Rob Liefeld comes to Keenspot (in a way)

Apparently, I missed a lot of stuff in between the time I took off in October to my temporary return in December. Penny Arcade did some stuff, Scary Go Round did some stuff, and The Gutters got in trouble for doing some stuff. (Thanks for the updates, algeya!)

The one that threw me most for a loop, though, is that Rob Liefeld joined Keenspot.

In a way.

Keenspot is now publishing the continuing adventures of Avengelyne. Who the heck is Avengelyne, you might ask? Well, as Rob Liefeld mockers know, she’s the subject of one of the most tortured looking pieces of Liefeld artistry that doesn’t involve Captain America. Yes, it would be the one that actually hurts your eyes when you look at the waist, especially when you factor in her … topheaviness.

Avengelyne, on the left. Sexy Betty White on the right.

So now Avengelyne has come to Keenspot… only this time, it’s drawn by Owen Gieni (of Sore Thumbs and WICKEDPOWERED). That… has got to be the world’s weirdest property for Keenspot to pick up.

Owen Gieni's all new Goth Lolita Avengelyne with kung fu grip! Sexy Kris Kristofferson to the right.

Then again, Good Ol’ Rob has made other strange team-ups that seem to have paid off in the end. His team-up with Alan Moore on Supreme turned out one of the more readable Image Comics products in the 90’s. The same team-up on Youngblood (also with Alan Moore) also was pretty good. Will the Liefeld magic strike again at Keenspot?

The run is short, but I have to say that, thus far, the comic isn’t half bad. Good luck to writer Mark Poulton and Mr. Gieni, who, to his credit, have kept the ladies’ waists relatively normal-looking.


About El Santo

Somehow ended up reading and reviewing almost 300 different webcomics. Life is funny, huh? Despite owning two masks, is not actually a luchador.

Posted on January 4, 2012, in The Webcomic Overlook, webcomics. Bookmark the permalink. 18 Comments.

  1. I must not be used to print comics because all I could think was “what is with all this needless cheesecake”

    Probably should have expected that from the pictures from this article tho.

  2. Looking at the first picture, the anatomy is WAY off and her spine would break if it was bent like that.

  3. Woah! the old art is very strange :I loving the renewed edition though. looks like something i would pick up (because of the smexy priest to the right) hopefully they do have a succesful run 🙂

  4. Maybe this will be what it takes to get Liefeld to finally update “Zombie Jesus” and “the Beast” (actually, I just realized that I secretly want “Zombie Jesus and the Beast” to be a soft-rock musical duo, like a nightmarish version of the Captain and Tennille).

    I can’t decide whether he’s abandoned his webcomics, or is just updating them with an early-Image attitude towards deadlines.

    And since I know you’re a Liefeld supporter, I imagine you’ll enjoy this little inspirational speech/rant by the man himself:

    • Thanks for that Liefeld link. That’s what I always loved about him. I can’t defend his art, but I love his attitude.

      The thing that really got me in the article was the part on Wizard: “In the late 90′s, the magazine formerly known as the Wizard came after me strong and hard, I was the brunt of jokes for an entire staff of angry fanboys, as much as can be poured on was poured on. But I kept focus as anyone in that situation should.” What really killed me about this is that I remember reading Wizard, and they were among those building up the hype about Rob Liefeld (and Image Comics) in the first place.

      And yes: I am one of those waiting, hope against all hopes, that Zombie Jesus actually finishes. I imagine that his unlikely stint on the New 52 Hawk & Dove comic trumps that. (Given the really low sales figures on that title, though, I think that Rob will have to come back to finishing his webcomics soon.)

  5. Oh dear God wtf is going on with those two bitches in the first picture! D:

  6. With Liefeld, I get the same impression as with furries. While, at first, people lambasting both might have had a point somewhere, it has since then devolved into neckbearded knee-jerk reactions. Rather than the target of justified criticism, the name Liefeld is now little more than a buzzword for people who can’t come up with decent arguments to hate something. And the haters also generally point to the very worst examples of his work to justify that hatred. To make an analogy, it’s like saying John Carpenter is a bad director and citing nothing but Ghosts of Mars as evidence.

    • Reepicheep-chan

      I get what you are saying, but Liefeld has more than one bad example to point to. The very worst (like the Avengelene pic above and that one Cap. America pic) are the most tossed about, the most shocking, but I have seen at least 50 different Liefeld panels from 50 different books that are uglier than the shit I draw. I have also tried to read more than a few books either drawn or written by him and coud not make it through because they were just so relentlessly tastless and/or plain ugly. So it is more like saying M. Night Shyamalan is a bad director and have The Last Airbender be your main argument, but also The Happening, and The Village, and Lady in the Water as back-ups, but then some one is all, like, but I LIKED The Happening and you are all, like, really? I guess there is no accounting for taste then. And then someone else is, like, whatever, he did The Sixth Sense so I do not care how badly he screwed up Airbender, who cares about a cartoon show andway? And then… uh… well you get the idea.

  7. Ha! It looks like the other half of that infamous cover is making a return as well.

    Only this time, that weird size discrepancy between her and Avengelyne? It makes a lot more sense with the new artist, as Glory is drawn to be as a muscular, hefty woman. Man, it makes me want to see a new, revised version of the Liefeld cover but with Owen Gieni and the new Glory penciller, Ross Campbell, doing the artistic duties.

    • What is it with this obsession with killing Nazi’s in American comics? Compensation for joining the war two years late, perhaps?

      • As someone who was born in a country that was pillaged by the Japanese in WWII, I think there are more original stories to be told of the often ignored Pacific Theater these days. The racial complications (and the repentance to touch upon subjects such as, say, the Rape of Nanking) make that a little off limits, though.

        There’s a lot of other factors which I’m sure you’re already aware of. (Nazis being the modern safe option for unrepentant evil that everyone in the global economy can agree on, the undisputable victory conditions, the fairly cool war machines, etc. etc.)

        • This is a bit tangential, but am I the only one who has noticed that, by and large (and this is definitely a generalization) Marvel has always done the whole superheroes vs the Nazis thing a lot more than DC? While both companies definitely tore into the Axis during World War II, Marvel (then known as “Timely”) was generally more aggressive about it. National/DC’s World War II themed covers more often seemed to just have Batman, Robin, Superman, etc advertising war bonds and stamps and urging out boys forward to victory, whereas Timely/Marvel’s covers seemed more likely to involve the Submariner tearing a bizarrely tiny Japanese battleship apart with his bare hands or the Human Torch melting an also strangely tiny Luftwaffe bomber in two (and that’s leaving out Captain America’s contributions to Axis-fightin’). To be fair, I think that this may have had more to do with the two company’s different editorial philosophies. Timely/Marvel’s Golden Age covers have always struck me as more violent than their National/DC equivolents.

          Then look at Nazi supervillains from the big two publishers (mostly created years after the war). Marvel has the Red Skull, Baron Zemo, Arnim Zola, Baron Blood, and Hatemonger (SPOILER WARNING: he’s secretly Hitler). That’s just off the top of my head.

          By comparison, DC has… well, Vandal Savage hung out with the Nazis for a while (although I don’t know if he was actually supposed to be one, or just using them as a means to an end), Captain Nazi (originally a Fawcett character), and Baron Blitzkrieg. It’s kind of a lackluster showing, and I actually had to google it. I’m certain that there’s more, but for the most part, DC’s Nazi villains don’t seem as memorable (Vandal Savage aside).

          Interestingly, this can also pretty much be applied to the Communists as well; Marvel has: The Mandarin, the Leader, the Red Dynamo, the Abomination (okay, I’m just alternating Ironman and Hulk villains), the Chameleon, the Titanium Man, the Radioactive Man, the Red Ghost, Omega Red, and probably a whole bunch of other Ironman and Hulk villains. For the most part, this was again done off the top of my head (although I had to google “Fantastic Four moon monkeys” because I had forgotten what the Red Ghost was called).

          DC has… the Rockets Red? Who are good guys (at least everywhere outside of Guy Gardner’s head).

          I don’t know what to make of this trend. My best guess is that it had more to do with editorial attitudes than anything else. I dunno. I just thought it was interesting.

          • Interesting theory. It may well be the editorial staff and their war sympathies. If you check out some of the pro-war stuff, plenty date from before the US officially entered the war in 1941. The Timely staff coud have been actively trying to rally Americans to fight the war, while National may have been trying to stay neutral.

            Just a theory, though. I’m not too sure of those numbers myself, because I recall at least one cover where the Green Lantern is shown saving the World’s Fair from a dive-bombing Stuka. And then of course there was Sgt. Rock comics and the Blackhawks, who were a coalition of heroes from Allied nations.

        • I’m of colonial descent, which means I have a connection with, and interest in, the Pacific most of my countrymen don’t share. The stories of my grandfather (who fought in the Dutch East Indies) are quite clear: Even directly after WWII, the Pacific wasn’t seen as the “real” theatre. After the decolonisation, political correctness was added to that hubris (it’s a loaded term, I realise, but perfectly at place here).

          But it’s especially because of things like the Rape of Nanking, the Japanese POW camps and deplorable men like Shiro Ishii that the Pacific theatre deserves more attention. And if it is action like all that ridiculously jocular Nazi-punching stuff people seem to love, the Pacific has plenty of that in supply as well.

          I think my main issue with the Nazi-punching comics, is that it’s clear they’re all made by people who don’t know a damn thing about either history or war. Much like Liefeld is used by ignorant people to communicate some sort of statement, the same is true for Nazi’s. But WWII is a big part of my history, so I feel insulted when it’s used this cheaply by people who can’t be bothered to read a book about it.

    • Wow, I cannot even come up with words to describe how much better Glory looks drawn like that. Even the costume is better.

      Wow. Just, wow.

  8. In more Rob Liefeld news, it turns out he’s unkillable. No sooner do they announce the end of Hawk & Dove, the one comic that he was working on DC, do we learn that he’s been assigned to three different comics after: Deathstroke, The Savage Hawkman, and Grifter (the property created by his pal, Jim Lee).

    Sadly, this probably means I’m never going see the conclusion of Zombie Jesus, which is probably the most stupidly entertaining thing he’s done in the last decade.

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