The resulting selection of usual suspects—lots of Moore and Miller and Morrison, etc., plus The Walking Dead, Y: The Last Man, Fables, etc.—probably says more about the magazine's audience than about anything else.
But that said, it seems worth noting that, except for a brief mention of Powers in one contributor's also-rans and Sleeper in another's, the three guys who are arguably the most influential and significant comic-book writers in the direct market currently are completely absent. Shouldn't there be some Bendis, Johns and Brubaker comics in a prominent position on that list, given the demographic?
The Guardian has polled a bunch of big-shot writers on their dos and don'ts when it comes to writing fiction.
From Neil Gaiman's list, I find the following particularly helpful:
"Remember: when people tell you something's wrong or doesn't work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong."
Not comics: Ich werde ein Berliner has a great, very spot-on article on the cultural phenomenon that is Tatort, Germany's longest-running and most established crime-drama TV show.
Come to think of it, the decades-old title sequence, which they're still using today, looks like a Sean Phillips cover put on film, doesn't it?
(Discovered via BILDblog.)
After re-reading and reviewing Darko Macan and Igor Kordey's fantastic run on Cable and Soldier X, I went and re-read the pieces Joe McCulloch and Sean T. Collins wrote on the series a while back, and so should you. Also, to get a glimpse of how odd this stuff seemed to long-term X-Men readers (of which I was one) as it was unfolding, check out Paul O'Brien's period reviews.
It seems the terms "weird" and "wonderful" come up a lot when people talk about this run, overall.