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Saturday, April 06, 2019 

EW fawns over Liefeld

Entertainment Weekly proves they're an unintentional comedy when they recommend a new X-book by the pretentious Rob Liefeld, accompanied by some now hilarious cliches:
Big changes are coming for the X-Men. Jonathan Hickman, the writer who reinvented Thanos in the years before Infinity War, is set to write two mutant miniseries comics later this summer. But before then, X-fans can experience the joy of Rob Liefeld — creator of Deadpool and Cable, among others — writing a new X-men comic with a whole new character.

“To me the X-Men have always thrived on big ideas, crazy ideas. So I figured, let’s just go for it,” Liefeld told EW in January. “Major X introduces a new character who is certain to mix up everything in the X-world. He hails from another existence, which is called the X-istence — a mutant Shangri-La, a safe haven that has been a realm where mutantkind has lived in peace and harmony. They escaped there following a tragedy that befell mutantkind, and built this community. There are some familiar faces that he has forged this other society with. But then a terrible event happens within the X-istence that causes Major X to cross over and land in the Marvel Universe that we know. But he doesn’t land in the spot he was hoping, so in the first issue he is in 1991. We progressively get him where he needs to go. By the conclusion of the story, we catch up to modern-day Marvel.”
It's enough to fall off the couch laughing how they resort to "big changes" coming for the main mutant group, as if it hadn't happened already. And sad at the same time they sugarcoat Liefeld as though he were any more talented a writer than he was an artist. Hardly that. But this is the continuing MO in the industry, to hire people whose "talents" have only proven sloppy in the past, and haven't improved much since. I may have said this before, and will again: Liefeld, even if his illustrations aren't as PC as some artists today, was a precursor to the social justice-laced artwork that various comics became plagued with in the past several years. And a lot of his work looked like it was trace-copied from other, better artists' work.

It's a real shame when the mainstream press is as willing to sugarcoat such a horrible artist as the specialty press is. This is exactly what turned the medium into a joke.

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Your analysis misses one critical element of Rob Liefeld's favorable coverage in the shill media. The element you refuse to acknowledge is nepotism. Liefeld is on good terms with a major sjw/industry gatekeeper Heidi Macdonald.

https://www.comicsbeat.com/rob-liefeld-major-x-1-sell-out-second-printing/


https://www.comicsbeat.com/rob-liefelds-self-parody-character-the-pouch-making-comics-debut-in-june/

because he goes with flow and doesn't take himself too seriously.

You should try both of those things sometime, Avi, the evil feminazis will really warm up to you when you do.

Seriously, though, Rob has good relations with the "indie" comics creators. Many "indie" comics creators are sjws or have connections to sjws. He has promoted or hired several "indie" comics creators.

"Dar: Don’t suppose you’re reading Ed Piskor’s X-Men: Grand Design?

Liefeld: He knows how much I love it. I’ve promoted it relentlessly. He’s just a genius. I think he’s one of the most important creators right now in the business. He just has a wonderful way of presenting his storytelling."



Aside from Liefeld's ability to hire and promote "indie" creators, Rob serves a some sort of joke.

https://www.comicsbeat.com/interview-rob-liefeld-on-taking-the-piss-out-of-himself-with-deadpool/

He is a gentle reminder to the sjw comics community of how barbaric and backwards the comic industry used to be when it catered
to straight white men: guns, boobs, blood, and bullets.

"when it catered to straight white men: guns, boobs, blood, and bullets."

Very few comics ever actually did this. Most superheros did not use guns, certainly not guns that fired bullets, superhero combat was until recently dramatic but bloodless, and in mainstream American comics boobs were always at least minimally covered or discretely shadowed, with never a nipple visible. Men went shirtless, but men in comics usually had no nipples.

Michael is fantasizing about a golden age of comics that catered to white men rather than boys in general, a golden age that PTL never existed.

"
Michael is fantasizing about a golden age of comics that catered to white men rather than boys in general, a golden age that PTL never existed."

It's a sjw's fantasy. I'm just living in it, man.

Not only was every mainstream comic a Rob Liefeld comic, the few female readers that went into comic shops were chased away by creepy retailers and fanboys.

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  • I'm Avi Green
  • From Jerusalem, Israel
  • I was born in Pennsylvania in 1974, and moved to Israel in 1983. I also enjoyed reading a lot of comics when I was young, the first being Fantastic Four. I maintain a strong belief in the public's right to knowledge and accuracy in facts. I like to think of myself as a conservative-style version of Clark Kent. I don't expect to be perfect at the job, but I do my best.
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