Like Dave And Busters

FIRED AN ADDRESS THIS DECADE OF SKILLS AND mistakes.

is interesting to see how artists like George Perez or Doug Mahnke can work for decades, slowly always and constantly improving with each project.
Other colleagues like Frank Miller, Jim Lee and John Byrne entered the comics industry as an explosion of creativity, reached the highest peak of glory and then slowly began to decline in decades.
And still other artists like Neal Adams, Steve Dillon and David Finch, do not improve or worsen or change of all, his art is exactly the same as decades ago.
Finch is a typical superhero artist. He does not seek to be David Mack, Jae Lee and Paul Pope are these guys are interesting? If they are, because the medium of American comics artists need good superhero who do not try to be stressful in their art Why? Because comics are aimed at teenagers who refuse to dramatically incisive art and if these readers are not captured, there will be no adults to read in the future. The media just needs people like Finch or Ethan Van Sciver to survive will there be guys who have entered the world of comics in part by the art of Mike Deodato or someone like Mike Allred? It is likely that if many of them will grow to follow the work of Sean Phillips, but Phillips is not making the kids buy comics and that's the only thing more important to survive this environment.
In past decades saw the growth and respect hard-earned stylized people like Mike Mignola, Tony Harris, JH Williams, Sam Kieth, Bill Sienkiewicz, etc. Anyone can always find some reason to dislike him something, if you want to find a reason to dislike canonized works as Watchmen, Fantastic Four Lee / Kirby, Love & Rockets, etc.. will probably always reasons.

world is something, the more popular something becomes, the more people try to devalue. That is the nature of the animal kingdom and is experienced in all artistic fields.

Few people are interested if someone "Deserves" to be the artist of one of the characters in the second or third row, one might think that the artist is good or bad, but overall, it is a topic for discussion.

That happens when someone has been made to draw cartoons in the first row, these creative always be under scrutiny.
What I am saying is that the nature of entertainment to be enjoyed by the majority, opposition to the minority does not necessarily mean that work can not be of any value or talent.
In this decade we left, we saw a lot of writers versus artists in an environment where so many writers had not traditionally characteristic. Traditionally means that ten years ago, more or less, there were many of them and characteristic, I mean those who were able to depart from the rest of the industry with intelligent and thoughtful work.
This is also part of the problem in the market for writers. The business has traditionally been reluctant to support anything that does not follow the rules.

In the eighties there was a lot of experimentation done by seasoned professionals and novices to produce what is and today, little or nothing that is remembered and revered. to popular and pampered like Alan Moore or Brian Michael Bendis are being confronted with his radical ideas with some serious comic fans really do not like.

This is the kind of mentality that the product has been battling his entire life. The market does not tolerate anything lighter than it is out of the rules.
In the twenty-first century was a change, there is a greater diversity that is being supported by both domestic and international market, rather than the previous decades, thanks to top writers and popular cartoons.
Today, things like "Madman", "Y, the Last Man" or "Walking Dead" have found their audience. And in the comic
conventional are people like Ed Brubaker pushing the boundaries of what is acceptable in collections of super heroes. Still, one has things like "Infinite Crisis" and "Civil War" at the top of sales.
The prominence of writers in comics has improved greatly over the last decade, but that has been thanks to the outstanding examples of typical comic writers of previous decades.
Just look at the work of Steve Gerber, especially in "Howard the Duck," an eccentric personal vision in their work as never before seen in those seventies. Steve Englehart and Jim Starlin expanded as could be done with the super heroes to write stories that crossed time and space but exploring policies, sex-approved by the code, and the private lives of the characters in any editorial. Writers like Roger
(Avengers) Stern, Chris (X-Men) Claremont, Peter (Hulk) David and Marv (Tomb of Dracula) Wolfman won a large following by collectors because they were perceived as better than focused on their work.
the revolution in comics typically come with people like Frank Miller, Neil Gaiman, Grant Morrison, Warren Ellis, Garth Ennis, Jamie Delano, Howard Chaykin would achieve changes in the industry and further expand the international market.
While the artists 'hot' got a lot of fans cheering and there were also writers who definitely distinguished among their peers.
When you start this new decade will have to wait for the stories of any kind be made wisely know to attract readers and thus a lot of interesting material that will grow with time.
hope to be there to see it.
Written by Hector Augusto Sovero Gastañeta.