Note: Rob Liefeld's new opinion column has befuddled many readers, who quickly realized Liefeld does not speak their language. As a public service, The Ministry of Popular Enlightenment herewith presents The Rob Liefeld Translation Algorithm. You're welcome.
Robservations I: New Voices
Column by Rob Liefeld
The discussion of artistic voices has been a hot topic in the comic industry of late. Specifically, who's got an artistic voice and who doesn't; who's burned out and who's just getting warmed up.
Translation: I keep up with the news. I am on top of things. I am "Relevant Rob!"
Nearly a decade ago, talents named McFarlane, Lee, Liefeld, Keown and Portacio were making their artistic voices heard, and as their talents matured and blossomed, they ultimately changed the comic market forever. Voices such as Maduriera, Campbell and Turner followed with a similar, if not as potent, impact.
Translation: Ten years ago, me and my former friends thought we were hot shit, and a lot of people fell for the hype. As we got further and further behind in our schedules (oh, all right, we never had any fucking schedules), other young punks with slick, vacuous styles became popular. That Fathom has some nice titties, don't she? And she's always wet!
Recently, writers have grabbed a large share of the spotlight and their voices have been the strongest during a difficult period in terms of sales and perception for the comics industry. Some of the writers' success has come because a new generation of illustrators has yet to step up and invigorate the medium the way previous generations have. Writers typically flourish during the transition period where new pencilers emerge. But I believe that we are on the cusp of a new age of dynamic artists ready to grab their share of the spotlight.
Translation: Brian Michael Bendis, J. Michael Strac -- Sta -- JMS (Christ!), and Greg Rucka write good comics. But only because I've fallen down in my duty to raise up a new generation of Chap Yaeps.
Every week I flip through comics searching for that rare new talent who will re-ignite my passion for a particular title or character, if not the entire medium. Who will take me on a great new ride, much the way Byrne, Perez and Miller did two decades ago?
Translation: There's got to be someone who can draw better than Bendis can write. After all, words are only words, but pictures are ART! Even when I draw them!
The following is a list of artists who promise to change the landscape in the coming months and years.
Translation: See, if I'm not right in the next few months, let's wait YEARS and see what happens. I'm "Bulletproof Rob!"
We'll start with Ethan Van Sciver, a young talent who has been working in the field for several years but, given that he started working in his teens, is still considered a youngster in the business. He cut his teeth on an indie title, Cyberfrog, back in the mid-nineties, displaying among other things, an amazing knack for extreme detail and dynamic figures.
Translation: I know cool phrases like "cut his teeth." And believe me, no one knows teeth like "Rot-Proof Rob!"
He's been knocking around DC comics the past few years drawing JLA and Impulse projects, but it's his upcoming stint on New X-men that is certain to turn heads.
Translation: Hawk and Dove should have sold like X-Force! Wah!
His transformation from hyper-young talent to consummate draftsman is truly incredible. His first issue of New X-Men is very reminiscent, but not derivative, of Brian Bolland in its detail and rendering. The figures are wonderfully expressive and the backgrounds and environments are as detailed as I've seen from any artist in the last ten years. He has a smooth, clean line that is very appealing and his storytelling is crystal clear but sufficiently dramatic.
Translation: I've read Camelot 3000.
I'm certain that Grant Morrison's detailed script is one of the reasons for this impressive turn, but his upcoming Flash special with Geoff Johns is equally stunning, proving that no matter who he's paired with, he'll bring his A-game. Fans won't miss Frank Quitely for too long if Van Sciver keeps up this level of work. His voice will captivate us for sometime to come.
Translation: I know cool phrases like "A-Game!"
Next up is Olivier Copiel, a fantastic talent whose work on DC's Legion title has made it one of my favorite books.
Translation: Have I told you about my brilliant idea for Century?
His penciling is stylish and unique, with influences ranging from Jim Lee and Travis Charest to Mike Mignola and Art Adams.
Translation: He has an even bigger swipe file than me!
His figures express animated gestures and movement and he combines imaginative storytelling with creative page designs. His Legionnaires are young and spunky, yet graceful and strong. He draws attractive faces and his overall style has extreme commercial appeal. I remember seeing some samples of his work at Jeph Loeb's office a few years back and being very impressed by them.
Translation: I've been to Jeph Loeb's office. I love people with names like Jeph Loeb and Chap Yaep. I wish I was a Steve Ditko character too.
I believe he was under consideration for one of the Superman titles at the time, but that would have been a mistake. It was a much better move to have him cut his teeth on the lower-echelon Legion title, much the same way Jim Lee spent an extended period on Alpha Flight before graduating to the big leagues with X-Men.
Translation: "Cut his teeth." I love that phrase. You could cut diamonds with those pointy little baby teeth I draw.
Look for bigger and better projects from Copiel as he continues to flourish.
Translation: I know cool words like "flourish." Which reminds me of fluoride. Which reminds me of teeth.
Keron Grant is the real deal. His work is ahead of its time. He combines slick manga-style cinematic angles with slightly exaggerated figure drawings.
Translation: He ignores anatomy almost as well as me. My crowning moment in comics was when I gave Die-Hard a 9-foot spine in Youngblood #1.
There seems to be no angle too difficult to for him to express.
Translation: He ignores perspective as well as I do!
And his action is fast, furious and well choreographed. If Joe Mad is the king of this particular manga-influenced style, then Keron is the heir apparent.
Translation: I can't spell "Madureira" twice in the same article.
Everything he draws looks hip, edgy and relevant. At this early stage, his only drawback is that his faces are not as advanced as his figures, storytelling and backgrounds.
Translation: He should draw more scratchy lines on their faces.
When his faces catch up with the rest of the package, his work will draw the attention of the masses. His early work at Awesome on Kaboom and his current gig on Iron Man is being scooped up by art enthusiasts who can see his brilliance coming from miles away.
Translation: It's so unfair that there's no royalty system for the quarter bins.
My only fear for Grant is that the comics industry won't be big enough to contain him and he'll be scooped up by game developers and animation companies looking to tap his considerable talents.
Translation: Because nothing says "artistic voice" like doing designs for Final Fantasy VIII!
Greg Horn is currently producing the covers for the upcoming Elektra series, and I think they're quite captivating. Ever since I saw his work on Image Comic's J.U.D.G.E., I felt his was a voice worth following. For those of you not familiar with Horn's work, it is a combination of photographs, digital rendering and CGI backgrounds that could open the floodgates to a whole new age of storytelling. He's not the first to attempt this particular style, but at this time he is certainly the best.
Translation: I love his shiny, shiny people. It's a shiny world!
We all love the photo-realistic approach to comic heroes, as evidenced by the success of Alex Ross, and Horn has delivered some slick, fantastic images to date, but if the rumors are true that he'll be doing some interior work in addition to the covers he's producing for Elektra, then we're in for a real treat. Here's hoping that he'll push the envelope with more hard-hitting graphic images and violence than some of the other painters whose work has become stale. I prefer my heroes in action rather than standing around in heroic poses.
Translation: Alex Ross. Bah.
Aside from these four individuals, there are several other young talents with tremendous potential to generate sparks if they find the right outlet and stick with it for an extended period.
Translation: I'm not languishing in well-deserved obscurity, I'm "Sticking with it for an extended period!"
Today's hottest writers are no spring chickens by any means. Even Morrison has been around since the mid-eighties. Artists such as Elektra's Chuck Austen, formerly of Miracleman and Hero Sandwich, have been floating around for over 10 years, but their greatest impact has yet to be felt. If the next generation of artists can develop their skills and be paired with some some of the better writers, the current comics renaissance should continue for years to come.
Translation: I used to like lighting my own farts, but it makes the delightful smell go away.
As a side note: It's interesting to note that Marvel's editor-in-chief, whose recent remarks regarding the relevance of certain "artistic voices" launched this debate, has never had a consistent voice of his own. Once an aspiring newcomer himself, he never hung around long enough on any title to have a lasting impact. His original tenure at Marvel was brief and spotty, ditto for his work at Valiant. Three issues here, four issues there—where's the run? Event was anything but and, quite frankly, his Daredevil run, like the current Green Arrow phenomena, was all about Kevin Smith except for the fact that GA ships monthly, whereas DD maintained a quarterly schedule at best.
Translation: Joe Quesada won't return my calls.
I don't believe this particular talent has ever made much of a connection with the fans, which is what an artistic voice is all about in the first place, isn't it? As an EIC, he has even bigger shoes to fill, given that his predecessor put together a slate of titles and events that resulted in sales of millions upon millions of books over the past decade.
Translation: Bob Harras returns my calls. You bet!
As the wheels start to come off of the latest freshly launched X-Men locomotive, you begin to wonder as to the sanity and discernment involved in those creative decisions. I mean, how do you justify eight weeks between the new Morrison-Quitely title and the fact that Ian Churchill has left Uncanny X-Men after only three issues?
Translation: It took a while, but even Nixon was eventually considered a respected elder statesman.
What's more, how do you explain the fact that the monthly Wolverine title has lost 40,000 units in sales since October?
Translation: Even I know Frank Tieri sucks! That MORE than makes up for Youngblood: Strikefile you sons-of-bitches!
If the industry, and Marvel in particular, is headed for a resurgence, then what's with the dropping sales on Ultimate Marvel Team-Up, Thor, Defenders, Iron Man and Hulk? Considering all the work that needs to be done, maybe the next time the EIC wants to debate the relevance of a generation's "artistic voices," he should think about examining the questionable impact of his own.
Translation: I refuse to mention Joe Quesada by name until that cocksucker returns my goddamned calls.
Rob Liefeld is the creator of Cable, X-Force,Youngblood and Supreme.
Translation: Rob Liefeld is the creator of Cable, X-Force, Youngblood and Supreme. Nothing I could say could make him look much worse than that.
Note: The madness continues! I'm auctioning some books off on eBay to make space in my apartment. Lots of bargains on comics and trade paperbacks and stuff. CLICK HERE to see my auction listings.