![]() ![]() I've always wanted to work on something like this that's a perfect marriage - where you have two sets of mismatched, adventuring, really funny but also human and well-detailed characters. It was so good that I was perfectly willing to run and try the rest of the Valiant stuff. That's just what I want to read, so I was dying to get my hands on that book. As good as I heard the other books were, I'm such a huge fan of Fred and more humor-intrinsic writing. "Archer & Armstrong" was the book that got me to jump on this new Valiant relaunch. Truthfully, this is a crossover I hoped we would get to do since I knew I got the job. ![]() ![]() Certainly the villains are very, very rich. Tom Fowler is certainly an incredible artist to pursue that with because he has brilliant comedic sensibilities in the mechanics of his artwork but he also has genuine emotion and really brilliant world-building and creativity and detail in his work that let us very quickly not just do something that harkens back to the original "Quantum and Woody," but really build out a crazier world around these guys very quickly and very visually. I was still nervous how people were going to react, but the response has been better than I could have hoped. I think we were able to capture that with "Quantum and Woody" and just run wild. Īs it turns out, I think that idiosyncrasy and passion that comes with creator-owned projects and comes with people really chasing their own vision as opposed to cop orate mandate - that's why you see BOOM! and Image Comics' output representing the breath of fresh air that comes from creator-owned comics. If I was walking into a trap, at least I would enjoy myself in the process. There were too many ways that fans could be not on board. I thought if Valiant wouldn't be excited by me cutting loose and trying to make the comic I really would want to make - if they wanted anything else, I felt like I would withdraw myself. I was certainly a little nervous about being the first writer who's not Christopher Priest to do something with these characters, and I realized the only way I could be successful and not worry - or get something out of it whether or not people agree with what I chose to do - was just to dive in wholeheartedly and have fun with it if I entertained myself the way I would by doing a creator-owned book. I've been a huge fan of the original "Quantum and Woody" run and all the work that Christopher Priest and Mark Bright did. It was really nerve-wracking and it's really gratifying. What's the process been like for you developing the concepts and seeing the reaction to the world that you've built with Tom Fowler, Ming Doyle, then Tom Fowler again? You're really starting to get into full swing on the series - you hit issue #8 this month. We kind of skipped any questions or any slow build-up to the Goat gaining its powers, so we can remedy that. Basically, all of that was our thought: It would please the fans, and it would tell a big part of our ongoing story. It's something that has really significant weight for our ongoing story as well as the absurd fun that is doing a 22-page comic about a barn animal with superpowers run amok. Also, there's a big piece of our ongoing story that I wasn't quite sure where to tell or reveal, and I realized it married really well to doing a Goat origin. ![]()
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