Published: December 14th, 2010 Written by: Rob Liefeld, Justin Jordan Art by: Rob Liefeld, Art Thibert, various
DC Comics, 266 Pages
I guess this came out in a time where I wasn’t paying close attention to new comics. Because I would’ve been on board for Rob Liefeld’s take on Deathstroke, especially since his most famous creation, Dead Pool, was done as a sort of parody of the character.
But, man. Having read this now, I kind of wish I never knew about it.
I hate to be harsh but the writing was a disjointed mess that was all over the f’n place. Plus, this collection doesn’t finish Liefeld’s story! It ends on a cliffhanger where Deathstroke and Hawkman are about to fight a horde of evil hawk dudes and then you turn the page and it’s a totally different story.
I mean, what the fuck, DC? Was the Hawkman story a crossover? Where’s the rest of that story? You just jump right past it and into another arc done by a completely different creative team. And frankly, the second half of this book should have just been a volume three, as it is drastically different than the Liefeld stuff that’s left incomplete.
This collection is garbage. It’s poorly organized, its a total clusterfuck narratively and tonally due to the creative team change midway through.
Honestly, this is only worth checking out if you are a Liefeld die hard. And even then, you’ll still be disappointed.
Although, I should mention that I thought it was neat that Liefeld utilized Jim Lee’s WildC.A.T.S. characters, as they’ve pretty much faded away into oblivion since Lee sold them to DC.
Rating: 4/10 Pairs well with: the Deathstroke collection before this one and then the other New 52 stuff after it.
Released: 1992 Created by: Stan Lee Directed by: Rick Stawinski Music by: Rick Stawinski, Rob Stawinski Cast: Stan Lee (host), Todd McFarlane, Rob Liefeld, Whilce Portacio, Jim Lee
Excelsior Productions, Stabur Home Video, 47 Minutes
Well, being that this came out in the second year of this home video series, a lot had changed since the first time we saw Todd McFarlane and Rob Liefeld in the first two episodes. By 1992, the two (and five others) had left Marvel and formed Image Comics. If you weren’t aware of the then new imprint, McFarlane mentions Image almost every five minutes in this video.
But it was cool to see these guys still come together with Stan Lee, the father of Marvel Comics. Granted, Stan Lee is barely in this episode as he is just there to kick it off and then pass it over to Todd and Rob. He also comes back to close out the show once other Image Comics founders Jim Lee and Whilce Portacio show up for short cameos.
When this video series was actually something new, this was the first one that I bought. At the time, I was making my own comics with friends, we had our own little imprint and were selling comics to kids at school and around South Florida. In fact, we were featured in the newspaper at the time for the buzz we created.
The reason I mention to above story is because my friends and I were inspired by Image and specifically the guys featured in this video. So when they all came together to teach aspiring comic book creators on how they actually create their own comics, this was something I had to own.
Even though times and methods have changed, Todd and Rob are pretty good teachers and a lot of what they teach here isn’t outdated and is still useful knowledge for this artistic medium.
This is one of the top episodes of the series because it goes beyond interviews and sketching and gets down to the nitty gritty. It gives real insight into the craft. Plus, in 1992, these were the best guys to use for a video like this.
This episode has aged well. Most of it is still relevant. My only complaint is this shouldn’t have been one 47 minute episode, it should have branched out into its own series where the Image guys actually go on to teach more than just the basics. It felt rushed and incomplete and more time and context would have been fantastic.
This is still worth a watch though, whether you want tips on how to make better comics or if you are just a fan of these creators.
Rating: 8.25/10 Pairs well with: other episodes in The Comic Book Greats video series.
Original Run: November 20th, 2017 Directed by: Jon Erwin Written by: Michael Avila Music by: Paul Terry
Syfy, 5 Episodes, 15 Minutes (per episode)
This is the second documentary I have seen on Image Comics but this isn’t just a rehash of what was already covered in the slightly superior The Image Revolution.
This one was broken out into five 15 minute web episodes and put out by Syfy, who used to be the much cooler Sci-Fi Channel before they changed their channel’s spelling into something stupid.
Anyway, like The Image Revolution this documentary interviews all the key players and gets their stories. But what I like most about this is how it spends a good deal of time talking more about modern Image Comics and not just the revolution of 1991. As cool as that revolt was, modern Image has grown into something that I don’t feel any of the founding members could have fathomed back then.
It’s always fun to hear these guys talk about themselves, their experiences and the creation of Image, as it was a really exciting thing for me to experience as a fan in 1991. It was and still is the coolest thing that happened in the comic book industry in my lifetime.
So this certainly stirs up nostalgia but that doesn’t mean that this survives on that alone. It’s informative, has a good pace and is well organized and presented.
Younger comic book fans today will probably find some value in this, even though it’s made to attract the older fans who remember all of this like it was yesterday.
Rating: 7.5/10 Pairs well with:The Image Revolution and Chris Claremont’s X-Men.
Released: 1991 Created by: Stan Lee Directed by: Rick Stawinski Music by: Rick Stawinski, Rob Stawinski Cast: Stan Lee (host), Todd McFarlane, Rob Liefeld
Excelsior Productions, Stabur Home Video, 26 Minutes
Revisiting this video series from my childhood has been a lot of fun. In fact, this episode is a real highlight in this series, even if it only clocks in at a scant 26 minutes. But unlike me in the early ’90s, you don’t need to spend half of your allowance on this episode just to see it, as these are all streaming on YouTube for free… assuming they don’t get pulled down, at some point.
The first two episodes in this series were interviews with comic book legends Todd McFarlane and Rob Liefeld, this brings both of them back in an effort to create a new character, as dictated to them by Stan Lee.
What’s funny about this, is that this character named Overkill eventually showed up under the name Overt-Kill in Todd McFarlane’s Spawn about a year later. I’m assuming the name alteration, change of color scheme and some artistic tweaking saved McFarlane and Liefeld from any legal shenanigans, as Stan Lee did come up with the name and had some other creative input.
Anyway, this was really fun to watch, especially for me, as I was an aspiring comic book artist the first time I saw this. Todd, Rob and Stan talked through the process and I learned a lot from their insight here and I think any aspiring comic book artist would find this just as useful as I did back in 1991.
This is just a really engaging and fun video series. I’m still glad that Stan Lee did this way back in the day and even if it feels dated, the knowledge gained from these episodes isn’t.
Rating: 8/10 Pairs well with: other episodes in The Comic Book Greats video series.
Released: 1991 Created by: Stan Lee Directed by: Rick Stawinski Music by: Rick Stawinski, Rob Stawinski Cast: Stan Lee (host), Rob Liefeld
Excelsior Productions, Stabur Home Video, 40 Minutes
Since I really liked revisiting the first episode in this series, which featured Todd McFarlane, I definitely felt the urge to revisit this one with Rob Liefeld. Besides, I’m trying to work my way through all of these, as there were many I hadn’t seen back in the early ’90s and the ones I own, haven’t been played in years because PlayStations doesn’t play VHS tapes.
This one is like the previous one in that it is hosted by Stan Lee and he interviews a single comic book pro: Rob Liefeld.
Liefeld talks about what inspired him to get into comics and the really unorthodox story at how he got his foot in the door, which seemed really easy compared to the stories of other pros.
This also gives a good rundown of his art style, his creations and also his earliest work on DC Comics’ Hawk & Dove, as well as Marvel’s The New Mutants and X-Force titles.
While Rob would go on to help found Image Comics a year later, along with McFarlane and others, there isn’t any mention or allusion to that here. Well, other than Rob drawing Diehard, who would become a character in Youngblood. I think that more Image stuff does come up in later videos, however, as Stan Lee has a few of the other Image creators in later episodes and Liefeld and McFarlane also return in one of the 1992 video releases.
I love revisiting these, thus far. I hope the other installments continue to be as engaging. Especially, since some of the later episodes feature some old school legends.
Rating: 7.75/10 Pairs well with: other episodes in The Comic Book Greats video series.
If the title of this article is fightin’ words, then prepare for 1485 more.
I’ve come to the realization that I just don’t like Deadpool. I mean, I used to love him back when Rob Liefeld created him and he was a thorn in the New Mutants and X-Force’s side from time to time. Plus, I was twelve years-old.
But what’s not to like?
He’s pretty much a ninja or at least, he looks like the bastard lovechild of a ninja and Spider-Man. He was also snarky and a pain in the ass. He even wore a badass red outfit with badass swords and badass guns. He had lots of pouches… so many pouches.
However, as much as I enjoyed seeing him pop up in stuff, I never really liked it when he had his own solo comics.
Okay, I did like those first few miniseries that he had because he still wasn’t quite the Deadpool that we would eventually get and I actually loved the bromance between villains Black Tom Cassidy and Juggernaut. But Deadpool would go on to change and he would also go on to have a villain problem.
Let me get to how he changed first.
In 1997, Joe Kelly came along and wrote an ongoing series for Deadpool. It was here where the character’s real super power debuted: the ability to break the fourth wall. This would continue to be a trait that Deadpool would have going into the future. Without Joe Kelly, Deadpool wouldn’t be talking to you and me, the audience, during his movies. Kelly, essentially turned the “Merc with a Mouth” into Zack Morris from Saved by the Bell. It was unique and fun at first but as time rolled on, I personally found it more distracting than amusing. But I also prefer tough looking characters that kick a whole lot of ass to spend less time chatting and more time kicking a whole lot of ass.
But really, breaking the fourth wall is not a super power. And neither is talking and being a snarky jackass.
Deadpool’s actual power is pretty much just a super healing ability, which makes him Wolverine without the claws, cool skeleton and good looks. And since Wolverine speaks softly and carries a big can of whoop ass into every situation, I will always prefer Wolverine.
Wolverine is a man’s man where Deadpool is that awkward thirty-something juvenile guy that shows up at parties, makes a fuck ton of jokes and people just leave the room. And then he follows them around making more jokes, oblivious to the fact that his routine is stale and he can’t converse like a normal, well adjusted adult.
I’m not saying that he’s completely unfunny but there comes a time when you need to nut the fuck up and shut the fuck up. This is why Deadpool is amusing from time to time when he cameos in someone else’s comic but to read 30 pages of his shtick, every single month, doesn’t interest me in the slightest. Point being, he’s a character that is much better and more welcomed in smaller doses.
Now circling back to the villain problem, Deadpool just doesn’t have any that are worthwhile. This is really apparent in his movies. Sure, Juggernaut and Black Tom show up in Deadpool 2 but they aren’t a main focus and are really just afterthoughts in the film.
Deadpool typically goes after one-off scumbags. I guess that’s fine if you only read Deadpool for Deadpool but for the rest of us, we want to see him actually face off with credible threats. Comic stories of Deadpool cracking jokes, leading up to killing a random mob boss have been done to death at this point. Lack of good villains is why I’ve never been a huge fan of the Punisher in his own titles either. I prefer the Punisher when he actually goes against Jigsaw or the Kingpin, as opposed to a random Russian sex trafficker.
The times where I do love Deadpool is when he is a real fish out of water and playing against his typical situation. For instance, whenever he’s trying to court Death and drawing the ire of Thanos. Or in Venomverse when he’s one of a few dozen characters but he finds a way to be more than his one-dimensional self and stands out while adding something worthwhile to the story beyond just comedic relief. I just don’t want Wade Wilson to be to Marvel what Santino Marella was to the WWE for several years. But he’s basically Marvel’s Jerry Lewis. A lot of people liked Jerry Lewis but a lot of people also post Onion stories like they’re real news… still.
Getting back to his humor, what is it mostly comprised of? Sex jokes and chimichangas.
A good sex joke can go a long way but when you’re writing a character that’s in comics for teens, there is only so far that you can go. And really, while this does work for a juvenile audience, the humor is still juvenile and who hasn’t heard these tired ass jokes for years already? Well, assuming you’re older than high school age.
Chimichangas are just delicious deep fried burritos. I guess it’s a funny sounding word but how many jokes can you make centered around chimichangas? Apparently, at this point, over twenty years worth strung over multiple creative mediums. You know that meme of the cartoon taco that says, “I don’t wanna taco ’bout it?” Now imagine someone holding that in your face for twenty-plus years.
Another aspect of Deadpool’s humor is pop culture references. He runs off at the mouth referencing movies, video games, bands and everything else like it’s the final battle in Ready Player One. He’s like Marvel’s equivalent to Family Guy, which I guess a lot of people like but I don’t see the humor in just mentioning some past nerdy thing. Actually, doesn’t that make Deadpool The Big Bang Theory of the Marvel universe then?
When it comes to the comics themselves, looking beyond his humor style, the stories are typically a jumbled up clusterfuck. Everything beyond his dialogue is wacky for wacky’s sake. It’s like reading a Sunday paper comic strip that is stretched from a few panels to 30 pages worth of panels. And nothing in his stories ever seem to hold much bearing over the bigger picture. It’s like every story could just be his own delusional power fantasy where he’s the only one laughing at his jokes.
Additionally, what’s the fucking point of it all? Where is he going as a character? Is he even a character that has the elements that a character should have? What’s his life arc? It’s just a long running aimless joke. Thankfully, the films fleshed him out into something actually tangible with real human emotion but I think that Ryan Reynolds and the writers were smart enough to know that the film wouldn’t succeed as a two hour dick joke. People need to connect to something and Deadpool, in comic book form, doesn’t have anything to connect to. He probably doesn’t connect to you either unless you’re just a basic bitch that thinks Semi-Pro is a better film than The Shawshank Redemption.
Looking back to the beginning at what Deadpool was, as a character, he’s just Rob Liefeld’s attempt at parodying Deathstroke. He was also purposely given a look that is reminiscent of Spider-Man. Deadpool has never been anywhere near as interesting as either of those characters though. Seriously, read Deathstroke by Christopher Priest (the current run of the character) or go back and read Teen Titans: The Judas Contract. Deadpool has never had a story arc anywhere near the quality of Deathstroke. And I don’t even need to compare him to the incredible history of the Peter Parker version of Spider-Man.
Other things to nitpick about is that the character has a terrible origin story, the art in his books is usually mediocre, he’s an amalgamation of ’90s cliches that people have made fun of for years, all he cares about is amusing himself at anyone else’s expense, he’s a prick most of the time, he’s barely heroic, he fucks up constantly and we’re supposed to laugh about it because he’s a Mary Sue that can survive anything, he’s usually in the way when other heroes are present and he relies on his healing ability over honing his actual skills.
I used to love Deadpool. But again, I was twelve years-old. I never cared about his own solo books because I guess I never thought he had much to offer outside of quick appearances. But as time moved on, the gimmick ran tired and Deadpool became the Dane Cook of comic books.
Plus, when someone says that he’s their favorite superhero, chances are they didn’t know who the hell he was until three years ago… and they probably don’t read comic books either.
Published: November, 1990 – January, 1991 Written by: Chris Claremont, Louise Simonson Art by: Jim Lee, Marc Silvestri, Rob Liefeld, Jon Bogdanove, Rick Leonardi, Guang Yap
Marvel Comics, 299 Pages
I have wanted a collected version of this story for decades. I have a lot of the single issues but have always been missing a few and haven’t had much luck being able to complete the set over the years (mainly because of the highly sought after New Mutants issues). Plus, the trade paperback version was out of print for a really long time and good copies of it got pretty expensive. But, I was able to get this off of a sale on Comixology for around $5. I think the regular price, even for digital, was a whopping $25 or so.
Anyway, I’m glad that I got this version because it has a whole four issue prologue to the actual X-Tinction Agenda event. The first third of this book is a four issue story arc that happened in The Uncanny X-Men a few years before X-Tinction Agenda and it helps set the stage nicely. Plus, that story was heavy on using Wolverine and Rogue, which are two great characters from that era. You even get some Carol Danvers Ms. Marvel before anyone even really cared about the character.
The main part of this story deals with the X-Men, X-Force and the New Mutants returning to Genosha where mutant genocide is taking place. The villain of the story is Cameron Hodge, considered long dead since Archangel decapitated him with his wings several years earlier. Hodge is such a good villain and frankly, this is my favorite version of the character and the one I experienced first. He hasn’t had the staying power of Magneto, Apocalypse or Mister Sinister but he is, by far, one of the most formidable adversaries any X-team has ever faced.
This has been one of the all-time classic tales in X-Men lore. It was a huge event when I was a kid. And it may not be talked about as much in modern times but this was really where I jumped on to all the other X-books outside of the standard X-Men title. It also set the stage for a lot of major changes to all the books and teams going into the ’90s.
I could talk about the art and the artists that worked on this crossover event but just look at the credits I posted above. Look at those names. This book sells itself just on the merits of that talent level. Add the fact that this is written by both Chris Claremont and Louise Simonson is also pretty f’n incredible.
Rating: 9/10 Pairs well with: Other major X-Men related events of the era: X-Cutioner’s Song, Mutant Massacre, Fall of the Mutants, Muir Island Saga, etc.
Also known as: DP2 (promotional abbreviation), Daisy, Love Machine (both fake working titles) Release Date: May 10th, 2018 (US limited) Directed by: David Leitch Written by: Rhett Reese, Paul Wernick, Ryan Reynolds Based on: the character of Deadpool created by Fabian Nicieza, Rob Liefeld Music by: Tyler Bates Cast: Ryan Reynolds, Josh Brolin, Morena Baccarin, Julian Dennison, Zazie Beetz, T.J. Miller, Brianna Hildebrand, Jack Kesy, Leslie Uggams, Karan Soni, Terry Crews, Lewis Tan, Bill Skarsgård, Rob Delaney, Brad Pitt (cameo), James McAvoy (cameo), Evan Peters (cameo), Tye Sheridan (cameo), Nicholas Hoult (cameo), Hugh Jackman (archive footage), Alan Tudyk
Marvel Entertainment, Kinberg Genre, The Donners’ Company, 20th Century Fox, 119 Minutes
“I was born into war, bred into it. People think they understand pain, but they have no concept of it. What’s the most pain you’ve ever felt? Maybe the kind that leaves you more machine than man. ” – Cable
*There be spoilers here!
After what felt like too long of a wait but was actually only 27 months, Deadpool 2 has arrived. I guess if I were to sum up the experience in one word, that word would be “consistent”.
The film is very consistent to the first movie but it had a few things that were better and a few things that weren’t, which makes it break even, as to whether or not it was better or worse.
The positives were the addition of new cast members and the genesis of what is going to become the X-Force team.
Josh Brolin’s Cable is everything you would want a Josh Brolin Cable to be. I think the casting of Brolin was perfect and one hell of a great move and lucky break for this pocket of the X-Men film franchise.
Zazie Beetz’s Domino was really fun to watch and while I love the old school X-Force comics, which Domino was a big part of, this version of the character eclipses the comic book version. Plus, most of the Domino stories I remember were actually just Copycat posing as Domino because I stopped reading X-Force about a year after Rob Liefeld left and the X-Cutioner’s Song crossover ended.
The negatives or really just the one big one for me was that the plot seemed all over the place and kind of aimless at times. Lots of things happened that seemed way too convenient despite the film actually making note of that once or twice, especially with Deadpool’s “lazy writing” jab at his own film. Joke aside, poking fun at it doesn’t necessarily excuse the parts where it happens.
It’s just that the first film felt more refined and more fluid. This one propelled forward at a good pace but it seemed like it was all over the place. There also wasn’t a clearly defined villain, which isn’t a necessary component but I felt like Deadpool and Cable’s first meeting and eventual team-up should have come with a real threat other than just trying to save a kid from his anger. I was kind of hoping that Stryfe would at least appear, even if only to setup the X-Force film.
Juggernaut shows up and his bits are great but he’s really just there to setup a cool fight with Colossus. Also, you get Black Tom Cassidy but he was totally wasted and just sort of a prison thug that ends up getting killed in the lamest way possible. We didn’t get to see the BFF pairing of Black Tom and Juggernaut like we got to see in the earliest Deadpool solo stories and in the original X-Force run. I really hoped we were going to get to see Cassidy and Juggernaut form their villain tag team that was a thorn in Deadpool’s side back in the early ’90s.
My favorite part of the film was the mid-credits sequence, actually. This is packed full of some really cool stuff and more great moments of Ryan Reynolds poking fun at himself.
Deadpool 2 was good but it was a wee bit of a disappointment. With the mythos getting richer with new characters people have wanted to see for years, this should have taken the franchise to the next level. They had a solid foundation, new tools to work with and a world to branch out into. I’m hoping that X-Force, whenever that arrives, takes things to that next level.
Rating: 8/10 Pairs well with: Obviously the first Deadpool film and Logan for being the only other R rated X-Men related film. I’d also pair this up with Legion, which is TV’s more mature take on the X-Men universe, although it’s nowhere near as hilarious as Deadpool.
Published on: May 7th, 2008 Written by: Fabian Nicieza, Joe Kelly, Mark Waid, Joe Madureira Art by: Rob Liefeld, Ian Churchill, Lee Weeks, Ed McGuinness
Marvel Comics, 264 Pages
I recently re-read Cable & The New Mutants, which collected Cable’s first appearance and his first big story arc as the new leader of the New Mutants team before the roster was shaken up and rebranded as the original incarnation of X-Force. I enjoyed revisiting it, so I figured that I’d also pick up the earliest stories of Rob Liefeld’s other greatest creation, Deadpool.
This collection really does start at the beginning, as the first chapter is issue #98 of The New Mutants, which was the first appearance of Deadpool. Who, awesomely enough, showed up to kill Cable.
The New Mutants #98 was also the first appearance of two other Liefeld creations: Domino and Gideon. However, and not to spoil anything, but this isn’t the real Domino, we wouldn’t meet her for another two years and this character was Copycat posing as Domino. Copycat, for those who don’t know, is actually Vanessa Geraldine Carlysle… the same Vanessa that’s played by Morena Baccarin in the Deadpool movies.
After Deadpool’s quick debut, we get into The Circle Chase storyline, which was Deadpool’s first solo story and his debut self-titled series. This takes place after 20-plus issues of X-Force, as Copycat has been exposed and is parading around as herself in this story. This tale also features the villain team up of Black Tom Cassidy and Juggernaut with a bunch of other villains and assassins also thrown into the story.
The story after that features Black Tom and Juggernaut again but this time Deadpool has help from Banshee and his daughter Siryn. In this story, Black Tom is being torn apart from his strange physical condition and he needs Deadpool’s DNA to cure his painful ailment.
The last story is just the first issue of what was the first ongoing Deadpool comic book series. It’s a quick read but the highlight is seeing Deadpool square off with Sasquatch of Alpha Flight.
These early stories were cool to revisit but Deadpool, as a character, hadn’t quite been fleshed out to his regular level of greatness by this point. But being that he is a unique character, it took the writers some time to figure out what he was supposed to be.
Deadpool hadn’t found his groove yet but this is still entertaining and a precursor to the character’s greatness. And thing’s do get better after this.
Rating: 6.5/10 Pairs well with: The end of the original New Mutants run and the first two years of the original X-Force run.
Published: 1992 Written by: Louise Simonson Art by: Rob Liefeld
Marvel Comics, 154 Pages
Being that Cable is going to make his live action debut in Deadpool 2, I wanted to pick up an old collection that I bought back when I was still in middle school in 1992.
This book kicks off with Cable’s first appearance in The New Mutants #87. It then collects the six issues after it, where Cable takes the teenage mutant team under his wing and eventually turns them into X-Force, who would then get one of the best-selling series of its time.
Cable was created by Rob Liefeld, just before he gave us Deadpool. The two characters have been sort of locked together since the early ’90s and it all started right here.
The story kicks off with Cable fighting the Mutant Liberation Front and also gives us the first appearance of their leader, Stryfe. We also see Freedom Force, a group of villains somehow employed by the government. I completely forgot about Freedom Force but then quickly remembered how much I loved Pyro and the Blob in their roles within the group.
The series of seven issues collected here has a lot of cameos. You get to see the original X-Factor team, Caliban, the Morlocks, Sabretooth, Wolverine, Legion, Moira MacTaggert and Sunfire.
Picking this up, so many years later was fun. It obviously wasn’t as good as my young brain thought it was back in the day. However, it’s still a good introduction to Cable and Stryfe and the real starting point of all the events that would eventually lead to the big X-Cutioner’s Song mega event which spanned all of the X-Men titles at the time. This is also a milestone in that it closes out the long running New Mutants series and brings about the genesis of X-Force.
Rating: 6.75/10 Pairs well with: Rob Liefeld’s run on X-Force.