D for Defense #21

(Previously on DfD…)

I became known that in a webpage called Progressive Boink, forty of Rob!’s art pieces had been criticized under simplistic and squared standars. As an adlater it’s my moral duty to unite my companions in their brave defense of the most brilliant genious ever.

Let’s refute their points one by one. The first is:

Welcome to the 90s!  Guns, swords, and long hair.  Is it any wonder that it took so long for comic books to be a socially-acceptable artistic medium?  If Jack Kirby is the Thomas Edison of comics, Rob Liefeld is the Al Jolson.  Except I think Al Jolson could draw pretty well."

No, it’s not any wonder because Rob! challenged in such a way the artistic conventions that it took a some years and all seasons from Lost for the mainstream to get remotely near His! vision. That’s why the comparation makes no sense, while Jolson ended up receiving love from the great public, Rob! still hasn’t.

Let’s see the next paragraph:

I really cannot get over how enormous Rob tends to draw his male characters.  Really, they’re so over muscled and a stereotype of a stereotype that they just end up looking like weird wrinkly fatasses. All the pouches and half-shirts ain’t helpin either.

The error is very clear: Rob! in just a character is warning us against the dangers related with health and image. Obesity, vigorexia and anorexia (represented in the extreme slimness of the inferior half of his left leg) sometimes have psycological causes, shown on Shatterstars expression of unbearable suffering (maybe his name is yet
another clue about these social problems).

And, finally, there is the last paragraph:

If I had a nickel for every time Liefeld had his characters standing behind something so he didn’t have to draw their feet, I would still not have nearly as much money as Rob Liefeld.

Envy! Avarice! These, and not any others, are the real reasons behind Progressive Boink critism. Case closed. 


(Be here next SEASON for this. More details in the comments.

D for Defense #22

(Previously on DfD…)

(by Uriondo)

The writer of these series of the slanders we have been disecting during the last months wrote, using as an excuse the beautifull image we present above, this completetly infamy:

"I will bet money that this picture was traced from child pornography.  I have never seen a drawing of lips make me feel as creepy as looking at this does".

In first place I want to stress that if you are a weirdo, you are a weirdo. Don’t blame ROB!. In fact, ask for help. Others have done it, or at least they have the decency of undergoing chemical castration that keeps them away from those insane impulses. I would say that the defense of this image is the easiest of all that have already been published.

Having already defended the image I would also like to exalt the exaltation of innocence that our idol promotes. Far from falling into the the easy sexuality that surrounds our everyday, we suspect that ROB! has a clear, healthy and clean answer to the classic comic book question that has alredy been discussed for so long.

Exactly. That question.

And the answer from ROB! is: No! Jotace is wrong! It’s just his sidekick!

Nobody doubt that the fight against child abuse is being spearheaded by ROB! as he clearly indicates our kids what they should answer to any stranger who try to divert them from their way to school: YOU AINT MY DADDY.

Turn away, young ones, from candy giving strangers and listen to the voice of ROB!

Follow the example of this kid and say YOU AINT MY DADDY to those men who stalk public places looking for easy prey.

But that is not the only answer. There are other, for more bold, that come from our most important cultural (spanish) heritage:


(Be here next week for this:


D for Defense #23

(Previously on DfD…)

Another week we find ourselves again trying to counter the pernicious baseless attacks, clearly caused by jelousy, of Progressive Boink boys against our unique leader ROB!

This time the objective of their untreated emotional frustration is the cover of X-Force #9, where, oh holy moley!, we can see Cable more angered than usual carrying one of his usual gigantic weapons, normal trademark of this character, and seconded by Shatterstar and Domino. All three ready to fight against an invisible enemy, out of the frame, that in this ocasion is the evil intention of these sad and bored individuals. Which is the problem of this cover for this people? Cable‘s weapon. It’s too big!

Let’s see. It’s a half man, half machine, with mutant powers that include telekinesis, with a special predilection for paramilitary paraphernalia and come from the future. A post-apocaliptic future if you need more details. And their problem is that his weapon is too big? Too much sexual frustration is what I see in their case.

And what a poor view it makes: the critic so blind, so obsesed in finding faults in ROB!‘s work, that he gets lost in the simplest details of a composition that doesn’t leave any doubt about the mastery of the ilustrator.

You don’t need to be a genious to see that the predominance of weapons in this cover (Cable‘s plasma rifle, Shatterstar‘s sword blades and gun) and their situation in this drawing is all but casual, trying to show us a representation of Cable‘s temporal situation. Let us trace a few lines on the image (ROB!, please forgive my tainting of your work) so that the clueless understand better.

How blind have we been, the message could be seen on the image from the begining. ROB!, in his infinite grace, shows us Cable‘s terrible interior conflict. As a time traveler in the image he represents the Future, because that’s where he comes from. Shatterstar represents his Present, as a warrior, noble but with a confused mind, who needs of his leadership in the recently formed X-Force. Also Domino, a key character in Cable‘s Past who reappears to join the mutant group in the moment they most need it. In just an image you can clearly see all Past, Present and Future.

Because X-Force is Cable, and by extent, ROB! as Cable is also X-Force. We all know what happened to the group when Cable had to leave it. Time has proven us, true believers, to be right and Cable, thanks to ROB!‘s grace, has returned to the fold to give the group it’s former glory.

So, this story’s moral is clear: Next time you want to criticize any of ROB!‘s drawing don’t be so simple as to remain in the most obvious and superficial, his work has more levels of depth than you can imagine.

(Be here next week for this:…


D for Defense #24

(Previously on DfD…)

(by Bleyer)
The true conoisseurs of Rob’s work have to surrender completely to this image, because where a normal reader would see a simple character presentation panel, an educated viewer can see a social revindication of great value. A sign more of Rob!’s supernatural inteligence, he is capable of transforming what the script sees as an ordinary panel into a fierce argument about woman’s place in society.

Look at the image. You can see a woman with skeletal arms, that indicate her fragility, brutally corseted in a dress that limits, pressures and suffocates her, as you can deduce by the curved lines that Rob! ilustrates the indumentary. The dress represents, with precision worthy of the most simbolic of metaphors, the castrating role that society exerts over women. That’s the reason the dress is pink, the same reason why it pressures the woman’s body until it looks like it is reaching agony. The seemingly relaxed pose of the woman is an alegory about the sumision which they have, traditionaly, accepted this social pressure, but if you dig a little deeper it gives you a glimse of their true pain of womankind, their suffering of being forced to an irreal cliche. Rob! allows us to see this misery, for example in the posture of the legs, tensely crossed til anatomic impossibility, which contrasts with the happiness that the lady’s smile radiates. Ostensible submission, with inner pain. Likewise, the feet’s pose is another indicator of the torment that women are inadvertently submitted, because Rob!’s woman archetype walks using the tip of their feet, a kind a behaviour known to be specially hurtfull that with time causes terrible malformations in the lower extremities. Look at the position of her right hand’s fingers, clearly twisted in pain, another example of the dicothomy that Rob! tries to ilustrate with this excelent drawing: apparent happiness, inner pain.

The Woman, I write this with caps because I am talking about the Woman as a concept, is submitted to this torture and clearly trapped in the limbo that is having to accept the already discussed constraining role or reject it and start the fight. Lost between social aceptance or revolution, confused, as Rob! shows us with precision making her portrait reach out with her right hand to a non-existent support, looking for a security that isn’t there.

But Rob! also gives us a glimpse of hope. Through this opressing pink dress, jail which the colective social subconscious traps the Woman, it can be appreaciated with all clarity the lines of the femenine body. Rob! wants us to remember that, underneath of what society sees, under the apparent happiness of the slave Woman you can find, in all it’s beauty, in all it’s greatness, the pure Woman waiting to explosively free herself from this pink jail. A calling that Rob! does to all the world’s women to fly, free and beautifull, to their full realization.

And seeing this work of art, the men from Progressive Boink just say that Rob! marks the vagina’s lines (confusing vagina with groin) and that her legs are backwards… They are just ignorants that confuse art with swill

(Be here next week for this:

D for Defense #25

(Previously on DfD…)

(by Mr Multiplexor)

HAs you can see this is a clear example of how anyone can think superficially and not understand the intentionality of work of the artist.

Let’s first hear what their points are about ROB!’s image and afterwards we will refute them.

>Oh, those pesky feet.  Those pesky, tiny feet.

>First of all, Cable’s hips and thighs are comically wider than his upper body.

The detractor is complaining about two of the most common qualities in ROB!’s art. First, the tiny feet, second, hips that are bigger than the superior body. As any of our regular readers will know ROB! doesn’t let anything to chance and if these two caracteristics appear in such an evident manner is to transmit a message. Afterwards I will explain these reasons, but let’s finish before the analysis and view what conclusions our critic extracted from them.

>Secondly, he obviously drew that gun in after he drew the whole rest of Cable.  Cable’s fist is sort of nebulously hovering outside of the area where I guess the hand would GO if that were an actual gun, but he isn’t actually holding it.

Now he complains about the disapearance of Cable’s hands. A complaint that would be legitimate if we didn’t blindly trust on ROB!’s artistic


>It’s just kind of tucked under his arm as though he were taking a gigantic newspaper to the john.  And where’s his other hand for Christ’s sake?

I agree that the gun looks out of place and it seems to have been added after the picture was completed. I am not going to refute it but I will explain the powerfull reasons behind this strange decision.

>I think everyone needs to realize that Rob Liefeld was THE MOST POPULAR COMIC BOOK ARTIST IN THE WORLD at the time.  His comics sold millions of copies.  He starred in a Levi’s commercial that was ABOUT HIM.  AND THIS IS WHAT HIS ART LOOKED LIKE.  HE MADE MILLIONS AND MILLIONS OF DOLLARS FROM THIS YOU GUYS

In this last paragraph, as if their enmity against ROB! wasn’t clear enough, the critic in capital letters, simulating shouts of shock, he reproaches to ROB! his success. Jelousy is always bad company.

But let’s not get distracted of the goal of this post. Before explaining the tricks behind the Masterpiece let’s look at it again and analyze the action that is happening in it…

Cable is saying "Once we enter in the battlefield, you are on your own". And at his side, if the critic hadn’t viciously mutilated the Masterpiece, we would have seen the faces of his "soldiers". For those that haven’t had the benefit of reading the last arc of New Mutants and first of X-Force I will explain that they were full of simbolism, the New Mutants had always been a group of kids whose tutelage had gone from Xavier to Storm to Magneto in a erratic way
that made them some kind of eternal orphans.

It all changed with Cable’s appeareance, who took them under his care and started preparing them for the real world.

In a way, it could be said that Cable was the stability that they had ever had, simbolizing the first motherly figure for the New Mutants. This is the exact point that the people at Progressive Boing have missed because as any Art student could say the first figure found simbolizing motherhood is a tiny clay sculture called "Willendorf’s Venus"


Wide hips, small feet (some would say inexistent) and hands that dissapear…

Yes, I think it’s quite clear that anyone can see GENIOUS! and not understand it, but they are harming no one but themselves with their ignorance. It’s way worse when in their arrogance they think they can teach lessons to everyone.

Study art history, little boys. That way you will understand better ROB!’s work.

Some would argue that my thesis doesn’t explain the presence of the gun that had been added afterwards. But it’s safe to deduce that ROB!, in his eternal wisdom and knowing that his detractors would no doubt try to disgrace him, decided to corrupt the purity of his metaphor and introduce an element that guided the less iluminated.

The gun is used highlight Cable’s protective mother function over his offspring /soldiers. It tries to say that underneath that strong exterior Nathan Dayspring is only a mother worried over what could happen to his kids in the battlefield.

So that’s all, I hope that from now on, everytime you see an image of Cable holding a disproportionate machine gun you remember this humble explanaition and remember your own mother.

(Additional Comment by Ender.)

My most known scolars in Art Anthropology say that after a rigurous study of four years and a huge doctoral thesis he has concluded that Willendorf’s Venus and all look alike statuettes are really contraceptive methods


(Be here next week for this:



D for Defense #26

(Previously on DfD…)

(by Xum)
In this new case we can contemplate how the people from Progressive Boing have tried to criticize Sue Richard’s facial expresion while confronting evil Onslaught as to allow her son Franklin’s escape.

To better understand this scene we need to explain to our readers that Onslaught is a manifestation of Profesor Charles Xavier repressed sexuality, at the time where he started feeling attracted by his very young student Jean Grey he decided to use his superior psiquic powers to repress his inner monster. Years latter he would come back to haunt the X-Men in the famous crossover "Onslaught Unleashed", but I am digressing, let’s look again at the work of art: in this pannel Onslaught, the child devouring monster is chasing after Franklin Richards with hidden intentions, his mother, Sue Richards tries to protect him.

In the Progressive Boing article ROB! is critized for Susan’s disengaged without understanding the hidden message in the image. It’s true that her eyes are more separated that what should be normal, that her lips seem to depart from her face and that her jaw seems to be about to explote. However what the critics don’t understand is that is all a metaphor, Susan Richards was one of the first (if not the first)  character to get pregnant and give birth in the Marvel Universe, if you think about it it’s quite hard to remember another femenine character whose son is still present in continuity and hasn’t disapeared with some kind of plot twist.

In this image Susan is protecting her son, saving his life in a metaphor of also giving BIRTH to him. ROB!, who never leaves anything to chance, tries to express this with a contorted face that indicates she is delivering her son for a SECOND TIME. In the image we clearly see Susan Richard’s stress while his son leaves the scene (leaves the womb) and a hand that although we know is of Onslaught also simbolizes the doctor’s hand that comes to pick her son.

In conclusion, we can clearly see this is a birth or rebirth scene.


(aditional Comment by axl)
In his analysis our fellow friend has not noticed Franklin Richard’s arms. That difference in size and musculature between left and right arm transmits Franklin Richard’s vital anxiety as he starts to enter the road of preadolescence: through this detail, through this right arm, probably huge because of masturbatory practices (usual to all teenagers), we start to glimse of the burdens and worries of the dificult vital stage that the Richard’s firstborn is starting.

Following that thought, we see Sue shouting at her son tu run, to get away from her, which is again a clear alegory of the new stage that we have already mentioned: a stage in which the young ones have to move away from their parents, live their own lives, start taking their decisions. This doesn’t mean that parents can competely ignore their children, on the contrary: adolescence, as it’s been said before, is a season in which sexuality blossoms in children. ROB! as a devoted father openly encourages parents to talk with their children through this simple but efective image: Sue Richards wraps Onslaught’s fist with her invisible force field as if a condom it was. An alegory that I don’t think that no one has missed.

But we have left the best for the end: Sue Richards herself. Look at that tight fist, as if it was holding a man’s member, yet another masturbation alegory. Now then, what is ROB! trying to say? That masturbation during adolescence is a healthy and natural act? Or, on the contrary, is he warning us about it’s dangers during that stage in our lifes? To know the answer you just have to look at Mrs. Richards eyes: for someone with a low education like the ignorants at Progressive Boing these eyes would look rushly drawn, one of them is lightly lower than the other. But that is far from true, these eyes evoke the ancient yinyan sign, the balance between good and bad. This
way the autor is telling us that we shouldn’t follow extreme behaviours, it illustrates parents that masturbation isn’t good or bad itself, that the important idea in this (as in many other things) is that their sons should maintain a balance, enjoying their sexuality in a healthy and responsable way without falling in obsessions.

It’s impresive to see so much wisdom in such a small drawing. This feat is only at the reach of someone who will be known for future generations as the Leonardo of the XXI century.


(Be here next week for this:

D for Defense #27

(Previously on DfD…)

(by Kiko)

I have been told that there are people that don’t share our faith, that don’t believe in ROB! They even allow themselves to criticize his Capitan America.

Heretics! Infidels! You need to be shown which is the true greatness of ROB!, and for that we are going to carefully study an awesome image of his Capitan America:


NNooooo, this one has already been seen too much, we all know those two "powerfull reasons" to follow Capitan America’s book at that precise moment, but now we need go back a little more and study ROB!’s Capitan America before he got his uniform:



Weeeeell… This isn’t the image either! I said before getting his uniform! I didn’t mean I wanted to see him out of it! Allow me a moment and I will get the image by myself…

Now! Finally!

This is the image I was refering to, where you can also see the greatness of ROB!. If we take a look, which is the first thing that comes to mind?

Efectively, teeth! Both Nick Fury and Steve Rogers wear a huge and impecable denture worthy of the best Colgate models. They are so perfect that they look exactly the same, as it also does the set from the women’s mask.

Because they are american teeth in perfect american faces. That is why they look alike, this is their real face! This way ROB! represents the face of all unkown american soldiers. Aren’t they all the same under the law in their Country? Aren’t they all the same under their flag? This is our ROB!, an american patriot!

Even Red Skull has a great white set of teeth! Because, can’t you also find a little of good and pureness in any villain? This is ROB!’s way of telling us that Red Skull is not the typical Nazi flat villain and he has some depth underneath him.

Now we can focus in the most GENIUS! part of this cover, in the "piece of resistance". I am refering, of course, to the AWESOME! drawing of Steve Rogers.

Do you think that Steve Rogers would need to prescind of his neck to adopt that pose? You’re right! He is ROB!’s Capitan America, he always holds his head high. Always! And if he needs to new articulations in his non existent neck to maintain his thundering look into the skies, he just creates them! That’s the  reason Steve Rogers is a supersoldier and we are not.

Look now at his legs and feet, well, foot; the other one has misteriously becomed invisible (I am sure it’s part of a Red Skull’s plan). Is it posible to maintain that pose? How can a man this big have such small feet (well, small foot)? Wrong again! This is what the soldier super-serum is for. Haven’t we seen Capitan America jumping and doing imposible stunts while fighting in mid air? Which other colective jumps and does imposible stunts in the air? Exactly, the
dancers. That is why ROB! represents Steve Rogers with these small dancer’s feet. ROB! knows that the summit of human perfection must be something between a ballet dancer and a young Arnold Swazeneger.

If you don’t think alike look at those HUGE arms that ROB! has drawn. That’s how you represent Capitan America, with huge arms capable of reaching out and embrace everything, as his beloved USA.

Finally, let’s focus on something very important for Capitan America, his shield. In this image it was a weird shape, slightly twisted, you could even say that is dented.

But we know that nothing is accidental and in ROB!’s art everything has it’s meaning. Look at the drawing again. Have you realized? That’s right, this is a Steve Roger’s drawing, not Capitan America. That is why his shield looks deformed and dented, with this ROB! is telling us that Steve Rogers can fight but he is not fully ready, he is still not Capitan America… Don’t tell me you haven’t seen?



(Be here next week for this:

26.jpg )


D for Defense #28

(Previously on DfD…)

(by Isaac Hernández)

I was asked to defend this image from one of ROB!’s comics and I must confess I have never in my life been in such a pickle. Defend? What should I defend? Is there anything strange in this image? I sincerely don’t see it.

I have been told that the folks who hide in the Progressive Boink blog think that the image has some kind of perspective problem that puts the two characters in different planes unable to hit each other. However, as we explained in other occasion, ROB! is the greatest artist of all time, he broke old concepts like classic perspective and tries to teach modern artists new paths to tread.

Only someone with no artistic culture would confuse ROB!’s brave use of perspective with an error, with only one drawing he tries to emphasize actions and feelings. Two fighters, two different positions in a masterfull way of demonstrating that as much Prophet and Combat fight none of them will never persuade or impose their ideas on the other. These degrees of separation that place them so near and so far at the same time are a brave allegation against violence on an author that has sometimes unfairly being acused of having a pro-belicist point of view.

Not satisfied with uncovering to the internet community their blindness, the boys from Progressive Boink also make a fool of themselves when they say that he dialog in the piece is too long for the action represented. As if a time traveler and an alien had to be subjected to the verbal limitations of a normal human being. You have to be childish to think like that!!

(Be here next week for this:

D for Defense #29

(Previously on DfD…)


The phallus, as signifier of desire and power, as base of androcentric culture (do not confuse with anthropocentric) has been studied by many escolars and intelectuals. But never in this way.

The phallus cult appears in all cultures, normally asociated with deities from all pantheons. Ir already appeares in the paleolitic paintings of Altamira, Priapus was already worshiped and in Rome it was a common element. Shiva is sometimes represented as a erect phallus. In Japan once a year there is a "kami" procession with the shape of a phallus.

In this masterwork, Liefeld exposes the power of the phallus in our cultures – in the best way that a genious can do this, with an example – he shows to us a portentous image, causes and results of the phallus, as a simbolic order and an explanatory element of our culture.

The hero ("Shatterstar) appears in front of reader as a symbol full of symbols. Is there anything more phallic than a sword made to penetrate your adversary, whose head is occult but it’s shaft appears in all it’s fullness?

In the apparent disproportion of the muscles in the arm we can see another huge phallus that ends in the deltoids. From the elbow to the hand another phallus appears upright, united with the hand. Obviously the reading of the another hand-glans would appear confusing which is why (and not for any other reason) that the other hand gets diluted with the phallus-sword.

His raised leg, erect from the crotch, shining and potent, is a niveous phallus that points to the other way. That’s why left and right are targeted by phalluses. One penetrating and sharp, the other thick and kind. The two usual interpretations of phallic power are therefore represented in the same drawing.

The hero itself is an inmense erection, shooting vital fluid through his mane.

The background, dotted with white dots, doesn’t leave much doubt about the artist’s intention of representing seminal fluid.

In an aparently pop art simple composition, Rob Liefeld shows the phallus inherence, inherited and impulsed by our culture, where it
openly penetrates.

To some other place where it’s been said that Liefeld has done a bad drawing we can only respond "When a wise man points at the moon only
the fool looks at his finger".

(Be here next week for this:



D for Defense #30

(Previously on DfD…)

(by Bac Hylon)
Documented history shows us, yet again, how Rob Liefeld’s work can be found it’s deserved place in Comic History, not only because of it’s artistic value but also because of the educational and moral values it transmits.

In this ocasion we focus on Chapel character, mercenary and founder of the YoungBlood team, being his methods more than questionable and his behaving borderline inmoral. You may wonder what are the values that ROB! is trasmitting to the effervescent minds of young readers using a character like this one but I think it’s a very clear message. Chapel acts as an example. An example that he wants children to avoid. ROB! leaves it very clear "Kids, don’t be like Chapel, he isn’t a good guy. You may find him cool at the begining but remember he was the one who killed Al Simmons, which ended up creating Spawn. If it wasn’t for him Spawn would have never existed, is that the example that you want to follow with your life?"

This way ROB shows that even when he is not fighting and killing enemies, Chapel has a reprobable behaviour, also ROB tries to give young people an example of how things shouldn’t be done. He does it with only three little pannels that don’t even add up to a page. ROB! has always been known for an efficient and ecologic use of means.

The scene starts using a text that places us space and time wise. At 1:11PM, to be exact. Notheless Chapel wakes up thinking it is still night. Isn’t it obvious? He is just a lazy who uses up every moment he can to burry himself between the sheets, instead of rising up early and doing something usefull. The man we are watching behaves like a bum and a slaker, who even boasts of taking advantage of the fairer sex. Kids, do you like this demeanor? Do you want to end up like him?

Not only that but as you can see in the second pannel, he has infected his girl with his laziness, she grumbles that she wants to stay slaking a little longer. Which is Chapel’s response? Turning off the alarm clock (it rings again in the third pannel), because as we can deduce from Chapel’s sitting position in the bed, between the third and the last pannel there is a time lapse of five minutes, usually the time for the snooze alarm to ring again.

Just another example of Chapel’s reprobable behaviour. His only way of being more insultant would be saying "And fetch me breakfast before going, babe". What would a feminist role model say? Who could posibly want this person as a role model? Won’t somebody PLEASE think of the children!

ROB! himself would give us the answer to some of these questions in the YoungBlood comic, when the character would end up finding his demise, showing us the terrible consequences of Chapel’s lax and inmoral life. Only the champions of youth like ROB! know well that it’s equally important to show heroic figures that the kids can identify with and examples of what are the consequences of flirtling with the "Dark Side".

ROB!’s work is full of teachings for any who wish to find them. So please remember my words every time you enjoy one of Rob Liefeld’s comic.


(additional defense by Xum)
Even though I share all the points raised by Bac Hylon I must raise a few more for your consideration. Yes, for the inexperienced eye it may seem I say the oposite of my dear collegue Hylon, but that is why ROB!’s art is so AWESOME!, it allows multiple interpretations (some of them completely opposite) and ALL of them are RIGHT.

This is the greatness of ROB!.

As we have been doing for some weeks I will now proceed to clean the honour of our loved spiritual leader from the falacies those jelous group of critics from Progressive Boing are spreading.

Most of the complaints about this image come from the alleged chauvinist and retrograde attitude of the main character, the superheroe/soldier created by ROB! and called "Chapel". The problem is, as always, that the critic just looks at the surface and, without understanding the different layers that compose his personality, decide to condemn him.

From a first reading we can extract some data: this man is a true soldier, loyal to his Country and available 24/7 for the YoungBlood programme. There is not an issue too personal or important that he doesn’t leave aside when he is requested by his Country ("El deber me llama cariño"). In second place we can also see that he is a very direct person, without duplicity, he clearly indicates the women that he has shared the night with that this is his way of life, that he has no place for compromise as he has already choosen the path for his life.

Chapel doesn’t lie to anyone, "Sin promesas (No promises)" he tells her.

But that is just the tip of the iceberg of his characterization, the first of many other layers of information that ROB! has built. The true Chapel, his true feelings and sensitive side we can easily deduce them using a series of clues skillfully hidden. Chapel, not only loyal but also has a tender soul that we can see in the smallest details.

"Otra noche, otro amor" Chapel thinks while, as the critic from Progressive Boink shows, it’s 1:11PM. This evil guy says in his analysis that this is an error, but we know better than to doubt ROB!, in his work nothing is wrong and anything that may sound that way is part of a hidden message.

Knowing that little data anyone can reach the only posible conclusion: Chapel not only has spent the night with this lady but also has been paciently waiting for her to wake up (probably more than six hours), that’s the key to understanding a character as complex as Chapel.

Can you call chauvinist a man who waits during hours so that his couple catches a few hours of sleep? No! In the image we can see how she uses his body as a pillow, does he complain? NO! How many of us, lesser men than the ones ROB! draws, would use any excuse to run away in this situation? Not Chapel, as shown in the first reading he is LOYAL, capable of waiting for you during hours until you wake up. We can even extract from the first drawing that he hasn’t used the oportunity to get some sleep himself, NO!, that is not his style, he waits paciently as his woman rests.

Chapel would gladly spend whole days awake, waiting, to give a resting place to any of us. With only one exception (and here we link with the basic premise of the character) and that would be if it came into conflict with his one and only love: his Country.

For this ideal he is capable of sacrificing anything, kills anyone or even wakes up any lady that may have been resting on top of him.

This spirit of sacrifice can be clearly seen when he asks for hernumber, telling her that although he is interested his loyalties always lay with his country. Anyone other person might have lied to her but Chapel respects this woman too much to do this to her.

This is Chapel: loyal,
noble and compromised with his ideals.

A true creation from ROB!


(Be here next week for this: