>>104457664Another thing to keep in mind, is American comics are like the royal family - lots of inbreeding in terms of visual styles:
- Joe Madorrhea started off as an Arthur Adams clone (who himself was a Michael Golden clone, one of many), before he imported Capcom Design works and started swiping wholesale from Japanee artists like Pat Boone swiped from Little Richard.
- Brian Hitch started as an Alan Davis clone (check out his She-Hulk issues) before he went turbo autist on photo reference.
Writers of the 2010's are similarly piss poor, what was Bendis's claim to fame?
Regurgitating Stan Lee's Spiderman run.
Matt Fritchman is the poor man's J.M. DeMatteis.
I'm hard pressed to think of a modern American funnybook writer worth a shit, it's a bunch of wannabe Hollywood writers biding their time until a buddy brings them up to write on Westworld, or some other HBO show.
I suspect the Image 7 burned mainstream publishers so badly, that they pushed for the era of "writers", because writers are more docile and can pump out more work.
If an artist sticks with a mainstream book for more than four issues these days it's a miracle. That's fine too, because creators are getting wise to putting their best effort into properties they own and profit from, rather than providing their labor for another swing at keeping Spiderman or Batman relevant to the Zoomers.
Sorry, rambling.
The only artists of the 90's I still dig are Jim Lee and Dale Keown. Their work holds up today. Pity that Keown doesn't do more work these days, resting on his piles of Pitt-bux up there in Canada.
He's one of those guys like Mike Zeck who I'd love to see crank out a few more issues of bad ass comics.
