Deathstroke 0

Today, Shelby and (special guest writer) Kevin Elliott are discussing Deathstroke 0, originally released September 12, 2012. Deathstroke 0 is part of the line-wide Zero Month.

Shelby: My first exposure to the man, the myth, the legend that is Rob Liefeld was when he took over Deathstroke from Kyle Higgins at issue 9. Liefeld is the most polarizing writer/artist I have ever encountered. Most of the comic fanbase despises his work, for a number of very valid reasons. He seemingly has no idea what the human body looks like, especially the female body. He cannot draw feet, to the point that his panels are often cropped so that the feet aren’t even pictured. He has no consistency; it is not unusual to see multiple haircuts on a character in one issue, hell, on one page. His writing is sophomoric at best. And yet, the fans of his work are just as rabid in their adoration as the rest of us are in our abhorrence. I have a personal beef with Liefeld, because I was really enjoying this title before he took over and sucked the good out of it. I’m going to try to maintain a professional, objective voice so we can just get through this, but I make no promises.

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Deathstroke 10

Today, Patrick and Drew are discussing Deathstroke 10, originally released June 13th, 2012.

Patrick: Writer and artist Rob Liefeld is an interesting dude. He’s been a huge figure in american comic books since the 1990s, was one of the founding members of Image Comics, and currently writes and/or draws more comic series than the average person is reading. He’s a prodigious talent, and even when he’s mired by controversies about misogyny, late work or even plagiarism, the man sells a ton of comic books. There’s a legion of critics that absolutely loathe his contributions to the medium, but the legion of fans that support his efforts far outweigh the nay-sayers. For all the content the guy produces, he somehow manages to keep up a very active, incredibly aggressive public persona (the man’s twitter appetite is insatiable). He’s boastful, and likes to remind critics that no matter what they say, he’s always going to be successful. Besides, Liefeld frequently asserts, he’s not writing for the critics he’s writing for the fans. So if the artist is so interesting, why is his art so boring?

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Deathstroke 9

Today, Peter and Shelby are discussing Deathstroke 9, originally released May 9th, 2012.

Peter: With the release of issue 9, Deathstroke gets both a new writer and artist, who turns out, is the same person. Rob Liefeld takes the reins of the Terminator and sends him on a new adventure. However, I feel that DC should have gone ahead and called this issue #1, since, well, that’s pretty much exactly what it is.

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Deathstroke 8

Today, Shelby and Peter are discussing Deathstroke 8, originally released April 11th 2012.

Shelby: Of all the titles of the New 52 I’m reading, I think the one that surprised me the most was Deathstroke. I started reading it at the recommendation of my comic shop; all I expected was a story with some hardcore, kickass action. What I got was an introduction to a character I like a lot, not only for his total badassedness, but also for the depth Kyle Higgins brought to the character. Peter and I had the distinct pleasure of meeting Kyle at C2E2 this weekend, and we all shed a single tear at his leaving Deathstroke.

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Deathstroke 7

Today, Shelby and Peter are discussing Deathstroke 7, originally released March 14th, 2012.

Peter: Sometimes I would kind of like to see comic book story lines not follow the expected progression. Most of the time, after about the first half of a story arc, you can guess what is about to happen; maybe not the specifics, but you can pretty much figure it out. That’s what I thought was going to happen with Deathstroke. I figured, “How hard could it be?” he’s an assassin. He kills people. He gets paid. Sometimes he takes on superheroes…for money, or personal benefit. So really I thought I had this all figured out, and then I read Deathstroke 7. As it turns out, I had nothing figured out, and you know what? I am extremely okay with that. Continue reading

Deathstroke 1-6

Today, Shelby and Peter are discussing Deathstroke 1-6, originally released September 14th, October 12th, November 9th, December 14th, 2011, and January 11th and February 8th, 2012.

Shelby: I picked up Deathstroke at the recommendation of my local comic shop. I was looking to broaden our pull list with something the guys weren’t reading. Plus, Deathstroke is a virtually unknown character to me; I first encountered him when I read Identity Crisis last year, and I what I learned from that book was the limit of my knowledge of Slade Wilson. He’s classified as a meta-human, with enhanced strength, speed, tactical abilities, and a regenerative ability allowing him to heal faster than your average blogger from nearly all wounds. I have, in previous posts, compared titles to action movies, but I have been forced to take it all back. Deathstroke is the ultimate killing machine; he does so with precision, accuracy, and impunity. It’s almost kind of refreshing; so many superheroes make a point of not killing their enemies, enough so that on the rare occasion when they do, it’s shocking (Wonder Woman, I’m looking at you). There is something really appealing about a character who exists solely to kill others. Moreover, if this character isn’t a villain, isn’t someone I despise, then I think we’re onto something interesting.

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