Many of you know Jim Valentino as one of the founders of Image Comics and for his launch property Shadowhawk, but these days, he’s making his mark with on comics with his publishing house within the Image umbrella: Shadowline Comics.
Shadowline is the house that puts out fan-favorites like Nick Spencer and Joe Eisma’s “Morning Glories,” Spencer and Christian Ward’s “Infinite Vacation,” and Kurtis Wiebe and Riley Rossmo’s “Green Wake.” It’s a house that looks to bring out a diverse and quality line-up of books, and it’s been the house that has helped launched the careers of luminaries like Bendis and Oeming.
Today, we talk with Jim about Shadowline Comics and how it came to be, what they look for in comics, how they operate, what his take on the big news of the industry is, and a whole lot more. Thanks to Jim for talking with us, and you can find our interview after the jump.
Shadowline’s development stems from your time serving as Publisher of Image Comics in 1999, when you focused on diversifying the company’s comic output. How did Shadowline come together originally, and if you could, what would you say a general mission statement for it is?
Jim Valentino: Actually, it’s the other way around. My time as Image Central’s publisher was an extension of Shadowline as it existed previously, most notably the “non-line.” I founded the company in 1993 as my arm of Image. It went on hiatus when I took over Image Central in 1999 and then was reinstated after I left that position. My mission statement is and was to offer as diverse a line as possible covering the myriad styles, themes and stories the comics medium has to offer. To me comics are more than any single genre. We have a medium in which the potential for telling different types of stories is virtually limitless.
My line reflects that in that it runs the gamut from children’s books to Bomb Queen and nearly everything in between.
What role would you say Shadowline Comics fits in the grand scheme of Image?
JV: I don’t know that there is a “grand scheme of Image.” Image is a hydra and each head, that is, each partner, has always followed his own path, his own agenda. It is, I believe, one of the things that have kept us viable and flexible for 20 years now. Shadowline is a reflection of my sensibilities, just as Skybound reflects Robert’s, TMP reflects Todd, Top Cow reflects Marc and Image Central reflects Eric Stephenson. In that I would say that Eric and my sensibilities are probably in closer alignment, but even there we don’t always agree. He’s published books I wouldn’t touch and vice-versa.
For you, what attracts you to a book? What are you looking for from a comic that you publish?
JV: I ask myself three questions when reviewing a submission:
1) Is it of professional caliber–can the writer write, can the artist draw? Have they learned their craft and does it attain a certain standard? With the vast majority of submissions, I’d say 99+% the answer is no.
2) Is the concept original or an interest/original take or is it something we’ve seen a hundred times before and better done? I don’t need an ersatz Superman or a John Clancy novel. Many submissions take two popular movies, smoosh them together and call it a concept.
3) Hardest to answer, do I perceive an audience for this book? In other words do I think I can sell it.
I get a lot of submissions where the novice creator misinterprets number two and assumes that I want something completely off the wall. No, this is a business as well as an art form. If we can’t sell the books, we’re out of business.
2011 has been a strong year for Shadowline, with “Morning Glories” continuing its hot streak, “The Infinite Vacation” and “Green Wake” launching to consistent sell-outs, and a slew of other books on their way that look to start well coming up. How satisfying of a year has it been so far for you, and what are you looking to work on as we head towards 2012?
Continued belowJV: It’s been an absolutely amazing year for us, it’s been extremely gratifying. Right now I’m working on trying to get some of our current books like Bomb Queen and The Infinite Vacation back on track, launching new books like Xenoholics and Nightmare World Vol. III, getting our books on-line for digital presentation. And that’s besides handling all of the day-to-day operations.
For 2012 I have several new books all of which are different one from the next and all of which I’m excited as hell about. In fact, 2012’s schedule is full as I type this. Keep in mind that 5 books a month are the maximum I’ll publish–I just can’t do any more books than that!
Over the past few years, rising star writer Nick Spencer has been a real focal point for Shadowline, having produced multiple books including the renowned “Morning Glories” for Shadowline. How did Nick first hook up with your group, and what was it that attracted you to his efforts from the get go?
JV: Nick came to us blind and bursting with ideas. We published Existence 2.0 first and what impressed me the most was not just the concept, but the fact that a novice writer was able to execute it so flawlessly. So we continued with Existence 3.0, Forgetless and Shuddertown. Again, each book, each concept was very different one from the other, and all of them were excellent. I actually held Morning Glories back for almost a year because Nick felt it was his best work and while critics (and other companies) had discovered him, the fans hadn’t. His sales just weren’t there. I’d seen this before with Bendis and several others. So, the plan was to let the buzz around him build and launch Morning Glories at the crest of that wave. That’s what we did and it worked!
In terms of development, how involved is Shadowline when it comes to their books? Does it differ on the creator — say, a newcomer like Charles Soule would get more guidance than a veteran like Ted McKeever — or is it pretty consistent across the board?
JV: Yeah, it really all depends on what the creator and the book needs, so it has everything to do with a creator’s level of expertise and accomplishment. For a creator like Ted McKeever or Jimmie Robinson, we just get out of their way. They know what they’re doing. We copy edit them and that’s it. With a novice creator, like Tim Daniel, I’m there at every stage, from plot to dialog, to checking layouts. I do insist on cover sketches from everyone and I reserve the right as publisher to reject a cover or an interior page. Any control asserted is done so in an effort to better the book, not to placate my or anyone else’s ego.
Shadowline has been a place that many top creators have broken into the industry at, with a line-up that typically consists more of newcomers over long-time comic creators. As someone who has a long history with the industry in many different roles, what do you find attractive about working with new creators?
JV: I’m not sure that there’s anything cooler than giving someone their first shot or their first major gig and then watching their career take off. It’s almost vindicating in a weird way. I don’t take credit for anyone’s career–they forge it themselves through hard work, talent and tenacity–but I am grateful to be in a position to help. And, when they acknowledge me, as Bendis, Oeming and a few others have, well, that’s the icing on the cake.
With that in mind, have there been any books that you’ve passed on that you regret doing so?
JV: Very, very few–one recently is by Joshua Dysart, whom I believe I was one of the first to publish, and Camilla d’Errico, whom I love. The project was just too big for me to commit to, much to my chagrin and I was booked solid already. I sent them over to Eric Stephenson and I do believe he picked the project up, which is great! But, damn, I really wanted to do it based on their combined talents. So, yeah, it happens. Not real often, but it does.
Continued belowSeemingly, Shadowline has been the diametric opposite to the original artist centric world of Image, instead favoring dynamic writers whose stories are the driver. Is this a fair assessment? Would you say that in the current world of comics that writing and story has taken the lead over art in terms of being a sales driver?
JV: I’m not so sure about that. Clearly, while many writers have become driving forces over the last decade or so I believe an argument can be made that readers have been following writers for a very long time. Stan Lee, Roy Thomas, Marv Wolfman, Alan Moore, the list is quite long when you think about it. Also, I would offer that just as many people follow favorite artists–clearly Jim Lee, Alex Ross, Alan Davis, Mike Mignola, Joe Quesada and plenty others can carry a title to the top of the charts.
I’m a firm believer that great art will bring someone to a comic, but a great story will bring them back. I don’t believe that one is any more important than the other and when the two are equally strong–well, therein lay the true magic of the medium.
Shadowline also publishes a variety of webcomics through their website. How did this come about, and what is attractive about them from both a business and a creative standpoint?
JV: It was something we started to call attention to the web-site. I think web-comics add something unique and original to ShadowlineOnline.com. Also, we’re able to experiment a bit more with them. If they become successful enough to grow an audience we’ll print them as we did with Nightmare World and Platinum Grit. To my mind web-comics are just another vehicle, another way to present comics. I feel the same about digital comics–it’s just another mode of delivery to get the work from creator to reader.
Nick Spencer recently hyped up an upcoming Shadowline book on Twitter — Enormous from Tim Daniel and Mehdi Cheggour. While this book doesn’t come out until 2012, what can you tell us about it, and do you think it could be your next big hit?
JV: Did he? Well, that was very nice of him! Will it be our next big hit? Man, I hope every book will be our next big hit! Here’s what I can tell you about it for now…it’s Tim Daniel’s freshman stint as a writer. Tim has been doing exceptional design work for me, Bendis and Kirkman for the last couple of years–now he’s stretching his wings as a writer. Mehdi is an exceptional artist already and I’ve been dying for a chance to work with him for a year or so now. I believe that he’s going to become HUGE! We’re planning on releasing the book for next year’s San Diego Con, it will be self-contained and will be a treasury size edition because, well, it’s Enormous!
Besides Enormous, what is coming up the path for Shadowline?
JV: Oh, boy! Well, besides our on-going titles; Morning Glories and Green Wake and our semi-on-going titles like Bomb Queen we have all kinds of great new stuff spread out over the coming year. As mentioned previously, in October we release a new on-going series called Xenoholics by Joshua Williamson and one of my favorite artists Seth Damoose. We’re also releasing the third and final Nightmare World trade by Dirk Manning and friends.
In January we have Ted McKeever’s new book, Mondo. This will be a three issue series in the Golden Age format. February sees the release of Green Wake’s Kurtis Wiebe’s new book with artist Tyler Jenkins, Peter Panzerfaust and then in April we have a book by newcomer Maria Llovet called Porcelain. Maria hails from Spain, this is her freshman effort and it’s simply stunning work. May should see the release of a new Bomb Queen mini and, as noted, we’ll have Enormous in July. In August AJ Lieberman, late of Cowboy Ninja Viking and Term Life returns with Harvest. This one will be illustrated by Colin Lorimer and, again, it’s just gorgeous. Later in the year we may have a brand new second book from Riley Rossmo and more great stuff is coming at us at a steady clip–I can barely catch my breath from it all. Good thing I’ve given up sleeping.
Continued belowThis week marked the launch of the new DC universe, with the high selling Justice League #1 being released. What’s your take on DC’s moves, and do you see it as a desperation ploy or savvy marketing and a necessary move?
JV: Here’s how I see it–DC made a very bold and very daring move. They did this to inject some excitement into the business and some energy into their line, to re-invigorate their characters and create an entry point for new readers. That’s their job, it’s what they’re suppose to do! I say bravo to Dan, Jim and Geoff for having the stones to do what should have been done in 1986 after the Crisis (as per Marv’s original plan). So, as a fan and professional I say good for them!
As a publisher I take a more pragmatic business approach. While they’ve generated a lot of excitement and got butts in the seats with the launch I think it a bit premature to call it a success. The key will be what Q1 of 2012 looks like. If they can sustain, with reasonable attrition, the numbers they’re seeing with Q3, 2011 then they should break out the champagne. Line wide number one issues are going to sell, whether they’re still selling six to nine months from now is the ticket. And, for that we’ll just have to see.
Still, I think it’s the boldest move since the formation of Image and they have my respect for trying it.
As a long-time creator, what’s your take on the health of the medium?
JV: The medium is in great shape! While still dominated by super-heroes the art form continues to push the boundaries in every direction. We have comics for kids, comics for adults and everything in between, the diversity of style, genre and content is nothing short of exhilarating.
Sales wise were in a slump right now, but I would note that sales have always been cyclic and whether this current downturn is due to content availability, the current economic climate or a combination of all those factors or a hundred more is up for debate. I’m not ready to predict doom-and-gloom. Ours is a small niche industry and that allows us the flexibility to adapt to changing times and tastes. We’ve been through downturns before, we’ll go through them again, but the medium is as strong as it’s ever been.
What books are you enjoying right now?
JV: When I read comics, it’s mostly Image, Vertigo and collections of older books. Right now I’m reading the Autobiography of Mark Twain Volume One, the latest issue of Astronomy and the Jack Kirby Omnibus.
