Of course, when I write/draw my creator-owned fare, I don't consider the broad comic book fanbase yet I must for my franchise work in order to gain MORE franchise work. And, let's call a spade a spade, I don't have an indie/alt "hit" w/BILLY DOGMA nor OPPOSABLE THUMBS, and so, my particular brand of neo-retro style hasn't made the A-list. Ergo, I struggle.
Two years ago, "neo-retro" was how Marvel editor Axel Alonso described my style for the comic book market, comparing it to cartoonists like Mike Allred, Cameron Stewart, Darwyn Cooke, etc. It's a term that describes cartoonists who either have a history in animation or grew up on Silver Age comics. I adopted that fair term for my style and that is the station and critique I'm responding to. I can't scold Marvel and DC Comics for making sure they can sell their top franchises to a steady fanbase. They do explore other avenues w/their Max, Marvel Knights, Ultimate, Vertigo, and now, Focus imprints, and they do take the occasional risk [my and Dorkin's NIGHT FALLS ON YANCY STREET, Peter Bagge's SWEAT SHOP, etc.], but I'm curious to see how well Cooke's THE NEW FRONTIER fares and if Pulido's HUMAN TARGET stand the test of time. I'm hoping the cartoonier style of Kyle Baker's PLASTIC MAN and Jeff Smith's upcoming CAPTAIN MARVEL mini-series smash down walls, cracking the mainstream door open for more neo-retro/cartoony style genre comics and allow me to work.
In the meanwhile, I'll have to add pointy ears and a black cape to BILLY DOGMA if I want it to sell more...