tag:blogger.com,1999:blog-5394310461939093453.post997782425781067937..comments2024-03-29T00:20:03.012+13:00Comments on The Tearoom of Despair: Rob Liefeld and his silent murderingsBob Temukahttp://www.blogger.com/profile/09181473725170489213noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-5394310461939093453.post-37775605829888428392010-09-11T17:50:24.548+12:002010-09-11T17:50:24.548+12:00Man, I could never give up comics entirely. That w...Man, I could never give up comics entirely. That would be like giving up a foot. Or chocolate. And I fucking love chocolate.<br /><br />That's a bloody good point about L'Association, but I didn't want to make it a Europe vs USA thing. There have certainly been a bunch of American examples of artist collectives that have produced brilliant work, but none of them had the sheer power that Rob and the other boys had at one point.Bob Temukahttps://www.blogger.com/profile/09181473725170489213noreply@blogger.comtag:blogger.com,1999:blog-5394310461939093453.post-12890036554762906242010-09-10T16:05:00.752+12:002010-09-10T16:05:00.752+12:00The 1990s was the closest I've ever come to gi...The 1990s was the closest I've ever come to giving up comics entirely since my habit kicked off in 1982. The awesome indie scene of the time (regular Hate, Eightball, Naughty Bits, and more!) was about all that kept me going.Nikhttps://www.blogger.com/profile/08817525516356141103noreply@blogger.comtag:blogger.com,1999:blog-5394310461939093453.post-5520872817158082672010-09-09T18:52:42.090+12:002010-09-09T18:52:42.090+12:00Is a sad conclusion... but truth hurts.
I wasn...Is a sad conclusion... but truth hurts. <br />I wasn't in comics when the bubble burst but I do remember taking a lot more time to read north american comics because I thought the art was horrible. And now that I am older I can realize many of those titles I didn't even want to look were either from the 90's or influeced... I wonder sometimes, did that art also drew away other potential readers?Romanticidehttps://www.blogger.com/profile/13919835870730351314noreply@blogger.comtag:blogger.com,1999:blog-5394310461939093453.post-29325653542653429012010-09-09T12:59:12.724+12:002010-09-09T12:59:12.724+12:00I mean their foundation, not creation.I mean their foundation, not creation.DeBThttp://sundaycomicsdebt.blogspot.com/noreply@blogger.comtag:blogger.com,1999:blog-5394310461939093453.post-31268289667716843032010-09-09T12:57:44.673+12:002010-09-09T12:57:44.673+12:00Something that I find very telling when you consid...Something that I find very telling when you consider the origin of Image. It was originally founded by artists who were tired of producing the same old S-hero tripe the companies were asking for. So they went out and formed their own company whose mandate was to create comics that were truly worthy of their skills. So what did they do? They went out and produced second-rate S-hero comics - only with more blood, guts & guns involved.<br /><br />Whereas in Europe, the same situation applied, where a bunch of cartoonists were disastified with the current crop of BD comics and wanted to produce something substantial. So they formed their own group named L'Association. And what did they produce?<br />http://en.wikipedia.org/wiki/L'Association<br /><br />Well, I only really know of two artists from that group that've arrived at our shores, particularly David B's Epileptic and anything that Trondheim's done, such as the Dungeon series. They also influenced other artists such as Marjane Satrapi who went to produce Persepolis.<br /><br />If the Direct Market didn't only cater to the S-hero crowd, it makes you wonder what direction Image could've taken back then. Nowadays, it seems like they've corrected their original intent, but the stink of their creation still sticks with them.DeBThttp://sundaycomicsdebt.blogspot.com/noreply@blogger.comtag:blogger.com,1999:blog-5394310461939093453.post-21594652983252571072010-09-08T15:53:04.594+12:002010-09-08T15:53:04.594+12:00I didn't like Liefeld even at the time (McFarl...I didn't like Liefeld even at the time (McFarlane was good for me for a while until he disappeared up Spawn's arse), but it's interesting to see how much rage there is about him still. Is he even relevant? Good point about the promise and the failure of Image though. What a waste too much of it turned out to be, and the comics market has never really recovered from the speculation boilover of the 1990s either.Nikhttps://www.blogger.com/profile/08817525516356141103noreply@blogger.comtag:blogger.com,1999:blog-5394310461939093453.post-75490402505066166882010-09-07T20:29:24.129+12:002010-09-07T20:29:24.129+12:00Top article, sir, and absolutely right to nail how...Top article, sir, and absolutely right to nail how Image destroyed the idea that creative independence would of itself produce better work. <br /><br />Liefeld himself has remained securely in the "non-person" category for me since the article - I believe in Wizard - a few years back where he insulted Alan Moore for being as obsessed with money as the rest of us because he'd insisted on being paid for his work on Supreme and the other books published by Liefeld's company.<br /><br />The utter contempt for another creator's right in that comment just put whatever residual fondness, or even pity, I might have had for him quite under the water. Indeed, the idea that Alan Moore could be laughed at for wanting to be paid, and could be considered as a consequence of that to be a lesser artist because he was concerned to get what he'd been apparently promised, showed such ignorance .... ach, either he was misquoted, or I've misremembered, or it's good riddence.<br /><br />Still, great article. Wouldn't have riffed off of it if I hadn't enjoyed it!Colin Smithhttps://www.blogger.com/profile/15246781681702128600noreply@blogger.com