New Titles By Year's End

[Elveen]

Great news. I dig the hardcovers but would much rather have some new monthly books.

[Dr. Solar]

gimme gimme gimme monthly books!

[Geomancer]

It seems reasonable to think they must be getting close to an answer on the Gold Key properties, too.

Let's hope so.

Yeah.

The standard approach to a well written superhero universe always begins with the writers getting together and creating a bible that maps the universe out and sets up general plotlines for the future.

In order to have new releases by the end of the year, they would have to have some kind of decision on how Solar, Magnus and Turok would fit in now. For a December release date (the tail end of what would qualify as later this year) solicits would have to come out in September, right? Thats only six months away. Even less pre-preparation time if its earlier than that. In terms of comic book pre-production that isn't much time at all - especially when its an entire comics universe we are talking about.

If an answer on Gold key hasn't been reached, it would seem to me they'd have to adjust on the fly later on or that there is no unified vision for the initial releases. I'd hate to think that was happening.

So I'm going to hope for the best and figure there would have to be some kind of announcement one way or another very soon.

[MoonChild]

The Universe can start with a troubled Selski, Solar & the rest can come later, it can even be the dialog!

[ManofTheAtom]

The Universe can start with a troubled Selski, Solar & the rest can come later, it can even be the dialog!

Nah. Seleski merged with a sun back in 94, keep him there until they can properly use the rights.

Same goes for Turok and Magnus. The former was in the Lost Land and the latter got thrown through time.

The three of them could come back in time for the first VEI crossover a year after the first issue comes out.

Turok can exit the Lost Land seconds after we left him, Magnus can reappear out of thin air, and Solar can split from the sun

[IanAlexavier]

Last thing we need is for Morrison to go to VALIANT and start his crap about siblings who want to have sex with each other and a VALIANT multiverse.

COMPLETELY AGREED!!!


If we want VALIANT to live on we will need to expose this most excellent Universe to anyone open to exploring it, including kids! Superman and Spider man didnt get HUGE by showing a bunch of T&A or 2 women making out...

Dino, lets keep it PG-13 PPLLLEEAAASSSEEE!!!!!

I want to be able to have these in my house and let my kids look at them.

Get writing geniuses, great artist and keep that tight continuity!!

[geocarr]

I'm down with MOTA.

All hail Knob Row!!

[ManofTheAtom]

Last thing we need is for Morrison to go to VALIANT and start his crap about siblings who want to have sex with each other and a VALIANT multiverse.

COMPLETELY AGREED!!!


If we want VALIANT to live on we will need to expose this most excellent Universe to anyone open to exploring it, including kids! Superman and Spider man didnt get HUGE by showing a bunch of T&A or 2 women making out...

Dino, lets keep it PG-13 PPLLLEEAAASSSEEE!!!!!

I want to be able to have these in my house and let my kids look at them.

Get writing geniuses, great artist and keep that tight continuity!!

Well, let's not forget Erica and Albert.

What I'm against is writers like Morrison, who lack a basic understanding of character, and think that they can do whatever they want them to do (for instance, Morrison thinks that Sue Richards of the F4 wants to have sex with her brother, a character development without basis that in the 40+ years of the character's existence only he has ever seen... that's him projecting his own desires on the characters, not any actual insight).

But yet, Erica and Albert should be the exception and not the rule at VALIANT. A PG-13 rating across the line would be a good idea.

[jsbt]

Valiant at its best was IMO not a PG-13 line. It was subversive and adult without having to always underline it.

And the fact is, IMO, that new books will not capture an audience unless there are major talents initially attached.

[ManofTheAtom]

Valiant at its best was IMO not a PG-13 line. It was subversive and adult without having to always underline it.

And the fact is, IMO, that new books will not capture an audience unless there are major talents initially attached.

Big talents didn't help with Birthquake and with VH 2.

VALIANT became what it was on the strength of the stories and characters, not on the strength of the credit box.

[Steve Topper]

Big talents didn't help with Birthquake and with VH 2.

VALIANT became what it was on the strength of the stories and characters, not on the strength of the credit box.

Really? Jim Shooter and Barry Windsor-Smith didn't have strength in the credit box? Even Bob Layton?

Shooter and Windsor-Smith drew a lot of people in based on their names (think about Marvel Zombies who followed Shooter and others looking for Conan-type art from Barry). ONce they were drawn in, the stories and characters kept them in the Valiant Universe, but the 90s were about star quality talent -- and Shooter and Windsor-Smith were among the biggest.

[ManofTheAtom]

Big talents didn't help with Birthquake and with VH 2.

VALIANT became what it was on the strength of the stories and characters, not on the strength of the credit box.

Really? Jim Shooter and Barry Windsor-Smith didn't have strength in the credit box? Even Bob Layton?

Shooter and Windsor-Smith drew a lot of people in based on their names (think about Marvel Zombies who followed Shooter and others looking for Conan-type art from Barry). ONce they were drawn in, the stories and characters kept them in the Valiant Universe, but the 90s were about star quality talent -- and Shooter and Windsor-Smith were among the biggest.

You're talking about three people out of dozens who worked on VALIANT's initial line, which included Lapham, who was an unknown previously to his work on Harbinger.

The number of creators VALIANT discovered (from pencillers to inkers to colorists to letters) far outweighs the number of established pros who worked there that came from DC or Marvel, right?

The problem with BQuake and VH 2 is that instead of focusing on home-grown talent AND content the company decided to rely SOLELY on the popularity of the writers and pencillers they hired.

The comics stopped being about the concepts and characters and became about how cool it was to have Dan Jurgens on Solar or Kevin Maguire on Trinity Angels.

Who cares if what Jurgens did went against the character and only served to introduce a bunch of comic booky, Image-wanna be characters? He was DAN JURGENS, uber-Superman writer.

And who cares if Maguire couldn't meet a deadline, he was KEVIN MAGUIRE, the JLA guy!!

That was all that mattered. Not what they were doing but who they were.

That was one of the many mistakes VALIANT made towards the end, they put popularity over talent.... hopefully VEI won't make the same mistakes.

I don't know about you, but I'd rather see VEI home-grown more Sean Chens and Bernard Changs than hire more Joe Quesadas and Kevin Maguires.

[Fanboy375]

I just hope the variant covers stay with the old gold format. I do not want to see Michael Turner variant covers.

[dellamorte]

Big talents didn't help with Birthquake and with VH 2.

VALIANT became what it was on the strength of the stories and characters, not on the strength of the credit box.

Really? Jim Shooter and Barry Windsor-Smith didn't have strength in the credit box? Even Bob Layton?

Shooter and Windsor-Smith drew a lot of people in based on their names (think about Marvel Zombies who followed Shooter and others looking for Conan-type art from Barry). ONce they were drawn in, the stories and characters kept them in the Valiant Universe, but the 90s were about star quality talent -- and Shooter and Windsor-Smith were among the biggest.

You're talking about three people out of dozens who worked on VALIANT's initial line, which included Lapham, who was an unknown previously to his work on Harbinger.

The number of creators VALIANT discovered (from pencillers to inkers to colorists to letters) far outweighs the number of established pros who worked there that came from DC or Marvel, right?

The problem with BQuake and VH 2 is that instead of focusing on home-grown talent AND content the company decided to rely SOLELY on the popularity of the writers and pencillers they hired.

The comics stopped being about the concepts and characters and became about how cool it was to have Dan Jurgens on Solar or Kevin Maguire on Trinity Angels.

Who cares if what Jurgens did went against the character and only served to introduce a bunch of comic booky, Image-wanna be characters? He was DAN JURGENS, uber-Superman writer.

And who cares if Maguire couldn't meet a deadline, he was KEVIN MAGUIRE, the JLA guy!!

That was all that mattered. Not what they were doing but who they were.

That was one of the many mistakes VALIANT made towards the end, they put popularity over talent.... hopefully VEI won't make the same mistakes.

I don't know about you, but I'd rather see VEI home-grown more Sean Chens and Bernard Changs than hire more Joe Quesadas and Kevin Maguires.

It's just a matter of hiring the right big names. People who can deliver great story and art but understand that the character is bigger than themselves. Also being able to hit a deadline is a good idea.

Any new kids Valiant hires will be well served to have some established comic folks to learn from.

[ManofTheAtom]

Any new kids Valiant hires will be well served to have some established comic folks to learn from.

Definitely, and that was what Knob Rob was all about, right?

The established pros teaching the up and comers.

[Steve Topper]

I am not focusing on the Birthquake or the VH-2 aspect of your post because neither of those events were the strength of Valiant.

Valiant -- the strength of Valiant -- was pre-Unity. Look at the books and the writer and pencillers. Although important, most people do notlook at books for the colorists, the inkers, or the letterers. They look at writers and pencillers.

Magnus -- initial writer and penciller: Shooter and Art Nichols (May 91) -- Magnus 8 came out the same month as Harbinger 1.

Solar -- Shooter and BWS in the origin story insert. Don Perlin was the artist on the regular story and he wasn't an unknown -- think Werewolf by Night in the 70s. He was an established artist. Solar 5 came out the same month as Harbinger 1.

Also, Magnus 1-8 had the cards/coupons for Magnus 0, adding to the desirability of the first several Magnus issues. Solar 1-10 had the origin of Solar serialized as well.

The premise that Valiant was built on the backs of no-names is a bit flawed. Lapham appears to be the first of the "discovered" artists and THAT helped segue into the Knob Row concept. But the key Valiant books were handled by professional comic people. Shooter and BWS were stars; Layton, Perlin and Nichols were solid professionals. They estbalished the bedrock on which Valiant was built and provided the expertise to turn Knob Row into its own cast of professionals.

[dellamorte]

I am not focusing on the Birthquake or the VH-2 aspect of your post because neither of those events were the strength of Valiant.

Valiant -- the strength of Valiant -- was pre-Unity. Look at the books and the writer and pencillers. Although important, most people do notlook at books for the colorists, the inkers, or the letterers. They look at writers and pencillers.

Magnus -- initial writer and penciller: Shooter and Art Nichols (May 91) -- Magnus 8 came out the same month as Harbinger 1.

Solar -- Shooter and BWS in the origin story insert. Don Perlin was the artist on the regular story and he wasn't an unknown -- think Werewolf by Night in the 70s. He was an established artist. Solar 5 came out the same month as Harbinger 1.

Also, Magnus 1-8 had the cards/coupons for Magnus 0, adding to the desirability of the first several Magnus issues. Solar 1-10 had the origin of Solar serialized as well.

The premise that Valiant was built on the backs of no-names is a bit flawed. Lapham appears to be the first of the "discovered" artists and THAT helped segue into the Knob Row concept. But the key Valiant books were handled by professional comic people. Shooter and BWS were stars; Layton, Perlin and Nichols were solid professionals. They estbalished the bedrock on which Valiant was built and provided the expertise to turn Knob Row into its own cast of professionals.

Good point but Lapham did pencil Magnus 5/Rai 1 flipbook.

[ManofTheAtom]

So VALIANT sold on the strength of an artist from the 70's?

I for one bought based on the strenght of the stories, and I'm sure others did as well, just like I'm sure that not everyone buying comics in the 90's had been buying comics since the 70's.

I swear, sometimes this industry can be... urgh.

Here I'm thinking that I'm talking with people in their 30's, maybe mid 40's at best, but for all I know I'm talking with people who have been buying comics since 1943, heh

[Geomancer]

I agree with the notion that it is about bringing in the right name creators - especially when it comes to writers.

Valiant started with Jim Shooter, Barry Windsor-Smith, Bob Layton and Steve Englehart heavily involved.

There is absolutely room to develop new talent, as Valiant did when their line expanded.

Those whose careers were launched through the company (again in terms of writing) did so at a later stage in the company's development.

[Steve Topper]

Good point but Lapham did pencil Magnus 5/Rai 1 flipbook.

Thanks, I didn't look too deeply into the credits of Magnus beyond the first couple.

And I would like to (embarrassingly) think that Lapham was the exception because Shooter recognzed his talent immediately and even hyped him in the text pages. But that's a bit too self-serving.

[Steve Topper]

So VALIANT sold on the strength of an artist from the 70's?

I for one bought based on the strenght of the stories, and I'm sure others did as well, just like I'm sure that not everyone buying comics in the 90's had been buying comics since the 70's.

I swear, sometimes this industry can be... urgh.

Here I'm thinking that I'm talking with people in their 30's, maybe mid 40's at best, but for all I know I'm talking with people who have been buying comics since 1943, heh

Do you comprehend anything you read? Did I say Perlin was one of the stars? No, I said he was a solid professional, and I'll stand by that statement.

And by saying you bought the books based on the strength of the stories, you're saying you bought Valiant because of Jim Shooter -- one of the stars! Shooter wasn't some no-name, new talent find -- back in the 1960s, yeah, but not for Valiant. He had honed his craft and was a star in the comics world.

And just for your information, no,. I'm not somebody in my 30's or even in my 40's. And while I haven't been buying comics since 1943, it has been since 1963. And the chances are my kids are as old as you. So I do have strong memories of the reading the original Jim Shooter Legion stories in the sixties, DC and Marvels throughout the 60s, 70s, 80s, 90s, and the 21st century -- well over 40 years. So realistically, I've been reading comics longer than you've been alive. Does this make my opinion more valid than yours. No, just an opinion with a lot more context associated with it.

[ManofTheAtom]

And by saying you bought the books based on the strength of the stories, you're saying you bought Valiant because of Jim Shooter -- one of the stars! Shooter wasn't some no-name, new talent find -- back in the 1960s, yeah, but not for Valiant. He had honed his craft and was a star in the comics world.

He made the stories good, but his name wasn't why I bough them.

I bought them on the strength of the writting, aka the talent, not on the brightness of the credit box, aka the popularity of the names in it.

[Fanboy375]

I haven't been able to see what BWS has done in the past few years? Has he gone hollywood?

[Geomancer]

I haven't been able to see what BWS has done in the past few years? Has he gone hollywood?

Here's his website.

http://www.barrywindsor-smith.com/

It looks like he considers the comics chapter of his life to have more or less ended in 1995.

EDIT: I forgot about this -- In January of 2006, BWS announced on the website Comic Book Galaxy that he is in negotiations to publish a graphic novel at Marvel Comics about the character The Thing. (from wikipedia & I remember reading about it somewhere else, probabably cbr or newsarama)

http://comicbookgalaxy.com/bwsexclusiveintro.html

[400yrs]

Kothari's group bought the Valiant library last year after Acclaim filed for Chapter 7 bankruptcy. Its plan is to republish its best titles and begin generating new issues by year's end.

oooooooooooooooooooooooooooooh

"begin generating" leaves open a lot of room for interpretation. Are we thinking new books will be out by the end of this year? That seems pretty quick to me.