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No more pouches?
We're not going to have Rob Liefeld to kick around anymore.

The comics world mourns the loss of baroque anatomy, porn traces, floating or otherwise invisible feet, and seriously, what was in all those pouches?
I can't help but imagine various DC heroines untwisting their spines and sighing in relief as their internal organs re-settle into their proper places and their tiny little feet are finally able to touch the ground.
Also, who tweets during a movie? That's just rude.
(Via
fengi.)

The comics world mourns the loss of baroque anatomy, porn traces, floating or otherwise invisible feet, and seriously, what was in all those pouches?
I can't help but imagine various DC heroines untwisting their spines and sighing in relief as their internal organs re-settle into their proper places and their tiny little feet are finally able to touch the ground.
Also, who tweets during a movie? That's just rude.
(Via
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Alas, it seems Rob will continue be published somewhere because he can fart momey - some movie studio actually optioned Bloodstrike. Doesn't matter if it gets made, someone paid for it. If anything proves that the comics industry is a boys club which is impervious to taste and quality, it's Liefeld.
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All creator controlled content, etc., etc.
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Did you ever read the Bloom County storyline when Berke Breathed ended it the first time and had all the characters trying to find new jobs. Steve Dallas went for the comic book world because all the women look like "Dolly Parton in zero gravity" (man, Dolly Parton has large breast jokes - I almost miss them)
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On the other hand, 9 to 5 actually talked about sexism in the workplace and had female characters who effortlessly passed the Bechdel test and it was a little depressing knowing that movies like that aren't made so often anymore.
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If HE just gets up and quits, that means DC has become FUCKED UP.
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"It's unfortunate that DC's heavy editorial hand has driven away so many talented people.
It's a godsend that DC's heavy editorial hand has driven away Rob Liefeld."
The 52 Reboot strategy had potential: dial back some of the insular editorial tendencies (grim, sexist, overly convoluted plotting, etc.) while bumping sales. Instead it's a retrenchment of the same but cheaper and sloppier with a higher cover price. I suspect it's more cost effective to milk the established market until it dies, but does not being a disorganized dickhead really cost much more?
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