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By Rob Liefeld?

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The Greatest Comic Book of All Time

Part of the book series: Palgrave Studies in Comics and Graphic Novels ((PSCGN))

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Abstract

This chapter looks at the meteoric rise and rapid fall of one of the most popular superhero comic book creators of the 1990s, Rob Liefeld, whose name has become synonymous in some circles with “bad comics.” This chapter asks how Liefeld’s aesthetics, once among the most popular creators working in the form, can be reconciled with the dominant understandings of comics as literature as they dominated contemporary discussions of the form.

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Notes

  1. 1.

    Mark Banks, The Politics of Cultural Work (Basingstoke, UK: Palgrave Macmillan, 2007).

  2. 2.

    George Gene Gustines, “Where Superheroes Go for Industry News,” New York Times, August 2, 2005, http://www.nytimes.com/2005/08/02/books/where-superheroes-go-for-industry-news.html

  3. 3.

    Bart Beaty, Comics versus Art (Toronto: University of Toronto Press, 2012), 168.

  4. 4.

    Thom Powers, “Wizard Sales Record or Media Hoax?” The Comics Journal 165 (January 1994).

  5. 5.

    Benjamin Woo, “Understanding Understandings of Comics Books: Reading and Collecting as Media-Oriented Practices,” Participations: Journal of Audience & Reception Studies 9, no. 2 (2012): 180–199.

  6. 6.

    Bill Sherman, “The Black and White Boom,” Eriosions & Exceptions: Bill Sherman on Underground Comics, The Comics Journal 115 (April 1987): 144–145; Gary Groth, “Black and White and Dead All Over,” The Comics Journal 116 (July 1987): 8–12.

  7. 7.

    M. Clark Humphrey, “Bye Bye Marvel; Here Comes Image,” NewsWatch, The Comics Journal 148 (February 1992): 11–12; Gary Groth, “Tarnished Image,” The Comics Journal 149 (March 1992): 3–4.

  8. 8.

    Rob Liefeld, interview by Robin McConnell, Brandon Graham, and Simon Roy, Inkstuds, podcast audio, August 5, 2014, http://www.inkstuds.org/inkstuds-on-the-road-part–12-rob-liefeld/

  9. 9.

    Rob Liefeld, interview by Stan Lee, The Comic Book Greats, episode 2 (Livonia, MI: Starbur Home Video, 1991).

  10. 10.

    Elizabeth Gleick, “Bang! Wap! Holy Moola!” People (June 15, 1992), quoted in Alex Chun, “Comic Book Original Pages: Are They Literature or a Commodity?” Loyola of Los Angeles Entertainment Law Journal 14 (1994): 489–517.

  11. 11.

    To be precise, 99,392; this figure was computed by averaging the ten bestselling comics each month during 2014 from Comichron’s monthly sales charts (http://www.comichron.com/monthlycomicssales/2014.html). As usual with direct market sales data, however, note that these reflect sales to comic book stores not sales to individual readers.

  12. 12.

    Scott Jeffery, “Superhuman, Transhuman, Post/Human: Mapping the Porduction and Reception of the Posthuman Body” (PhD diss., University of Stirling, 2013), 166.

  13. 13.

    Jeffery, “Posthuman Body,” 166; Bill Hanstock and Brandon Stroud, “The 40 Worst Rob Liefeld Drawings,” Progressive Boink, April 21, 2012, http://www.progressiveboink.com/2012/4/21/2960508/worst-rob-liefeld-drawings, first published November 14, 2007. See also Hanstock, “40 MORE of the Worst Rob Liefeld Drawings,” Progressive Boink (June 14, 2012), http://www.progressiveboink.com/2012/6/14/3084348/the-second–40-worst-rob-liefeld-drawings

  14. 14.

    Hanstock, “40 More”, under 36.

  15. 15.

    “Creator: Rob Liefeld,” TV Tropes, last modified November 9, 2013, http://tvtropes.org/pmwiki/pmwiki.php/Creator/RobLiefeld

  16. 16.

    Sean Kleefeld, “Definitive Proof that Rob Liefeld Shouldn’t Be Drawing Comics,” Kleefeld on Comics (blog), December 23, 2006, http://www.kleefeldoncomics.com/2006/12/definitive-proof-that-rob-liefeld.html

  17. 17.

    Scott Nybakken, “Too Rare For My Taste,” review of Youngblood #1 and Spawn #1, The Comics Journal 151 (July 1992): 33–34.

  18. 18.

    Scott Bukatman, “Sculpture, Stasis, the Comics, and Hellboy,” Critical Inquiry 40, no. 3 (2014): 104–117.

  19. 19.

    Liefeld, Inkstuds.

  20. 20.

    Liefeld, Inkstuds.

  21. 21.

    Liefeld, Comic Book Greats.

  22. 22.

    Liefeld, Inkstuds.

  23. 23.

    Neil Cohn, Amaro Taylor-Weiner, and Suzanne Grossman, “Framing Attention in Japanese and American Comics: Cross-Cultural Differences in Attentional Structure,” Frontiers in Psychology (2012), doi:10.3389/fpsyg.2012.00349.

  24. 24.

    Nybakken, “Too Rare,” 34.

  25. 25.

    Humphrey, “Bye Bye Marvel,” 11. Kirby, who passed away in 1994, shortly after the creation of Image Comics, never worked for the company.

  26. 26.

    “Gaiman Sweep! Wins on All Claims!” ICv2, October 3, 2002, http://icv2.com/articles/comics/view/1883/gaiman-sweep

  27. 27.

    Benjamin Woo, “Why Is It So Hard to Think of Comics about Labour?” Comics Forum (December 9, 2013), http://comicsforum.org/2013/12/09/why-is-it-so-hard-to-think-about-comics-as-labour-by-benjamin-woo/

  28. 28.

    Henry Jenkins, “Searching for the Origami Unicorn,” in Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006), 93–130.

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Beaty, B., Woo, B. (2016). By Rob Liefeld?. In: The Greatest Comic Book of All Time. Palgrave Studies in Comics and Graphic Novels. Palgrave Pivot, New York. https://doi.org/10.1057/978-1-137-53162-9_7

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