Tags Matching: X-force

Rob Liefeld’s New Mutants plus Levis 501 Denim

Back in the early 90’s I remember seeing a commercial for Levi’s Jeans that featured a young up and coming artist named Rob Liefeld. The commercial was directed by none other than Spike Lee, who at the time was directing a lot of Nike’s commercials. In the background you can see images of The New Mutant comics that Rob had begun illustrating for Marvel. The title was in a major slump until Rob came along and pulled it out. Later on Rob would leave and start Image comics along with some other great artists. Rob has been no stranger to controversy his career like many other artist has been plagued with many ups and downs. But I would rather focus on some of the milestones instead. These are few of my favorite New Mutant’s issues.


Continue reading »

Random Comic Book Friday!

Good morning, and welcome to another Random Comic Book Friday.

That first auction is cool, albeit a strange choice to eBay rather than recycle or use in your fireplace come winter. I mean, I don’t think there’s a huge market for old yellowing Sunday comics pages… but still, the Spidey newspaper strip was a favorite of mine growing up, and while Dick Tracy wasn’t in my local paper, I discovered a few collections when the Warren Beatty movie came out and was hooked. So this is a pretty cool auction for me to see. The 2 X-Force comics that make up the 2nd of our two random comics… yeeeeeahhhh, not so much.

Continue reading »

My Own Private Strike File

People looking to summarize the 90’s comic market tend to reference Liefeld or hologram covers. Certainly, those are the most garish and offensive visuals of the period and the passage of time hasn’t done much to absolve them. To many of us, even as adolescents, those trappings seemed ridiculous. I can’t even imagine how a young comic reader today would view them. Probably the way I see The Doors. Truly obvious hokey crapola.

If I had to encapsulate the 90’s and create a wickerman to burn, it would be this piece of shit right here. I think it represents the time better than even X-Force #1. Here’s why: Stryfe’s Strike File isn’t obviously shitty artists working on an obviously shitty title. It’s very good artists shoehorned into working on a obviously shitty AND irrelevant title. This is a cash-grab. A slapped together piece of garbage meant to separate mentally ill collectors from their hard-earned Internet start-up money. For shame, Marvel. Andy Kubert and Larry Stroman, you are forgiven. You were victims of your time and the machinations of a corporate culture fixated on short money and low art. Hit this auction, buy this book and then burn it this winter for warmth. This must be expunged from the record of modern comics. Let our children never know the depth of our sins.

Continue reading »

Greg Capullo, an appreciation.

Greg Capullo started as a comic artist with a style that, while not always the most critically applauded, had it’s own feel. If you know his name, most likely the first thing you think of, however, is his work on SPAWN, which people will argue was just a reference piece rip of Todd McFarlane’s style. It brings to light the question, what role does originality play in terms of recognition of quality. I would like to take a minute to appreciate the fact that Capullo was a master of form, and anything lacking in terms of originality was more than made up for in terms of aesthetic and growth over the years.

Let’s start with everyone’s favorite. Quasar.

This is the era with which I recognize the most uniquely “signature” form in Capullo’s style. While he will reference John Buscema as a notable influence, I would say that his style in this period was somewhere between Arthur Adams and the mid ’80s work of Sal Buscema. It had some of the same flair for emotive, but simple facial expression that Adams somehow mastered. Compare the rest of his figure illustrations and then the faces of these figures. His use of fine details in his figures should be seen in a nice contrast with his very simple faces. His focus instead – in his finer moments – in the face was to direction, eyes, and emotion. Capullo did this well, and while his style does not share that fine detail with Adams, it begins to work in sharp but defined lines that work very well with motion and proportion, ala Sal Buscema’s work on Spectacular Spider-Man. I could go on, but just go with me here.

While I definitely enjoyed Capullo’s work (for some reason I vividly remember some of these issues of Quasar featuring Makkari moreso than many of the much more big name Marvel romps of the time) I also will not deny that it had it’s failings. His facial work fluctuated from the emotive style I mentioned above to simple flat and lifeless. Arthur Adams soft, rounded lines helped to cover the deadface moments – with Capullo’s near “L” shaped jaws there’s no room for a lackluster moment. He had those. And it hurt.

When he moved on to be the successor of Rob Liefeld on X-Force, the pressure was on. I wouldn’t be surprised if Marvel was trying to have a bit on visual continuity on one of it’s more valuable properties at the time. Capullo gave a downright Darwinian effort – he evolved his style to a more bombastic, detailed effort that should be seen as both a success and failure. He was slowly moving away from some of the simple angles that could draw comparison to the work of Sal Buscema, but was also moving towards that Liefeld style of nuclear-steroid musculature. He managed, however, to keep a faithful hand to proportion, a welcome change on X-Force that held it together after the big name ticket left the title.

Given the situation, Capullo did a much more than competent job and by the end of his run on X-Force (10 issues, as compared to Liefeld’s 9) the series had transformed from a vehicle for a single entity to a living, breathing comic book.

And that might be his greatest strength. When Capullo moved to SPAWN, his style again had morphed. This time it echoed with the ever present McFarlane style, with uber-detailing and his angles and line softening, it also can be compared with some of the best work of Adam Kubert in the mid to late ’90s.* He was able to take McFarlane’s level of style and make it an applicable long standing form that transformed the book much the same way he helped to transform X-Force. From a fan’s perspective, Liefeld’s X-Force and McFarlane’s Spawn were merely vehicles for artist/creators who were larger than life, larger than the project. It can be compared to watching a Chicago Bulls game in 1993; you weren’t watching the Bulls really. You were watching MICHAEL JORDAN. Sure there were 9 other players on the floor, coaches, organizations, history… all of that was secondary to this individual.

And it takes something, or someone, transcendent to take interest that is focused on the strength of an individual and redirect it to a more intangible entity. Capullo did this. Twice, in my opinion. And to even do it once is something that should be exalted.

*I would have given my right arm to see what Capullo would have done with some of the Marvel X-Men books in ’90s. It would have been just awesome.

Continue reading »

If only I had the word…

My love for Rob Liefeld and his misshapen, haphazard, footless art knows no bounds. I have 35 copies of X-Force #1, all of the trading cards, and have only opened one copy. I’ve even favorited hisLevis commercial on youtube. But I need to proclaim this.

Publicly, preferably in t-shirt format. And if possible, some sort of declarative that doesn’t necessarily count as a word, but will be instantly recognizable as my absolute approval of all things Rob.


Perfect. Someone, please pass that copy of Heroes Reborn: Captain America graphic novel sitting on my coffee table to me?

Continue reading »

Thats’s A Lotta Liefeld…

This is a HUGE lot of X-Force. All the Liefeld tiny feet you could possibly want and beyond…

(pictures of the rest of the lot available in the auction)

It’s so weird to me that X-Force managed to be so popular. Even then, I didn’t see the appeal, and the writing always seemed terrible to me. I mean, Shatterstar’s nick name was “Shatty Buns”. What does that even mean? Deadpool and Garrison Kane though, those guys were cool. I think I read issue 2 more than any other issue I had (which in total was a whooping 4 issues), just because of the opening scenes of the blabbermouth ninja guy fighting the guy who could shoot his hands. It was so ridiculous that it actually worked for me, unlike Feral being, well… feral and Cannonball getting gutted what seemed like all the time.

But hey, if X-Force was your thing, this is a good chance to score a vast majority of it.

Continue reading »

Rob Liefeld and the Easter Bunny?

Two things that a young boy in the late 80’s might still really dig. 

And then… slowly but surely,  they start to fade away. The easter bunny begins to become a fat inducing, diabetic bunny who just won’t stop growing. And Rob Liefeld? 

Well we all know… big guns distract you from his ankles. And feet. And hairlines. And general body proportions. But whatever. It’s almost Easter, a lot you reading probably know about Rob’s faith – he’s probably pretty excited. So, here’s a couple of Liefeld originals to adorn your house, maybe not necessarily appropriate for hanging by the Easter baskets.

Siryn. Warpath. Toad. Top tier here people.

Actually a personal favorite. The only bummer here is the Hulk’s head/hair… but otherwise this is my absolute favorite non- New Mutants Liefeld work. So cool.

Oh and this gem…

In interviews, Liefeld has compared himself to other popular artists who experience meteoric success and acclaim early in their careers but near-pariah status afterwards, notably Britney Spears, who “became vapid pop music, and perhaps I was nothing more than a vapid comic book artist.”

Do you like X-Force?

I mean, really, REALLY like X-Force?

Then this is the auction for you.

203 comics covering issues 1-37. Do the math.

©2020 The Noize Corp | Advertise