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LiamRSharp — I got angry! Pt.2
Published: 2014-06-19 22:45:24 +0000 UTC; Views: 5974; Favourites: 27; Downloads: 0
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As I said - I got angry. Frustrated. And I see it a lot. How DO you get your work out there? How do you get seen?Getting into comics is something a lot of people want to know how to do, but there's a lot of questions you want to ask yourself first. There is such a vast array of genre and sub-genre, technique, approach, and so on, that it's important to be clear where you want to go with your work at the outset – and you have to be REALLY honest and tough on yourself.
Do you want to draw:
Superheroes?
Manga?
Romance?
Antho?
Horror?
Sci-fi?
Erotic?
Intellectual?
Historical?
Low-brow?
If you're into the capes and tights and you want to go mainstream you're going to have to want it incredibly badly, as the competition is the most extreme I've ever known it right now. There seems to be more titles than ever - and with the digital revolution more people are capable of producing sleek, mainstream quality art - but right across the industry there's an enormous amount of competition. The world is a much smaller place!
All of the above requires different skills - knowledge of anatomy maybe, skill as a cartoonist, empathy, good acting chops, perspective, choreography, lighting, animal anatomy, etc. (I'll come back to all this artsy stuff on a later post!)
One thing I will say, though, is that I'm NOT seeing any break-the-mould, edgy and accomplished new types of comic art at conventions. Invariably it's by-the-numbers, very average 'superhero'-type fare at a basic level of ability - what I would typify as around three or four years off pro-quality-standard, but showing some promise, if not terribly inspired. A pin-up of Spiderman or Wolverine typically. No storytelling. Very little in the way of backgrounds. I often wonder when we're going to see the next Bill Sienkiewicz, Dave McKean, etc. - the next great stylist. Originality is not only becoming rarer, it seems less desired - either by the industry or the fans, who seem want above all else consistency and simplicity. I think we have to fight this! I think it's important that we reach, and stretch ourselves as artists, and that we educate our readers so that they grow with us. Unless comics are prepared to push themselves in a literate and artistic sense then they are not worthy of being considered 'true' art. It deserves it's lowly reputation.
Push yourselves people, and in doing so, lead your audience to higher, broader, more educated expectations. And push yourself as a reader too.
You might be interested to know that very few artists or writers are "discovered", becoming over-night sensations.
I'll actually say that again: very few artists or writers are "discovered", becoming over-night sensations.
It's a shit-fight!
It's very tough to sustain a life as an artist for anybody, and that's the harsh truth. That said, if you keep fighting, keep learning, be open, be bold, be polite, and deliver on time, it can be the most rewarding of lives too. There's no quick fix, no easy answer, no clever techniques. There's no right or wrong, and sometimes the best people go unseen. You simply have to keep doing it, and strive for that lucky break - and luck WILL play a part, along with the sweat and tears. And after all THAT there's a CHANCE to become an over-night sensation!
Marvel has a full-time talent scout now. Most UK writers will have cut their teeth in 2000ad, and that's certainly the case for many artists too – even though the art in 2000ad isn't necessarily done in a US mainstream technique.
If you can't get in to the industry through a break in 2000ad, or you're US based, then you have to go direct to the US editors at DC, Marvel, Dark Horse and so on. You'll most likely find one of them at a con – at which point you can sign-up for a portfolio review, endure any criticism or advice they might make about your work, and get the details you need to submit work. It's not easy, and it's fraught with disappointment – even as a pro of 27+ years, I never got any of my personal pitches off the ground! It's a lottery.
However - there are some BIG NEW OPPORTUNITIES IN DIGITAL, and right here on dA, and with Madefire.
More news about that very soon!!!
Meanwhile - tell me your experiences.
What is your view of the comic industry at present?
What about illustrated storytelling in general?
What would you like to see that you NEVER see in story-based art?
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Comments: 84
Tom - amazing, thoughtful, eloquent response. This deserves to be its own journal. Thank you for this. I'm going to have to read it again to take it all in…
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What is your view of the comic industry at present?
-It feels like a "good ol' boys" club. I've talked with other artists and writers about breaking in, and they're VERY cryptic about how they broke in, or say shit like "I smoked a lot of weed. That's how I got in." Yes, a writer actually told me that.
What about illustrated storytelling in general?
-I feel with every comic you read today, there's something different about it. Some artists go for the sequential style like Frank Miller, and some go for the single image that will tell 2-3 pages of story in it like Bill Sienkiewicz. I love it all.
What would you like to see that you NEVER see in story-based art?
-I would LOVE to read move comics like the Batman story, "Death Strikes at Midnight and Three". I fell in love with that story, and when I practice my script writing, I go for that style. Ash #0 followed along those lines, as well as a different comic prose writing in Icon, issues 24-25.
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There's no easy answer, and the 'boys club' thing is a metaphor I've heard many times. Every company has its cliques, it's members-only kind of alpha group, and getting in them is very much about how well you play the game - and that's after you've shown you have talent and are prepared to work hard! I've never heard that from a writer before though! I can't imagine how that would help!
Thanks for your awesome answers! Appreciated!
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Like everyone reading this, I desperately want to work in comics. But, unlike most, I've absolutely no desire to work for Marvel or DC. Sincerely and with all due respect. I'd do a story or two for them if they wanted but I'd feel like I was wasting my life if I worked on their books for any significant length of time. Some of us don't want to be the next whoever is drawing Spider-Man these days (I have no idea). Some of us would rather be the next Tyler Kirkman. For me, working for a company like Image Comics wouldn't be a stepping stone -- it's my wildest dream -- my ultimate goal.
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I think things are really changing. When I set out that wasn't even an option! The indie route is definitely more of a possibility now...
Cheers for the reply!
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Independent creators struggle in any field but those that do make it can carve out a life as good as anyone at the big corporations. Considering how few are chosen to make a living or make a name for themselves at the big companies, I think the odds are about even.
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You're right - neither path is easy, but it's definitely evened out for indie creators - IF they have talent, and can market themselves.
Cheers again. You make great points!
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This was a very good post. Thanks for the brutal honesty and the passion you have shown. Sadly essays like this don't reach more of those who need it.
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Thank you. So glad you found it useful. I've embarked on a series of these posts now. The third just went out!
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Fantastic post! And it was surprisingly more optimistic than pessimistic if you ask me.
To be honest, I pretty much feel the same way as you in the comics industry. I only read Marvel and DC comics occasionally now, compared to when I was younger. I'm finding comics from indie publishing companies nowadays. Now, don't get me wrong, this is NOT about mainstream vs indie. It still boils down to good storytelling and aesthetics(although subjective). But I noticed the less well-known publishers tend to have better stories and interestingly diversified art nowadays. Sohaib Awan, creator of 'Jinnrise' published by IDW Publishing(I recommend you read it if you haven't!), also have similar sentiments. He said in his acknowledgements, "In the end, what ultimately makes genre storytelling so unique? One can be enlightened while being entertained. You really can have the sizzle with the proverbial steak, as one's imagination breaks free from the bottles of our minds." I couldn't agree more with what he said, though sadly this is pretty much missing from comics nowadays, at least from the mainstream ones.
However, this issue and originality isn't just happening in the comics industry but in every art industry and field. Music, film, books etc. face this kind of problem. Heck even the internet such as this website. In regards to originality, it is very difficult to come up an idea or style that is 100% original nowadays. BUT it doesn't mean it is impossible. Some artists are getting more and more lazy and just take the easy way out, especially when it comes to getting noticed. While I do respect people who do fan art and such, I have this feeling artists just do fan art to get noticed. It's not bad, but it isn't really a good thing in the long run. However, that's just me I guess. Coming back to the topic, most industries in any sort of art now don't give a damn about diversity and churn out meaningless trends nowadays, story or aesthetics. This isn't to say a popular artist's style is a fad, but rather people should explore more. I used to just focus on getting that Marvel-comic style when I was younger, but overtime I explored more artists from different fields, and it has widen my eyes and helped me a bit in my art as well. And apparently, my influences/inspiration are unexpectedly diverse, such as Da Vinci and Picasso!
I'm interested in illustration,film,animation and comics. These four are my favourite mediums in storytelling and art. What I would like to see and make is something like what Sohaib Awan said. Enlightening yet entertaining stories. If you want to have an idea or what kind of stories I would like to make, it would be 'District 9' and 'Rango'. These movies make you think and feel, and you learn some things along the way. I have lots more but there's too many to list.
Thanks again for this post, it has been good for my brain.
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And your wonderful reply has been good, in turn, for MY brain!
Thank you for this in depth response. I agree across the board with your thoughts and sentiments. Really appreciate it. I decided I should keep going with this theme and make it a regular thing - man, I have SOOO much to say about the industry, and my experiences within it. Often I think people share their successes more than the journey and getting there. I've always been MOST interested in the journey!
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Looking forward to the next post.
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I agree with your comment about the current state of art styles - marvel and DC seem to have taken a step backwards when you compare the current output to the more forward-thinking works they published from around the mid to late 80s to mid 90s
if you look at that period, there was alan moore and frank miller making new ground in superheroes, the creation of DC's vertigo line (which is now a shadow of what it once was), marvel's epic imprint, including bill sinckiewicz (as you mentioned) on electra, stray toasters, etc, dark horse and marvel printing moebius, and so much more.....there seemed to be much more variety and experimentation from the big US publishers
now marvel's big books have constantly rotating art teams after almost every issue or every few issues; some of the stories themselves can be impenetrable with storytelling that can lack clarity, both from the writer and the penciller, and worst of all are the epic annual crossovers, which seem marketing-driven, soulless affairs, where the event takes centre-stage and characterisation and emotion are lost in convoluted plots
So now in the US, I can only think of image comics, mark millar's books and madefire that are actively creating new ideas and possibly some of the best, forward-thinking horror and sci-fi/fantasy comics
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I totally hear you. It was a genuine revolution in the 80s. Incredible really! And all that fire and passion was slowly lost - the innovation, the intelligence, the LOVE of it. We could accept Ted McKeever's Plastic Forks, for example. We encouraged wild and fascinating diversity. But that seems to have been lost to us, sadly.
I try to encourage that always, and to push myself too. I may not get it right - often I get it VERY wrong - but I learned so much in the effort and the trying!
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Great writing, dude!
I saw this on Facebook and thought I'd give it a read.
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Glad it struck a chord!
More to come!
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Well at least you got published on the FB page of dA(and that's what brought me here btw). Some of us don't get even that kind of attention. Now, I don't know you, you may be a decent, honorable person, or the embodiment of everything I fight against in this world, so I'll preserve neutrality, even though I relate to the mood of your message.
I'm into moviemaking/photography/writing. Pretty much the same story. Doesn't matter how hard one tries or how good his or her works are: without luck or the right "connections" you're doomed to remain in the ocean of obscurity with the world not acknowledging your presence at all. Art is so relative I can splatter a bucket of paint over a panneau and if I get lucky some rich fool's going to buy it for millions. On the other hand even all the efforts I can spare in this life to craft something detailed and complex won't get me a nickel because life works like that.
What is worse, as you said, is that originality is becoming a taboo-even if someone with original work gets noticed and succeeds they will still get a lot less fans, recognition and money for their work, compared to a lot more boring, mainstream work. Sucks bigtime. I admit I have no knowledge of the situation on the comics scene but your description fits well with the observations from my areas of expertise. Publishers would seek something that will sell without judging or appreciating its qualities. A deviation from the established product standards will be considered too risky as they won't know how well it would sell. I can only imagine how many awesome stories were declined because of that...
So from this point on, whether you'll break through that wall or not...only time will tell. Some manage to do it, with a lot of persistence, hard work AND a fair share of luck. Many others remain undeservingly unpopular. It's a shame, really. I can wish you a successful future, but it'd be irrelevant as what we wish for and what will happen have a big gap in-between full of variable factors.
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Thanks so much for this. And being up front - I've been very lucky. I'm one of the guys that DID bust through, and I talk from a perspective of having made it into the inner circles, and then been kind of gently bumped back out because I dared to try a thousand different things that didn't conform.
I also am not writing out of bitterness, or resentment, but because I genuinely believe that comic art could be BETTER. That the industry could be BETTER. That we have a chance, as creators, right now, to change things - IF we take that chance.
I imagine in film that's true too. dA is like Vimeo or even YouYube - you CAN get seen, if you do something great, or you market it well. You'll, of course, still be up against all the low-brow, populist, magazine, celeb tripe memes that rot brains and manufacture more mindless consumerism, but you have a shot!
Great great response, and thanks a ton for taking the time. I think there are HUGE crossovers in these mediums, music too. It's the artist's lot to be exploited, but only if we let that be the case.
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Good read!
Added to Favourites, so I can read it again, and of course so others may have the pleasure too
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Cheers Ken! Thanks a ton for sharing. I feel the start of a movement forming...
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You´re very welcome.
Glad to hear
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I don't normally comment but I think this applies to all art fields. The hardest part is getting discovered.
I don't normally buy comics as I prefer reading the free no name ones ie (off-white, strays, order of the stick, LFG Comic etc). I also read manga if that counts.
My favorite part of these is that they are UNIQUE. Each has a different art style and the stories are interesting enough to keep me entertained.
The third question is a bit tough. I've read a lot of comics (non DC). I've pretty much read everything from human to animal characters to supernatural creatures.
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Cheers for the reply! Have you checked out the awesome free comics up here - www.deviantart.com/motionbooks… ? There's some insanely great stuff - MONO, Treatment, etc. Oh, and a few of mine...
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Oh nice, I haven't seen that page before. I'll go check it out. Thanks!
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This is a very well thought out and encouraging message.
I think that it does take hard work to accomplish your dreams and originality is something that is always great for the story telling world.
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Thank you very much for the reply. Appreciated!
And I agree with you 100% - but it's good to have a challenge! To try and rise to greater things!
That said - I think it's also cool to just love what you love. Loving what you do is, ultimately, the most important thing.
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I like how this is geared toward comic book artists - but is so eloquently written, that is applies to art in general.
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Thank you! I'm going to follow up more generally in future 'I got Angry' posts!
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My dream since I was a little kid was to draw for Marvel. The only problem is I haven't really followed Marvel or any mainstream book for the past few years. Instead I've been going backwards and reading stuff by "The Masters" from the 60's and 70's, as that is what I feel is most beneficial for my art.
As far as my own artistic journey I've been freelancing for the past 4 years and doing things my own way. 100% of my income is made through my art, and by working independently I'm able to find my own voice and work however I feel comfortable. People have described my style as old-school or classic, but I just draw in a way that feels comfortable to me, and is also informed by classic artists of decades past.
I don't necessarily think this is a bad thing, though, and I tend to prefer other artists who look to the past for inspiration (Chris Samnee, Paolo Rivera, David Aja, Cliff Chiang, John Paul Leon, Michael Lark). It seems like the Big 2 are more concerned with style over anything else. I do have to say that much of the Big 2's art is VERY clean and technically very precise, but the flip side to that is that the art can feel very sterile. I also don't see very much good visual storytelling in these books. Many artists forego things like a pleasing composition or basic storytelling rules in favor of a cool/X-TREME shot.
Will I ever work for the Big 2? I can't tell at this point, but I have the motivation to improve. But storytelling is the most important thing to me above all. I'd rather have well-drawn work turned down because the storytelling is weak rather than having work with good storytelling turned down because the figures/finishes are weak.
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Ian - it's SO important to learn from the past, and from the greats! I also think it's really important for creators to study outside of their mediums, and study the work of the finest painters and illustrators of all time. There is a legacy, and each generation must learn from the past. I'm a fan of artists that have been able to incorporate techniques from illustration and fine art into their work. For me, at least, it brings a freshness that is really exciting!
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#1.) The comic industry these days is OVERsaturated with talent; and it seems to be, as you said, talent at all levels, more-so that of the beginner stages. While it would seem that lots of books are being published, mainstream companies focus only on those that sell (obviously) and the more 'indie' books have trouble selling at all regardless of level of skill.
That being said, I think (and I've heard someone say this before) we are entering into a good time in comics for those artists that don't necessarily make the cut for the Big Two or others. It has never been easier to get a book published (self-publishing) and the digital mechanism makes it easier still. Now with companies (like yours), there is a new/exciting twist on the digital form of comics. And I think that too, will be seeing another metamorphosis soon into something even more exciting.
#2.) Storytelling in general is lacking. Due to the influx in "artists" out there, lots with no formal experience or training at all, storytelling has turned into a very stale, unexciting means of portraying comics. And it's not to disrespect any of those artists, it's just that they don't understand the ENTIRE purpose of storytelling. It's more than just planning out panels and laying out pages that catch the eye. It's story progression, through the MOST exciting panels they can offer. There needs to be movement in the eye of the reader (the camera) to show various degrees of perspective. This whole "show a side profile of characters talking, and cover the whole page with it" needs to stop. Like you said, artists need get more dynamic and push themselves. It is SOOOO much easier to draw a side profile of a character talking, then show the same conversation from a birds eye view with a solid background.
#3.) Good question. I don't know...yet.
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Lovely inks Jeff!
Thanks for the great responses here. I think you're right - but even self-publishing, while it's easy, is really hard to market. Finding a dedicated audience is the mightiest task that faces us all. We are in Warhols age of famous for 15 mins, where everybody is the hero of their own Facebook page. Somehow we need to all become our own patrons, as a community, and genuinely support each other. It's a journey I'm on. We'll see where it leads!
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Thanks very much Liam; much appreciated sir.
Absolutely; that's the down side to publishing: you're not using an established character or set of characters which leaves the reader 'vulnerable' to the book. They begin to think, "do I really want to spend my hard earned cash on this book?" and have to take a chance.
I think it would be wonderful if we could somehow as a 'collective,' join/support each other in our endeavors, but also do so at a reasonable cost. We have that a little bit on places like dA, or Penciljack, or DigitalWebbing, but not a place solely for the likes of artists.
There is the site: Patreon, where you can lend support to people for a price. Excellent idea, right on track, but they've opened themselves to ALL topics on the market, not just to artists. (my business sense tells me it's to not turn away business, hence larger profit) If there was a site that offered THAT, then I think we'd be on to something.
Best of luck on your journey!
Cheers
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I think the problem with discovering and employing artists is that the big companies are thinking in the sense of what's marketable and who already has a fan base. They'll look for artists that have already build some reputation and try them out on their titles and see where it goes. It makes some sense but as far as discovering unknowns forget it it doesn't seem to fit the business plan.
I love the type of art that you present as well as artists like Bill Sienkewicz, Sam Kieth, Todd McFarlane, Barry Windsor Smith, Walt Simonson etc. in the sense of that exquisite detailed line-work and gritty exaggerated realism and I do miss it from comics today but I guess it represents more the 80s and 90s than today's tastes.
I don't think it's a matter of loss of artistry as there is great technique to be found in a simplified approach but just that it reflects today's tastes and may be a reaction to the detailed approach of the past that who knows when it may make a comeback and be popular again.
It's just that taste is moving away from realism and leaning towards cartoonism and anime. I think James Harren is a great example of this new style and I enjoy his art just as much.
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Oh, and nice gallery BTW! You are certainly bringing something fresh to the page!
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Thank you so much for replying and generously commenting on my gallery. I am greatly thankful and humbled to hear from someone who I consider as great as yourself. You are a true gentleman and I'm honored.
You're right, it's a shame of the homogenizing going on and about the need for more variety. As far as feeling there is a loss of artistry, I think that is something that always has been going on from painting, architecture to music throughout every era and there are no longer what used to be considered masters of their art and its not easy to explain why.
As a fan of what I guess is now considered an old school style of art I think that's where a lot of the uniqueness and voice of the artist was. Like reading those old Marvel Presents Sam Kieth comics and being blown away by his approach and by today's standards its considered 'messy' and there are many other examples of great artists like that.
It's a shame it's not as appreciated any more but I grew up consuming and adoring it and I try to bring those sensibilities to my own art and it doesn't feel right drawing any other way if you know what I mean. I think as a creator it's important that you first have to please yourself and PRAY someone else likes it as well...!
Cheers!
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Excellent reply! It's funny that Anime has been around SO long, and it's finally become the norm in western comics. My comment is really about variety. What I notice is that people raised on an anime style tend not to be able to appreciate an expressive ("messy") line, splattered ink, exaggerated ("bad") anatomy. It all gets too homogenized, too much of the same, I think. And that stops us growing, learning, and appreciating a wider variety of things.
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What is your view of the comic industry at present?
I think it is a very interesting time. Lots of styles, lots of new types of readers are emerging right now, If editorials doesn't want them they don't stop and start their own webcomics, make their own sites, their own kickstarters. And you can show it to the whole world. It is a time to break old habits, there is a bunch of new things growing inside the indie comic industry (If I can call it that way 
What about illustrated storytelling in general?
I love it! I prefer to tell things more using art, color and expression that dialogue, maybe because I'm not good writing dialogues...
What would you like to see that you NEVER see in story-based art?
I don't think on anything right now, but I'll like to read more comics with a female as protagonist, not a sexy vixen, just a woman. I know a lot of comics already do it, but I'll never get tired of it
On a side note, I know a pair of artists from my country that got discovered and they never had to step outside my country, (one of them is now working for DC) This gave me hope I could one day make my dream of making comics a reality, even when I don't live on the usa or europe, even when my style is not that mainstream, nowadays that's not a big deal, thanks to the Internet and what I told you on the first question.
I can't wait for those news!
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Fantastic gallery! And thanks for the answers.
Agreed - it's easy to be found internationally, thanks to dA and the web in general. These are exciting times. I just strongly feel we need to pull together and indie creators, share each other's work, inspire new creators, and help build a new network of our own. I truly believe we can do it on dA, and through Madefire. The hardest problem for everybody is getting found. Between us we have an answer to that. We just have to commit to it!
Very exciting times!
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Hey there. First of all, thank you for sharing this valuable information and insight. I can't tell you how relieved I am to know I'm not broken or terrible just because I'm having a tough time getting up and running.
First of all, I agree entirely with the need to push boundaries. I personally really like to mess around with styles and bizarre layouts when I'm just doing stuff for myself. I'm a fan of the huge spreads and typography in Arkham Asylum and I think that approach should be explored a bit further. That's what I would like to see more of, anyway.
I recently started work on a webcomic for a freelance writer, and he seems to want the polar opposite, more cliche manga/cartoon stuff. Oh well.
I think I prefer the vast and ever-growing world of webcomics. I mean I do like a good Batman as much as the next person, but really something irks me about how little big companies like to stray from what is proven as successful. The internet at least seems to be a little bit more accepting of new ideas.
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Thanks for your great reply!
And there is no broken or terrible. We just have to play to our strengths, push ourselves, be honey, brave, and learn from all walks of life. Don't be afraid to stretch.
With you on Arkham! Some amazing layout and spreads. Great use of photo ref - something (ridiculously) that is frowned on. You have to learn from life. It's the only way to REALLY learn how to draw properly. I hate it when people say otherwise. It's like we're expected to know how to draw from birth without ever looking at anything. And you can't learn by just looking at comics… what kind of education is that? It's beyond me.
Web comics are so exciting. We need to come together as readers and creators, and really rally around the digital medium. Have you checked out the Madefire books in the motion book category on dA? Some amazing indie stuff, alone side the well-known brands. It's such a sliding scale of innovation. Very exciting!
Good luck with everything!
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I'm more of a storyteller than an artist and overall I find your message here optimistic.
Essentially the publishing industry is a big few monopolies and they've expertly butchered and corralled the Scifi/Fantasy I grew up reading. REH, HPL, even Clark Ashton Smith would have NO chance in today's market. Oh, plenty of make the barbarian stupid as he's strong, defeated by a woman fighter, smack down the genre, but really nothing out there except for a few niches and formulaic surface only stories.
I've collected quite a bit of rejection letters along the way, my fav was "Could not ok to publish because content made me vomit." but I lost it...
And even that is nicer than the MUSIC industry!
Heh, I really wish digital trading would do the damage to them they claim it does...
But, big deal, I'm just self-publishing my own sh-t and people might like it or not, I don't care.
We need to focus on direct to consumer marketing and let the giants just collapse under the weight they carry and drag, all those ancient, coveted properties, all the same song and dance.
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I totally agree - it's a very optimistic time! So much hope that things can start to really grow and evolve again as creators take control of the medium, make their own work, innovate, get bold, and dare to be themselves.
Drawing from the heart, creating work we CARE about - THAT is the future, and you're part of that.
Thanks so much for the reply!
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This is brilliant insight. techgnotic you gotta read this!
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As humans, as much as food and oxygen, our survival depends upon the extension of our lives through the expression and consumption of art. Different social classes enjoy different levels of the arts experience, according to wealth, education, travel etc., but there exists in every form of the arts – from painting, sculpture, dance, movies, plays, prose and poetry to fashion, architecture and personal technology – a constantly resetting median. Whether this is a structured restraint to maximize profits or the most efficient way of delivering art to the masses will remain an ongoing debate. What’s indisputable is that a new level of comic or movie art will be achieved, and will soon be followed by a glut of similar efforts roughly meeting the new median level of entertainment. But what will be inevitably missing is the sense of heart and soul of the innovators who pushed the art form to the next level. That’s the natural incremental evolution of human progress. But I think there comes a time when the whole system becomes so exhausted from mindless repetition that a certain cynicism becomes the only form of true enlightenment and what we loved about our artistic obsessions gets forgotten. That’s how things were feeling just before the astonishing birth and expansion of the Internet and all the new technologies in storytelling that came with it. The pathway to becoming an artist had become totally Quixotic. The new stories being produced to corporate standards were tired and predictable. The bursts of vision were rare. From the depths of the 90s doldrums of comic and film storytelling we have progressed to the diversity of DIY opportunities making end-runs round the traditional corp-controlled career paths suddenly available today – we have a true arts Renaissance in the making. That’s what I am hearing in your journal Liam, and in the many passionate responses. Liam is right to be angry about the way things have been. We’re just as right to be excited about all the new ways to move forward toward realizing our dreams in the rapidly evolving new Universe of art creation being made possible by deviantART, Madefire, and other online tools and technologies. The future is bright again. Once again we can tell our stories in accordance with our hearts’ resonance to the tale we are telling. Once again our curiosity to experience what we can imagine next will be driven not by animal fear but by human desire.
#notjustajobtome
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