THE YOUNGBLOOD #3 Ashcan featuring Supreme and Heavy Mettle – Rob Liefeld – Extreme Studios Monday

Discover the Rare Youngblood #3 Ashcan: Rob Liefeld’s Extreme Studios Introduction to Supreme & Heavy Mettle

Dive into 1990s comic book history with this in-depth retrospective on the Youngblood #3 Ashcan — a pivotal preview edition that first introduced Supreme (Rob Liefeld’s explosive Superman analogue) and the wild superhero team Heavy Mettle (often referenced alongside Heavy Metal) under the banner of Extreme Studios at Image Comics.

In this Extreme Studios Monday episode, AKAPAD explores how Liefeld — the powerhouse creator who became a multi-millionaire by age 27 — launched one of the most dynamic eras in independent comics. From the raw, visceral action of early Supreme (punching foes with graphic intensity) to the low-budget, DIY marketing genius of ashcans, postcards, and hand-lettered previews sent to comic shops, this video breaks down the grassroots beginnings, production techniques, and cultural impact that defined the Extreme Universe.

Why This Ashcan Matters

• First Glimpse of Supreme: See the character’s debut ties to Youngblood #3, complete with Liefeld’s dynamic pencils and connections to broader Image Comics lore (including early crossovers).
• Heavy Mettle Spotlight: A visually striking team positioned as a major player alongside Supreme, featuring memorable characters like Lobster and Train — yet largely forgotten today despite its potential.
• Collector Insights: Discussion on rarity, undervalued pricing ($300–$700+ estimates for key ashcans), and why these artifacts deserve “wall book” status in any 90s collection.
• Alan Moore Connection: How Supreme evolved from extreme action hero to a deeper legacy character under Moore’s acclaimed run.

Whether you’re a longtime Rob Liefeld fan, Extreme Studios collector, Image Comics historian, or 90s comic enthusiast hunting for Youngblood ashcan, Supreme #1, or Heavy Mettle lore, this episode delivers nostalgia, critical analysis, and production secrets straight from the AKAPAD archives.

Watch now for expert commentary on Liefeld’s career, Extreme Studios marketing, hand-drawn-to-digital coloring workflows, and why these early titles still matter in today’s comic landscape. Perfect for fans of Youngblood, Supreme, Bloodstrike, Brigade, and the full Image Comics explosion of the 1990s.

[00:00:10]
This segment introduces Rob Liefeld as a major figure in 1990s American comics, highlighting that he became a 7 million dollar creator by age 27. The focus is on Liefeld’s career, collaborators, and his significant impact not only on comics but on broader American culture. The speaker expresses longstanding admiration for Liefeld and sets the tone for an in-depth critical look at his work, especially through the context of Extreme Studios and the broader 1990s comic scene.

[00:00:49]
The discussion continues with reflections on coming of age with Liefeld’s work, notably being present at the debut of X4 Summer One trading cards. There’s acknowledgment of a matured, more critical viewpoint contrasting the youthful enthusiasm upon first experiencing these comics. The episode is framed as part of “Extreme Mondays,” dedicated to exploring Rob Liefeld’s career, with “Supreme” set as the primary subject for analysis.

[00:01:31]
This section begins to focus on Liefeld’s character Supreme, particularly the early portrayal as a Superman analogue with more dynamic and graphic action (e.g., punching that visibly destroys opponents). The speaker notes this as a revelation during youth, emphasizing the visceral, raw style that Liefeld brought to the superhero archetype. Mentioned is the comic Young Blood issue #3, where Liefeld drew Clark Kent alongside the character Extreme from Image Comics, reflecting a pivotal moment in early 1990s comic history with strong ties to Extreme Studios.

[00:02:57]
The presenter reflects on the evolution of characters like Supreme and how the history and progression of comic book readership and creation fascinate him. This extends into how characters and stories were reshaped through the 1990s, weighing early rawness versus later sophistication. The juxtaposition of Supreme’s initial extreme depictions with later narrative complexity is underscored as a key point of interest.

[00:03:43]
A turning point is introduced: Alan Moore’s takeover of Supreme. Moore, renowned for creating Watchmen (touted here as the greatest comic book of all time, in any format), took on Supreme at a time when he admitted struggling to reach the ’90s audiences with his work. Supreme’s first appearance was in Young Blood #3, and Moore’s influence elevated the character outside of the typical extreme 90s comics milieu, adding layers of depth and legacy to a character previously viewed primarily as an extreme superhero knockoff.

Key point: Before Moore’s involvement, Supreme was the most consistent title among Extreme Studios comics.

[00:04:27]
The segment emphasizes the tremendous significance of Supreme issue #3 of Young Blood, claiming it should be valued highly (e.g., $300-$400) given its importance but remains undervalued by collectors. The planned deeper retrospective on Supreme signals that this comic marked a critical moment in Independent comics history and Extreme Studios’ offerings.

This segment also sets up a comparison with other Extreme Studios properties, notably Heavy Metal, a superhero team described as wild, visually distinctive, and arguably the best team in Image Comics at the time. Heavy Metal is paired with Supreme as a complementary force, though it eventually faded into obscurity.

[00:05:18]
Here, the speaker shares a nostalgic appreciation for Heavy Metal, highlighting characters like Lobster and Train and likening the team to contemporaneous pop culture phenomena (Masters of the Universe). The relevance of Heavy Metal alongside Supreme frames a more complex Extreme Studios universe beyond just Liefeld’s main characters.

[00:06:04]
The conversation shifts toward the market and collecting aspects of these comics. Despite the cultural importance and fan enthusiasm, the speaker laments the comparatively low value and recognition these comics receive today, calling some key issues “wall books” that merit serious collector attention but remain underpriced. This illustrates a broader commentary on how comic collecting and cultural valuations have shifted over time to the detriment of 1990s extreme titles.

[00:06:54]
A discussion of ashcan comics (limited preview editions sent to comic shops for promotion) follows, with specific attention to Top Cow’s pre-mainstream phase and the effectiveness of ashcan marketing. The speaker shows respect for rare ashcan editions related to Extreme Studios and Rob Liefeld, noting these items as collectible, historically significant, and often underappreciated.

[00:07:25]
These ashcan preview materials had distinct production techniques, including hand lettering (attributed to Rob Liefeld’s own style). The approach exemplifies the hands-on, grassroots nature of 1990s independent comic publishing and marketing — creators directly engaging with fans and shops to build buzz and sales.

[00:08:01]
Presenting these rare ashcans as valuable artifacts, the speaker estimates prices between $300-$700, arguing they are underrated pieces of comic book history. These ashcans were more than adverts; they became collectible items in their own right and intrinsic to the 1990s Extreme Studios launch strategy.

[00:08:51]
The segment credits Brian Murray as a key artistic force behind Supreme, suggesting his work and collaboration with Liefeld were crucial to the character’s lasting appeal and potential for reboot or continuation today. It notes the fairness of some criticism but also the enduring possibility of continuing Supreme’s narrative lineage, excluding some special editions which are not specified further.

[00:09:31]
The marketing approach during Extreme Studios’ launch, including postcards and preview images mailed to comic shops and conventions, is showcased. A rare postcard image with early production markings called out for its handmade quality underlines the industry’s DIY spirit at this time.

[00:10:17]
This section examines the coloring process as a combination of traditional and digital methods — initial colored guides created with markers and line art manually drawn, then scanned and digitally recolored. The early production workflow reflects the evolution of comic book color technology in the early 1990s, highlighting the artistry and technical demands of the era.

[00:11:02]
The speaker further focuses on an ashcan titled Image Extra, which previewed both Supreme and Heavy Metal, including cover pencils, inks, and finished pages. This ashcan, though modest in size, is rich in content and stands as a critical historical artifact showing how Extreme Studios connected its properties in marketing and narrative terms.

[00:11:52]
Highlighting specific content, this preview ashcan features heavy Metal from Supreme #1 and signals the intent to promote Heavy Metal alongside Supreme as a promising new team in Extreme Studios’ lineup. Despite this, Heavy Metal failed to maintain a lasting presence in the public consciousness, contrasting Supreme’s comparatively sustained cultural footprint.

[00:12:50]
The speaker discusses expectations and order numbers for these titles at the time. Heavy Metal was positioned as an upcoming successful team to support the pre-existing popularity of Supreme, but the team faded as Supreme transitioned into a darker, more complex antihero figure.

[00:13:44]
A notable detail: Supreme was launched as Volume 2, Number 1, hinting at a hidden prior continuity or backstory with Volume 1 yet unrevealed, adding layers of intrigue and planned legacy to the character’s publication history.

[00:14:24]
The segment laments that Heavy Metal is all but forgotten today, despite being originally designed as a counterpart and support to Supreme. The enthusiastic intent to build excitement and layered storytelling within Extreme Studios is emphasized, even if these efforts did not fully succeed in retaining lasting attention.

[00:15:06]
The speaker highlights the DIY, low-budget nature of early Extreme Studios marketing materials — examples appear akin to locally printed presentations akin to copies made at Staples or Kinko’s. This underscores the small-scale, grassroots beginnings of what would become a major player in comic publishing.

[00:15:50]
The final reflections acknowledge how Supreme evolved into a more psychopathic figure in the Extreme Universe, while Alan Moore’s involvement later elevated the character’s thematic depth and storytelling quality, connecting with themes established in Moore’s earlier works such as Miracleman.

[00:16:27]
Closing remarks emphasize the rarity and importance of these early materials, endorsing an appreciation for characters and teams like Heavy Metal that have been largely neglected. Brian Murray is noted as an ongoing presence who could inspire a revival, reinforced by the modern reach of social media.

[00:17:05]
A shout-out to the channel’s focus on 1990s comic culture, particularly concentrated on Extreme Studios on Mondays, Mark Silvestri and Top Cow on Tuesdays, and Jim Lee and Wildstorm on Wednesdays is given. The channel uniquely offers deep, detailed content on this niche era of comics culture.

Summary Table: Key Characters and Comics Discussed

Key Insights

• Rob Liefeld’s impact on 1990s comics is profound, with Supreme representing his standout creation both commercially and culturally.
• Alan Moore’s run on Supreme elevated the character from an ‘extreme Superman’ knockoff to a complex, legacy-worthy figure, enriching narrative depth.
• The marketing of Extreme Studios via ashcans, postcards, and previews was highly effective despite being low-budget and DIY in nature.
• Heavy Metal team, though talented and visually compelling, failed to maintain relevance and was overshadowed by Supreme’s sustained presence.
• The early production process for Extreme Studios comics combined traditional hand-drawn art and coloring techniques with emerging digital workflows.
• Collectors and comic historians often undervalue key issues like Young Blood #3, important for their role in founding Extreme Studios and introducing Supreme.

Conclusion

This video provides an insightful retrospective on Rob Liefeld’s Extreme Studios output during the 1990s, focusing especially on the character Supreme and the related team Heavy Metal. It highlights the evolution from early extreme comics toward more sophisticated storytelling under Alan Moore, alongside a nuanced discussion of comic marketing, production, and collecting culture in that era. The content emphasizes the enduring cultural and collectible importance of these works and calls for renewed attention to neglected properties like Heavy Metal.

00:00:10
Rob became a 7 million man at age 27. >> Aka Patterns. If it’s Monday, that means it’s extreme Monday. The celebration of Rob Lyfeld and Extreme Studios everything ‘9s. Now, here’s the thing. Sometimes we go outside of the 90s. Sometimes we go in the other direction, the way of the 80s, but the focus is Rob Linfeld, his career, his collaborators, and his overall contribution not just to American comics, to the American culture. Now, here’s the kicker. I loved, admired, appreciated Rob

00:00:49
Livefeld’s career for my entire life, aka Patter. I was there at ground zero the day X4 Summer one dropped. I had to have all of the trading cards. But hey, hey, hey, we’re adults now. We can look at things. We can be critical. So, it’s Rob Lifelt Extreme Mondays. The good and the bad. Rock and roll. Here we go. It’s extreme Monday. My AK patterns. We’re talking this guy Ex uh Supreme today. It’s extreme Monday. Can I talk? I feel like I’m fumbling my words. I recently profiled

00:01:31
how Rob Lyfeld and co how how they were utilizing Supreme where it was at this time, right? Like look as a adult male, right? Like you I read this in about five minutes, maybe six. But when I read it now, like it really it does kind of like bring back a little bit of that teenage mind to where like Superman was just a like, you know, like it just he he didn’t get it going and just seeing a character that was a Superman like analog literally punch someone so hard that their fingers fly apart. He punch his forearm here like it

00:02:18
was it was a revelation. I recently profiled this exchange on this channel, the blood blood strike Supreme matchup, but Supreme, right? Like goes back to to this this in my view, Young Bloodood number three, which has I will always reference it because I love it so much. there. Rob Lifel drew in Clark Kent here, right here with the ext uh with the extreme, not extreme studios, but Image Comics Universal Reporter. Like this girl is in all the early Image books. Uh as a read this is you’re almost just like, man, like what what

00:02:57
are we doing? You even said that to yourself as as a kid reading this. But we flip this over and we get something that in in in my view. If we if we really love comics and we read them, the history and just like where the characters begin versus like where they end up is is just always a fascinating note when we explore comic book readership, reading history, when we get into the mind of some of the creators like to me like that’s those are the crevices to dig into. Supreme later, right? Like, and forgive

00:03:43
me if I’m just rehashing stuff. He Supreme gets taken over by Allan Moore, the the guy behind the greatest comic book of all time. Not just superhero comic or manga or anything. Watchmen is the greatest comic book, greatest collection of sequential storytelling we’ve ever seen. So this guy and a little bit of a comeback for Alan Moore, right? Because he uh even in his own words, he he could not figure out how to appeal to audiences in the ‘9s. Supreme’s first appearance is issue three of Young Blood. I don’t know

00:04:27
how this is not a $300 issue, $400 issue considering that Supreme is look, pun intended, the Supreme book to come out of all of Image. what Alan Moore transforms this book. And keep in mind, Supreme up until Alan Moore also was the most consistent of the extreme titles. We’ll profile this this year. We will expect a whole Supreme retrospective on on this channel, but we get something a little bit different here, right? We get Supreme, but we also get heavy metal. and heavy metal. I just remember

00:05:18
thinking that this was the like the best team in all of Image. I love the name. I just liked how like wild looking like, you know, everyone’s talking about Masters of the Universe right now. To me, like it’s like you got Lobster here, right? You get you get a train. But I just thought this team was awesome. And I love the idea that they were paired with a absolutely deconstructed version of Superman that was readable and he was like, you know, like it’s so interesting of a of a character and no one was kind of reading

00:06:04
Superman. So, like this was like your guy, but this is a dollar book. And it’s to me it’s a little bit of an illustration of how far we’ve fallen uh as look, not just a readership, but collecting cuz this should be a wall book in every single comic shop. It should be at least $300. And then we get this. We’ll we’ll be profiling uh a couple more ash canes on this channel. This is an ash cane. You would mail this out to comic shops. And uh we we’ll profile this on Top Cow Tuesday, but this is one of the better

00:06:54
ones of the era cuz it really it g it gives you some artwork we may not have seen or am familiar with or little used artwork, but it gives us these like character profiles. But you know, Mark Sylvestri and crew at the at the time Homage Studios Top Cow is not quite a thing yet, but we get like right a really good I mean if you’re a comic shop and you you get this, you’re kind of saying like I’m I’m ordering this book and and you leave it on your front counter. So at one time you would go to

00:07:25
comic shops and you would see what ash canes they had and and yeah, you would be able to be like I can I order this? Like I want this. And that’s a little bit of how they were built. The image guys made these collectible. You can see, you know, they kind of come like uh signed. I don’t even know if if this is a Mark Sylvester signature. I think this is like a Rob Lifel signature. I could be wrong. So Rob Lifeld to launch image and this is one of the rarest like this is about $300 and I think even this is

00:08:01
underpriced. I think these should be $6 or $700. These are Image Eye Young Blood Robfeld slinging these at conventions. You can we can tell by the lettering, right? Like look at the lettering. But these were ash cans. This is how we sold new ideas. And that I think they were highly effective. They became like publishing ventures of their own outside of their original purpose. This is one of the only books I keep protected at all times. So today’s topic supreme right here, Brian Murray, who never gets

00:08:51
enough credit. I think Brian Murray is he’s the artist, right? I think he is the driving force. I think Rob Lyfeld had a little bit of providence, a little bit of vision in Supreme. I think he knew that this somehow could carry on. I believe a Supreme comic can still be published to this day. I believe we can continue everything from before. Uh I think some of the reing is fair. we just leave out the uh special editions, the annuals, the oneshots in reing, you know, because we got issues with Rob Blackfeld’s issue, Young Blood

00:09:31
100 reing. How do you introduce this to an audience? And Extreme at the time, uh a couple couple postcards, right? Like so these you’ll get these at conventions, but you would also they would mail these out to to comic shops and we would get this image. Then we have this. I don’t know how many. Some people think there’s less than a hundred of these available. This is I brought the ash canes out so we can measure it. This is not even an ash can. This is a preview. It’s a preview.

00:10:17
We see here this on the left Prisma color markers, maybe some doc margins. They they would scan this in and then they would uh recolor it on a digital level. Like this is this is how some of the digital coloring took so long. Uh we would kind of call this we call it coloring but it’s somewhat of a color guide. But then now the computer guys would just recreate this. So we get a lot of this early production artwork. We even see on the postcard digital practical. And then we get into the guts and this

00:11:02
is so interesting. This is an ash can image extra featuring heavy metal which will appear in Young Blood 3. Heavy Metal and all members of Heavy Metal 1992. Brian Murray. Brian Murray probably still owns right the rights to these. But there, this is a preview of Supreme, but also of heavy metal. So, we get everything we get in Young Blood 3. We get some extra artwork as you should with ash cans or preview books. This again m doesn’t even qualify as an ash can just based on its its size. Get the cover pencils, inks,

00:11:52
get some finished We get some finished pages here. But look, heavy metal from Supreme 2. Give me one second, guys. I need a little bit of this coffee. So, it’s a Supreme ash can that backdoors heavy metal. Look, heavy metal from Supreme One. the and the vision for this is that we have we already have a character that sold well, right? Like he sold well in in Young Blood 3. He’s going to sell well in Supreme number one. I think by the time this is made, right? like maybe orders like they’re seeing some orders order

00:12:50
numbers and they’re saying to comic shops that heavy metal is like the next thing coming out of Extreme Studios but in tow they will be with Supreme and it’s positioning this highly forgotten team right like these no one look the your average Rob Lifeeld fan or wannabe fame boy. Uhhuh. They still exist. But even a carno of this era, you can measure what they know if they can name some of these characters, if they know about Skyreker, if they know about riots. So what’s happening? Supreme like leaves Earth for 10 years.

00:13:44
The coolest part about the launch of Supreme was that Supreme was a volume two number one and volume one would yet to be revealed. There was a level of intent and intrigue built into just the presentation of the Indisha. Like the uh the Indisha is like right here, right? Like Rob Lyfeld had enough of a vision for this character that I really do feel like a a talent like Allan Moore. It was lowh hanging fruit for him. But we don’t talk about heavy metal anymore. We don’t talk about yes the

00:14:24
level of anticipation of this superhero team that was the counterpart to Supreme that help him carry carry them through some of those earlier issues and the intent was there. The intent was to build a level of excitement for for this. And I just think this what this like what this shows me right here is again like this is all you need. You don’t even need to be like the size of something. You just need to copy it and print it. You cut it up. I mean it just looks like it was made in a local staples,

00:15:06
right? Like a a local Kinko Kinko all night. even back in California. Just get the idea out there. You You have something to show, show it. Who cares if it’s perfect? We can see how much of this got reworked. I’m not even sure if this image got reproduced. But yeah, and then Heavy Metal just fades into the darkness. Uh, Supreme kind of just really becomes more of a psychopath rolling through the extreme universe, but then Alan Moore, right, like elevates the character to like a legacy level and and it really continues

00:15:50
a lot of the themes we saw Alan Moore set up in Miracle Man. But yeah, AK Powder, I I just wanted to to share this with you because I think this is so rare. It’s so unexpected. We’re also highlighting a bunch of characters that I I just think should never have faded away because I think this is such a great team. Brian Murray here, I you know, he’s he’s still there, right? Like he’s still he he’s still with us. I think he’s he’s a professor now. Like, yeah, I don’t know if you could

00:16:27
bring back these characters, but we all have social media. And Brian Murray should remind us every once and again that Supreme was led by Heavy Metal. Really cool stuff, guys. Rare item. We’re going to cut right in there, aka Patters, for a quick reminder. If you love 90s comics, you have found the channel for that. No other comic book channel in the history of YouTube, in the history of all of the internet goes into 90 comics as deep as this. And on Mondays, we focus on Rob Lyfeld, Extreme

00:17:05
Studios, Extreme Mondays, Tuesday, Mark Sylvester, and everything that comes with him, including Michael Turner, Top Cal Tuesday, and Jim Lee and his dominus and and his rise into the DC executive suite. Jim Lee and Wildtorm Wednesday, Monday, Tuesday, and Wednesday. Nothing but that 90s content drip for all of you. Now, back to the video. Heat up here.

PETER A DELUCA AKAPD

AKAPAD is a versatile thinker known across Philadelphia, Europe, and even in the vast Multiverse as The Electic One. By day, he excels as an IT Mastermind, assisting individuals, both big and small, with a wide range of simple and complex solutions. In contrast, he is also a talented illustrator, a passionate comic book enthusiast, a creative content creator, and an active live streamer. Additionally, his podcast, “AKAPAD The Film Buff Podcast,” boasts an impressive catalog of over 500 episodes available on nearly every major platform.