Indie comics are seemingly predisposed to be hit or miss. With the diluting and distilling effects of the big press system removed, independent comics are allowed to fixate on the machinery that drives comics. Whether this be the direct evaluation of comic mythologies, experiments with style, or pure metacomic commentary, independent comics appear to be obsessed with the shape of the mainstream in which they do not find themselves.
Sometimes this is to great effect. In the ‘80s, a wave of what-makes-a-hero-a-hero smartly flooded the racks. The ‘90s saw both Will Eisner resurrected through a deluge of comics about quotidian issues and heroes and R. Crumb be plagiarized over and over. This trend begged the question, “How far can the medium of graphic media be taken?” Finally, the ‘00s found the medium in a sort of comic shevirah as graphic media fractured from a certain solidarity into every imaginable — and, often, bastardized — form. The indie presses in the naughts gave us the literary adaptation comic, the “abstract” comic, the internet-inspired comic, superhero revivals galore, and countless other genres and sub-genres. To wit, the graphic taxonomies have reached a critical mass.