comics to be. Twenty-some pages of spirit.
SS: Yeah, Liefeld is all about spirit over technical prowess. When his work fails though, is when it starts to restrain itself. Conservatism is Liefeld’s death knell.
Youngblood #1 is split into two separate stories, sixteen pages each, and I think both stories highlight Liefeld’s faults.
“Youngblood: International” (the two teams aren’t distinguished, so I’m using this name for the non-Shaft lead team, and “Youngblood: Stateside” for the main team) is pure action; one page of framing in the post-DKR media lens format followed by fifteen pages of nonstop action. This segment is the most Liefeldian of the two, which makes it the most interesting overall. The story itself is fairly straightforward; the team goes into occupied Israel to take out a Saddam Hussein stand in. It’s choppy in the dialogue, and the middle bit seems to get away from Liefeld at a certain point, but the final sequence with Psi-Fire brings it back. It’s labeled the “1st Explosive Issue” which is a perfect title. Its Liefeld in all his glory and ruin. Pure artistic expression.
“Youngblood: Stateside” is the weaker of the two artistically, but a significant step up in a craft perspective. Everything flows, the pacing is sound and the exposition is a little heavy handed at points but nothing to complain about. This issue fails, though, where so many Liefeld projects fail; they are restrained at the very last moment. The story ends with a splash page showing Youngblood about to stop a gang, and results in this hard stop that kills the story. So many of Liefeld’s projects seem to restrain him at the last moment, forcing him to draw non-action, dialogue heavy, exposition scenes, and then once they get to the fight, stops dead and calls it a day. It’s not even Liefeld’s fault most of the time. It is just how comics are written nowadays.
Although the panel where Shaft throws a pen across a mall and knocks a would be assassin of a rail to his death is pure Liefeld.
“No Arrows. This pen will have to do.”
AB: I laughed, gleefully, at that scene, along with the scene of Chapel kicking his one night stand out.
SS: “You gotta give ‘em hope… As Shaft would say ‘it’s good P.R. !’” reads like a line out of Gangsta Rap Posse.
AB: Great moments.
AB: I’m glad you pointed out the pacing of the Stateside story because I too found it to actually be way better than anything I would have expected from this comic. I mean, there are moments when the flow is so on, most comics today could actually take a lesson from it and improve. Particularly, I’m thinking of the scene in the headquarters as they receive the mission brief and Shaft ends the sequence by exclaiming: “Then let’s move it!”
That was some exciting shit, to be perfectly honest.
You’re completely right when you mention the story being cut short, because it is. Completely. And I really wonder what decision led to such a choice. Really, reading what was already there, who’s to say without the abrupt cliffhanger, this comic might have actually received some love and not gone down as the mistake it historically has. Up until then, the main story wasn’t exactly on a horrible track. Cheesy dialogue and situations, certainly, but not exactly bad.
Part two, or “Youngblood: International,” flipflops, like you mention, into a complete reversal of the plot beat Stateside is. Looking at the two halves, it really just seems like Liefeld split one script rather than constructing two complete stories. Blending the best aspects of both into one story could have really worked. Together, they possess everything necessary.
But, no, he splits them, and ultimately that’s a fault of trying to interject too many characters into one book. Liefeld’s concerned with setting both of these teams up in one issue, and to do so, he chooses a route that just sticks a knife in the gut of the script. I also think he was just trying to make this comic book feel packed by offering two “stories,” but instead the gimmick just offers two comic book halves rather than one whole.
To offer one positive critique, though, I love how he just drops us into the world with little explanation or definition of the rules. The comic’s actually pretty good about that. Liefeld takes the punch first, ask later approach, and, I think, does it well. Youngblood #1 is kind of an exciting first issue rather than another thesis statement, as we’re used to today.
What about Liefeld outside the comics, though? Do you have any opinions on Extreme Studios or the outside negative affect?
SS: I agree with you. If Liefeld had synthesized the two issues into one, it would have been a much more satisfying read. He just couldn’t get those stories to gel. So we get one competent, but short story, and one extended action scene.
I haven’t read any of the old Extreme Studios titles; this year’s relaunch was my first contact with them. As I said above, Prophet is the best comic coming out each month, Glory is strong and getting better and Bloodstrike was probably the weakest of the bunch. It fell into the classic Liefeld problem of restraining the artist. Every action scene was cut short so that talking heads can lay out some exposition to catch the reader up on continuity. I dropped that one after its first issue, so it may have found its bearings.
The relaunch of Youngblood was…I’m not sure if i can call it “good,” but I don’t really think that matters with Liefeld. It was certainly interesting, and that’s enough. It operates as a mini-critique of Liefeld’s legacy, and the internet culture surrounding him. Youngblood are described (in comic) as “a long running joke by legitimate super-heroes like Supreme,” which can easily be applied to Liefeld’s current status in the comics zeitgeist. He’s the butt of every shoulder pad joke.
The main plot of the story involves a PR agent being hired to rehabilitate Youngblood’s image, and while in story the team doesn’t change much from page one,when you compare it to the first issue there’s a massive change. The initial issue of Youngblood presented a professional U.S. sanctioned strike force. This iteration reads like an issue of Giffen and DeMatteis’ Justice League International. Slapstick humor mixed with four month old pop culture references and odd moments of gag humor-esque flirting and overt sexulization. There is literally a cloud of hearts at one point. It’s a weird comic, but from a meta context it works. Liefeld was always criticized for his book’s perceived seriousness, and juvenile content, so what does he do? Get the writer of one of the most critically acclaimed “artsy” films of the 2000’s (Black Swan) and has him turn Youngblood into this oddball humorous cape comic.
On his negative influence, I don’t really have much to say. People certainly aped his style and almost killed the industry. Liefeld should bear some of the blame for that, but not the lion’s share that’s often attributed to him. You still needed Marvel Comics going bankrupt and giving Diamond a distribution monopoly, the mass exodus of speculators, along with a dozen other things that had nothing to do with Liefeld to cause the industry’s collapse. He defined the style of the decade, so I guess people associate him with its failure.
Once you start looking at everything that was going on, it’s clear that Liefeld was just a scapegoat. That’s not to absolve him of any involvement, he was just a single player in a industry wide failure.
AB: I didn’t hate the new Youngblood, either. You summed it up pretty well, and I thought mostly the same of it. Although, I do feel it was an instance where Liefeld’s artwork actually didn’t add much to the work. It came off as an odd compliment to the tone the writer was trying to establish. As you said, this Giffen voice, but it’s met with Liefeld’s extreme aesthetic and creates this odd sensation of a comic book.
Interesting, for sure.
I haven’t read every release from the new take on Extreme Studios, but from what I have explored, I do feel this revamp really represents a lot of what we talked about here. While I feel Liefeld can produce fun, over the top comic books, his ultimate legacy lands more in his influence than his actual work. Whether it be the examples of art comics you brought to light or now these once lost concepts being utilized by the likes of Brandon Graham and Ross Campbell, it seems that Liefeld has managed to create certain elements that will, potentially, outlast him.
Being an artist, that seems to be the ultimate mission, and I like that this unlikely character seems to have accomplished that, in a sense. It’s kind of powerful as well as charming.
I know someone out there has read this and believes we’re both insane, but I feel at this point it’s hard to deny Liefeld’s place. The guy at least deserves a chance to be reconsidered.
SS: The idea of re-contextualizing and re-interpreting a creator’s body of work has always interested me; it’s really the main point of the critic and criticism. There was an excellent Inkstuds episode featuring Ben Schwartz, Jeet Heer and Gary Groth (Americas Best Comics Criticism) which featured a large segment centered around the discussion of which creators needed a critical re-evaluation to cement their legacy. There certainly are a few creators who are undeniably great, but most need that extra push from an outside source. And that’s where critics come in.
It seems like a lot of re-contextualization is still coming from the print side of things. The (now) yearly Comics Journal along with the archive editions many book publishers put out, specifically Fantagraphics, have kind of cornered the market on this idea. Even as the net becomes more present, it’s still print that holds the reigns on “serious” criticism.
This probably stems from the financial structure of websites. When the newest thing drives site hits, it becomes difficult to justify talking about the past in any definitive sense (I’ve had three week old reviews deemed irrelevant). There’s a two week period when a new book comes out that it can be talked about (and maybe a third when “Best Of” lists start coming out) before they disappear off the main page and into the wasteland that is the site archives.
That’s why Tim Callahan is such an important figure in (web) criticism; he runs one of maybe three columns that focuses on contextualizing older works on a regular basis (Matt Seneca’s Robot 6 column and Jog’s Comics of the Week essay being the only other ones to my knowledge), and on the mediums biggest site to boot. It was Tim who brought Liefeld to the forefront of the comics discussion. I know thats where I became aware of him at least. So I guess that’s why we’re here.
But really, Liefeld was due for a reevaluation anyways. It has been over twenty years since he reshaped the medium, and ten years worth of (as Liefeld has wonderfully named them) Liefeld “Haters” being taken at their word. And no one at the Journal (who I adore in every sense of the word) is going to tackle Liefeld anytime soon.
So here we are, two brash, young critics trying to redefine an industry legend.
AB: I think “young” is a good way to describe us.
It’s a little off topic, but I tend to agree with your points about online comics criticism (and Tim is the man).
Sites do rely on hot topics to entertain their audiences, but they also rely heavily on short pieces. The long, in depth piece rarely exists on a comic book site. Why? I don’t really know, other than most people probably don’t have the attention span for them, so sites cater to that, keeping us in a constant ADHD state of channel surfing. Also, long pieces take a lot more work, and when you have a schedule to keep to, a big site’s better off living on small blurb articles to keep the updates constant.
When a good lengthy piece hits though, there’s little better (at least for my unusual enjoyment). Like this Michel Fiffe piece on the one man anthology comic. Best thing I’ve read in a while, and you can just tell he put the time and effort into it.
So, sadly Shawn, what I’m saying is: only three people will read this conversation we’ve spent the time typing. I hope you won’t kill yourself.
- – – exit
Go. Do something.