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Comic Book Legends Revealed #501

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Welcome to the five hundred and first in a series of examinations of comic book legends and whether they are true or false. Click here for an archive of the previous five hundred. This week, how did Spider-Man’s mask lead to the creation of Deadpool? Was Deadpool originally going to be Weapon NINE? And did Rob Liefeld try to get John Byrne to draw Supreme?

Let’s begin!

NOTE: The column is on three pages, a page for each legend. There’s a little “next” button on the top of the page and the bottom of the page to take you to the next page (and you can navigate between each page by just clicking on the little 1, 2 and 3 on the top and the bottom, as well).

COMIC LEGEND: Some friendly bantering between Todd McFarlane and Rob Liefeld over Spider-Man’s mask led to the creation of Deadpool.

STATUS: I’m Going With True

One of the key aspects of the creation of Image Comics was that a lot of the early Image creators were just flat out FRIENDS. It was a lot easier to get a bunch of guys to try something as daring as Image when you’re good friends with them. Heck, that’s how this very blog started ten years ago – just a bunch of friends getting together to talk comic books. There’s an adorable photo of Rob Liefeld and Todd McFarlane from late 1980s/early 1990s that shows the camaraderie they had going on back then.

liefeld and mcfarlane

One of the ways that they would express their friendship was through trash talking. The older and more experienced McFarlane almost took on a bit of a big brother role with Liefeld (McFarlane is six years older than Liefeld and had been in the comic business for years before Liefeld started), including the part of being a big brother where you sometimes tease your younger brother.

In 1990, one of the ways McFarlane would tease Liefeld was to joke about how much easier it was for McFarlane (then writing and drawing Spider-Man) to draw a page than Liefeld (then drawing New Mutants) since McFarlane didn’t have to worry about drawing faces, since Spider-Man obviously had a full face mask.

As Liefeld recalled it earlier this year at Amazing Houston Con:

He would say, ‘Buddy, I feel bad for you. You’re drawing seven teenagers with their faces and you have to line their eyes up and draw their hair and all of that. In the meantime, I get to draw Spider-Man. So I draw a big oval and some big eyes and I’m done with the page. Done! While you’re drawing faces, I’m drawing webs.

From New Mutants #90…




From Spider-Man #1…



(Those examples are just representative one, they don’t match, time-wise. I just wanted to give a demonstration of what was being discussed. I don’t know exactly when this particular conversation took place in the lifespan of each of the respective titles)

So Liefeld called up McFarlane and told him that he was going to counter McFarlane’s situation by introducing his OWN masked character.

As Liefeld explained, his pitch to Marvel was basically “This is bad Spider-Man. With swords and guns.”

He even joked to McFarlane, “My Spider-Man has guns and katanas!”

In New Mutants #98, Deadpool made his debut…





The character was so popular that editor Bob Harras wanted him back into the title as soon as possible, even adding a “Cable’s Guide” one-pager to X-Force #1 just to get Deadpool into the issue (the issue also came with a Deadpool card, despite him only having the one appearance at the time)…


Thanks to Rob Liefeld for this awesome story!

Check out some entertainment and sports legends from Legends Revealed:

Does Marvel Not Own the Rights to Make an Incredible Hulk Film?

Were Some of Shel Silverstein’s Poems for Children Originally Published in Playboy?

Was E.T. the Extra-Terrestrial Originally Going to be a Horror Film?

Did Sheldon Cooper on The Big Bang Theory Originally Have a Typical Sexual Appetite?

On the next page, was Deadpool originally going to be Weapon NINE?

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$100,000 an issue?! Byrne sure has a lot of pride to turn that down.

@ Anonymous,

“ego” would be the better word.

Yeesh. How long are Deadpool’s legs supposed to be on that card?

Might want to change Liefeld’s name back to Rob from RON above that photo with Todd. ;-) :-)

Or, considering that Byrne likely had no interest in the SUPREME job, perhaps “integrity” would work better. :)

Even as a kid I saw Deadpool and thought, “Oh, it’s Spider-Man crossed with Deathstroke.” And given that Liefeld was at one point interested in the Teen Titans (I believe), that totally makes sense. Can’t deny that he’s one of THE breakout stars of post-Silver Age comics, though. (Although I would argue that has more to do with Joe Kelly’s work on the character than Liefeld’s. But he did provide a good base to build off.)

By the way, where do Deadpool’s clothes go towards the end? lol

The pages on the First Liefeld page are proof that he either A: used to be a better artist or B: Had much better inkers.

“MY Spider-Man has swords and guns!”…and pouches! Lots and lots of pouches…

Oh lord, the pouches! THE POUCHES!

Liefeld is just so damn bad. Just pure terribleness. It was terrible at the time, and it only gets worse as it goes. The fact that good things have come out of stuff he created is, frankly, remarkable. What a maroon. (In the Bugs Bunny sense, not in the “fugitive black slave of the West Indies and Guiana in the 17th and 18th centuries” sense.)

@John Trumbull,

“Integrity”? The man who wrote a comic with Big Barda as a porn star has “integrity”? : )

Oh, I see. You just want to hate the man who you’ve likely never met in real life no matter what the reason. I’m sure if Byrne had taken the job just for the money, you’d criticize his greed.

Wouldn’t Deadpool be Weapon 11 anyway? Since he came after Wolverine was in the project, he wouldn’t have a number that came before 10.

Liefeld’s Guy Gardner hair explains so much about him….

Wouldn’t Deadpool be Weapon 11 anyway? Since he came after Wolverine was in the project, he wouldn’t have a number that came before 10.

The theory was that while Deadpool debuted later than Wolverine, he was experimented on before Wolverine.

The Byrne thing is amusing, since he was an extremely vocal critic of Image, at the time. $100,000 an issue sounds rather high, though maybe he figured that Byrne might hop on board something he didn’t own for that kind of money. Who’s to say, apart from Byrne confirming the figure? I just don’t see it as a situation that would have worked very long, regardless of money. Perhaps that is why Byrne said no. Maybe he will stop by and answer or JohnByrneSaysonTwitter will find out and post.

The other amusing thing is the friendship depicted. Well, there is an old saying about doing business with friends and relatives and it pretty well panned out here.

I can’t stand Liefeld’s art, and he’s his own worst enemy in interviews; but, I give him credit for pursuing his dream and being successful at it. It’s more than you can say for a lot of his critics.

I’ll never understand……. It’s so easy to be an “Comic Book Art Snob” now, but back in the day, we loved Liefeld’s artwork. And it was an influence on many artists. It’s like looking at hair styles and clothes in the 80’s….We say they were awful, but we loved them when we lived in that era……Same thing with the artwork.

Y’know, Rob Liefeld may be a terrible artist* with an at times inflated ego, but on the whole I get the impression he’s a nice guy. Maybe someone in the comments will disabuse me of this notion, but he definitely just seems like a kid who got big doing the geeky thing he loved, and for that I respect him.

*But yeesh, what an artist. Sorry Rob!

Brian, are Todd and Rob still friends? Just asking.

And, I really miss Todd’s Spider-Man (that’s my Spidey of my time!)/

That Liefield picture looks like one of those photos when an orangutan is kissing the animal trainer.

You made e look at Liefeld art! Bad Brian…Bad Brian.

Brian, are Todd and Rob still friends? Just asking.

I believe so. It’s a lot different dynamic, of course, when the younger guy is 45, ya know? It’s just different stages of life now.

Has Byrne indicated specifically why he turned it down?

@ Skip Nelson

I’ve wondered the same thing and have tried to figure out how it came to be – everybody seems to be anti-Liefeld these days, but boy, his name could sure sell comics in the late ’80s, early ’90s. Granted, the internet was embryonic at the time and it’s possible that Marvel was inundated with hate mail for the guy but chose not to print it, but for the most part he seemed to be viewed pretty favorably at the time. (I do remember Marvel didn’t seem to have any such reservations about printing negative letters when it came to poor, inoffensive Terry Shoemaker – they always seemed happy enough to print letters slamming his work around the same time Liefeld was getting started. So if it was an editorial policy, it was applied selectively – maybe Liefeld sold enough copies that they saw no reason to humor the naysayers.)

I had mixed feelings on Liefeld at the time. I absolutely loathed his work on faces – he could draw two expressions, clench-jawed mono-tooth or slack-mouthed incomprehension. He couldn’t manage much else when it came to faces. And his anatomy work needed help, to say the least. On the other hand, his art had an undeniable energy that felt pretty innovative at the time. It’s easy to overlook now how completely different from everything else the work that was being done by the future Image guys felt in 1988 or thereabouts, given how completely overexposed it all became during the 90s when everyone was rushing to copy the styles of Liefeld, Lee and McFarlane.

They were a generation who learned to draw by copying Art Adams, Michael Golden and Rick Leonardi and they took the more stylized elements of those artists to further extremes. At this remove in time, it’s easy to look back and see that they missed out on some of the basics – Adams, Golden and Leonardi grew up learning to draw by copying consummate craftsmen like John Buscema, Neal Adams, Gene Colan and Gil Kane, and then developed their own stylistic diversions from there, which were in turn extrapolated further on by Liefeld, McFarlane and Lee. So they kind of started out two generations from the artists who were grounded in mundane concerns like fundamental anatomy and clear storytelling (well, maybe not Lee so much – he seemed to have a grasp of basic anatomy and storytelling, he just cranked everything up to 11).

The Image guys were almost pure style and energy, and if Captain America needed a 90 inch chest in order to look cool, well, by God he was going to get one. In the late 80s, that was different enough to seem really neat. With the passage of time, their approach became part of the basic vocabulary of comics, and once the novelty was gone, the flaws that were there from the beginning became more obvious to everyone.

Anyhow, that’s my take on how someone who was one of THE most popular artists of his era has since become almost a universal kicking boy. Some things are just of their time, and can only be hugely beloved at that time.

I found Liefield’s art painful to look at when he started on New Mutants, and it’s even more painful now. Looking at it today, it gives a good idea where Marvel Editorial’s minds were at in those days.

You can set the clock, the name Liefeld shows up and the same boring comments boil up. If you don’t like his work, don’t buy it. In the meantime just enjoy the story he told.

Hi brian, first, congratulations for your blog, i follow it about a year now, and is fantastic.
I have a question than i hope you adress in comicbook legends revealed.
Did Fantomex got his name due the french character fantomas, and his popularity in mexico in comicbook format?

Bagging on Liefeld’s art is just going after low-hanging fruit at this point.

Liefield may have had to draw faces, but think of all the time he saved by never drawing feet!

““Integrity”? The man who wrote a comic with Big Barda as a porn star has “integrity”? : )”

Integrity is not something defined by one action. That Byrne wrote that issue of Action Comics doesn’t mean he has *no* integrity. You cannot use that one story as evidence that the man has no integrity. And hey, I’m no Byrne defender (he’s insufferably arrogant and wedded to the silly notion that he is one of the few people who can faithfully make use of Kirby’s characters).

@Jeff Nettleton

I don’t have much of interest to add more than what Brian already wrote. I talked with Rob about this situation in September but John has never said much.

I guess I can add to the timeline question Brian mentions, that according to John, when Rob called he told John that Supreme was created with John Byrne in mind to draw it. So it would be prelaunch. Not sure if Rob has the same memory of the call. I do know that according to Rob when he made the offer of 100K per issue of Supreme he did it on a speaker phone with others in the Image office listening.

“You can set the clock, the name Liefeld shows up and the same boring comments boil up. If you don’t like his work, don’t buy it. In the meantime just enjoy the story he told.”

You forgot to add “if you don’t like his art, feel free to criticize it even if you don’t buy his work”. Not buying a product does not prevent anyone from criticizing it. I haven’t bought any of the Twilight books by Stephanie Meyer, but I’ve still criticized aspects of the series that are publicly known. Likewise, I haven’t bought anything that Liefeld has done since his cover work on Cable & Deadpool years ago, but I’ll still criticize his horrendous art.

Liefeld’s lateness and laziness helped killed his career more than everyone simultaneously realizing that his art stank. I mean there’s late… and then there’s “turning in your part of the crossover six months after everything else” late (coughDeathmatecough). He completely messed up the Teen Titans during Infinite Crisis by taking so long to do the second part of the Hawk and Dove story.

Also, if you want to figure out Liefeld’s art style and where it goes wrong, compare it to Walt Simonson and you can see exactly where he picked up certain techniques and ran with them, Walt occasionally drew barely-visible eyes or too many lines on faces, and he screwed up some anatomy (Thor’s kneepads in particular end up creating some bad thigh-to-shin connections)… but he did so while writing AND drawing some of the best comics of all time and handing said comics in on a timely basis.

Y’know, I’ve always wondered why the first issue of SUPREME said “Volume Two” on the cover. What’s the story behind that? Anyone know?

Interesting article. I had always thought that Liefeld had used John Byrne’s Nemesis character as inspiration for the mask.


“…and you have to line their eyes up…”

One guy who nobody remembers was Norm Felchle, who drew The Griffin for Slave Labor back in 1988, whose work looked identical to Rob Liefeld’s at the time. I have some vague memory of one inking the other on some project, possibly for Slave Labor. My memory is really hazy on this and I got rid of those books long ago, but I do remember thinking how similar their styles were pre-1990. I remember thinking they were the same guy. During this time, Rob was also working alongside future Image and Marvel guys like Erik Larsen, Clarke Hawbaker (of Nomad fame) and Angel Medina for Megaton, where Savage Dragon debuted. I seem to recall an ad for Youngblood in one of those books, as well.

Oh, and by the way, I was just reading Marvel’s 1977 Inhumans series and there was a villain named Shatterstar, complete with cover copy announcing his debut. Your originality is showing on that name, Rob.
And can anyone confirm that Deadpool’s name was inspired by The Dead Pool, the Clint Eastwood movie?

“At this remove in time, it’s easy to look back and see that they missed out on some of the basics – Adams, Golden and Leonardi grew up learning to draw by copying consummate craftsmen like John Buscema, Neal Adams, Gene Colan and Gil Kane, and then developed their own stylistic diversions from there, which were in turn extrapolated further on by Liefeld, McFarlane and Lee.”
I’ve heard this complaint in other creative fields–sitcoms and SF for example. You start out with people who come into the field from other types of writing or art, or grew up reading or watching completely different material. A couple of generations later, you’ve got a lot of people writing X who grew up reading or watching X so they recycle the same material endlessly.

To be fair to Liefeld, how many names did Claremont rip off- Mirage, Magma, Warlock, Magus?

Honestly, I didn’t see Moore’s Supreme as a commentary on disliking Byrne’s Superman as much as a commentary on how things change in general, and any negativity less about Byrne’s stuff and much more about the general dark direction comics had been going in. Byrne had a few scenes/stories with dark-ish stuff (killing the Phantom Zone criminals, etc.) but compared with so much else, it was much less dark.

I’ve always read Moore’s Supreme as a celebration of the past rather than a critique of the present. Yes, things may have been silly back then, and maybe a lot of it doesn’t quite work with today’s societal attitudes, but it’s still fun.

Youngblood: Judgement Day, on the other hand, was almost nothing but criticism of dark-n-gritty. Though I would have liked to have seen more of Prophet as a Doc Savage pastiche.

Also? It really surprises me that anything good came out of those first few Deadpool appearances.

what this shows is Deadpool was a blank slate.
what does Spider-man with guns and swords even mean?
Is Spider-mans mask his main draw?
The writers who fallowed, and fleshed him out made him the merc with a mouth we all know and love.

That’s not Liefeld kissing McFarlane, that’s Richie kissing The Fonz!

Liefeld’s art was regarded as fresh back then, now it’s just trash. McFarlane’s Spidey pages stood the test of time for me. They look pretty good. Then again, maybe it’s just better paper and scans.

Byrne & Liefeld…no way. As much as some hate Byrne, he put out a lot of classic stuff. There’s no denying that. As for Liefeld, Deadpool might be his biggest (if not only) legacy.

Alan Moore’s Supreme is for me the bridge between his deconstruction (Watchmen etc…) and reconstruction (Tom Strong, ABC stuff) phases. He brought back some of that Silver Age magic and that’s something comic books have been sorely missing for decades.

@David and Andrew. I agree. Tvtropes calls it a reconstruction, as in the opposite of a deconstruction.

@skip “It’s so easy to be an “Comic Book Art Snob” now, but back in the day, we loved Liefeld’s artwork”

Sure a lot of people bought those comics but that era was why I stopped buying comics. I loathed the Image style art of that period. I even detested McFarlane back then. Not to be a ‘snob’ but why should I pretend to like something I never liked..

Personally, I’ve always enjoyed Liefeld’s artwork. I’m not sure why but it has always just drawn me in. On the flip side, I can’t stand his writing. I feel like he has lots of great ideas but should leave the dialogue to others. But my main gripe about Rob is that he never seems to finish anything. The Infinite with Robert Kirkman was great and then just kind of disappeared. How many times has Youngblood been relaunched, runs a few issues, and then is never heard from again? The Youngblood relaunch a couple years ago (I think the numbering started with #71) was really good, ran for about six issues and then just stopped.
Love him or hate him, you can’t deny his influence in comics. Deadpool and Cable are hugely popular and are still relevant almost 25 years later. For an artist that “nobody” can stand (professionally or personally) he still gets work, the comics he pencils still sell really well, and his con appearances are huge. I think some people buy his comics so they can complain about how bad they are. The saying is true that there’s no such thing as bad publicity.

@Cerebro: as I recall, the “volume 2″ thing with Supreme was supposed to be that volume 1 would tell the story of Supreme before he left Earth (as “volume 2″ opened with him returning to Earth, iirc, after spending some time exiled in space — which, wasn’t that about what happened in the Triangle/post-Crisis Superman books right after Byrne left? If Byrne HAD drawn them, then META!). I don’t think anything ever came of it.

But damn, Supreme Blue Rose is good! Recursive human pupa!

@Timothy Markin: I think when Dan Vado (SLG’s publisher) wrote some stuff for DC in the early/mid 90s, he brought Felchle along. There’s some 4 issue mini from then that Felchle drew that I can’t remember, and I think he drew the one JLofA Elseworlds annual (that’s pretty damn good, and has a kickass Evan Dorkin drawn back up story). I didn’t remember him as a Liefeld style artist, but I’ll take your word for it.

I think part of why we rag on Liefeld is that many of us were young when the Image guys were putting stuff out, and their KEWL stuff makes us embarrassed looking at it in retrospect, particularly Liefeld’s stuff which isn’t very good at times (unless he’s got a good inker like Wiacek). But as some people mentioned, the dude really seems to love comics, and you can’t hate on him for that.

I certainly remember a lot of criticism of Liefeld back when he was big. If anything, he was the poster boy for why Image was bad.

Admittedly, I had stopped reading comics before Deadpool first appeared, but I always heard he had been created as a parody of DC’s Deathstroke.

Wire and Skip –

Dudes, I wish I had some reliable recordings made of my reaction to Rob Liefeld back in the day, just to prove that yes, I pretty much hated his artwork from day one, and yes, he and his cohorts were pretty much the reason I stopped reading comics for a few years. And I know a LOT of people of my generation that didn’t like those guys even back then.

To be completely honest, I didn’t hate ALL the Image guys from day one. I loved Jim Lee at first, and I liked McFarlane. It took me a couple of years for me to get sick of them, more or less about the time when they got so popular that superhero stories at Marvel started to shift from priorizing the writing to focus on the artists. I think it was about the time Claremont was booted from X-Men that I got really sick even with Jim Lee.

Hearing people talk about how they gave up comics primarily because of the Image takeover of mainstream comics (the Image artists themselves as well as the influence of that style on mainstream Marvel & DC books), that reminds me of nearly giving up comics as well in the early 90s. If not for the b&w indies and underground comix (admittedly, even some of those books look pretty awful twenty years later), I would have stopped buying comics altogether. And that’s a pretty hard thing for me to give up, having started reading them back in the 70s and loving the medium. Hell, I probably would have just focused on back issues, just to have some kind of comics to buy. But yeah, the early 90s were, to me, and obviously to several other hardcore fans, the absolute nadir of comics publishing.

@ Wire…great post. I think the big thing about Liefeld is that his drawing was almost always dynamic/action ‘posing’. Anatomy / realism be damn, as long as we get a big gun, shoulder pads, fluffy hair and pouches, it’s okay.

I’m definitely not an art snob and I generally enjoyed most of Liefeld comics, I don’t think he ever was “great” but he was fun. (I still don’t get why people like half the crap being produced nowadays… I think the bigger influence on todays art that Liefeld and company had, was that they drew a lot of foreground action and pretty much forget about any images of the environment and surrounding area. And barring a few of the better artists out there, most either draw no background or the most generic background crap ever)

@Fraser, agree, in the entertainment field somebody comes in with something fresh and it’s innovative, then it get’s copied and amplified to the MAX degree…..but I don’t think any field of entertainment did it to the degree that comics did. It’s a smaller medium with relatively fixed costs(It costs roughly the same to draw someone blowing up a helicarrier as it does to have 2 people sitting at a table talking about getting a nanny for their kid) that the absurdity can go much higher, and production/turnaround is much faster so it’s a lot easier to jump on the hot wagon/trend. Nothing exemplified this more than the early 90’s comics.

@gyrorobo that is how many characters are created, basic idea turned to form, but even in that first appearance he’s already talking too much, he’s making wise cracks and he’s showing competence, the basic structure of the current character is there. Current Deadpool resembles his original self, much more than either Wolverine or Sabretooth.(or a host of other characters)

Based on the artwork, one would never guess that Liefeld was drawing teenagers.

@John Trumbull:
“I’m sure if Byrne had taken the job just for the money, you’d criticize his greed.”

Lonestarr: “We’re not just doing this for money.”
Barf, ears pricking up: “We’re not?”
Lonestarr: “No. We’re doing this for a whole $#!+load of money.”

~ Spaceballs

At the time I thought liefeld had come in and ruined the New Mutants. I didn’t hate his art, but I did not love it. It was his writing that truly bothered me.

I do not mean to start a war, but I appeal to all people who do not enjoy Liefeld’s artwork to refrain from using the same lines ad infinitum.
Yes, we have heard he is no Michelangelo, yes, we can even see it, but please, stop coming up with the same feet, mouth, chest deficits. These are are as persistent as Mr Liefeld’s artistic shortcomings.

By the way, and people will call me blaphemer, but when it fomes to dynamics in fight scenes, Liefeld is close to Kirby. Fun, poweful and quite convincing, whereas he definitely has shortcomings with all other stuff.

The idea that the Weapons were numbered wasn’t really “developed” at all. It was just crapped out by Grant Morrison without any thought, and it never made sense in the first place. The program had a name, and it was Weapon X, not Weapon Plus; there were multiple Weapon X’s; and so on and so forth. I wish we could stop indulging this nonsense.

Dimo1, I’m no fan of Liefeld, but this:
“please, stop coming up with the same feet… deficits”

I really hate it when people keep saying; “He can’t draw feet, ha ha!!!” then the same person will say “Look, he’s hiding his feet! Ha, ha!!! Lame.”

It’s obvious to me, then, that those people are just TRYING to find stuff to complain about.

Dimo1 –

I hate Liefeld’s art as much as the next guy. But I too get tired of people complaining of Liefeld. The Internet has certain tics that it repeats endlessly.

Aaron Scott Johnson

September 6, 2015 at 2:52 pm

Kane’s left hand seems to turn into his right hand once it…gets fired from his wrist.

There really is no comparison between Liefeld and Mcfarlane. Idk how long it took either of them to draw a page, but when one artist is good and the other just puts vomit on a page, I imagine it took the good artist longer.

I bought the new relaunched volume of Youngblood. The guy writing it was the guy who wrote the screenplay for Black Swan, if Im not mistaken. It was pretty good, and then it just stopped in the middle of a story. Curiously enough it was an issue or two after Liefeld started writing it too.

Byrne has done some great stuff, but not in many many years. By the time they offered him Supreme he should have accepted. By the time he got to do Spider-man he was already a has been, and has only gotten worse. I tried reading Trio a couple years ago, which was a total FF ripoff, without all the things that make the FF great.

I really like Liefeld’s New Mutants stuff the most. It just has a charm to it. Which makes me wonder why I could never find a copy of New Mutants #98 in my collection. It must of gone with the issues I had to get rid of. I should of been more careful.

As for McFarlane. He’s my favorite artist. I met him at a signing and was hooked on his artwork.

Lex, one of the things that made Liefeld’s New Mutants good was that he only drew it; he didn’t write it. (iirc)

I didn’t read Marvel in the late 80s/90s, but I don’t get all the hate for Liefield’s work. It has a distinct style, and like it or not, his style seemed to define the 90s. I guess it’s like disco or bellbottoms from the 70s. Nobody admits to buying them, yet they sold millions of them.
His stuff is fine. Except Grifter. Because his name is “Grifter” and his super power isn’t confidence artistry.

Deadpool led to a horrible trend of grim and gritty maniacs promoted as heroes. Deadpool, Carnage, Venom… Shameful.

[…] agreed that despite his similarity to a certain DC character, Rob drew Deadpool as a cross between Spider-Man and Boba Fett. Fabian wrote Deadpool to be irreverent, and later writers ran with that, with […]

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