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If you had an opportunity to start your own comic book company what would you do better or different than what the big 3 (4,5?) have done?
What ARE they doing wrong?
What kind of genres would you cover?
What style of art would you favor?
What kind of writing would you promote?
Color or black and white?
Uncensored or family friendly?
Creator friendly or tightly controlled?
Licensed properties? Good, Bad?
Spinner rack at corner groceries or comic shop shelves?
Low cover price/ "newsprint" print quality or high cover price/ gloss magazine quality?
No publisher can be all things to all people so pick a market and cater to it!
What say you?
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Confused 
Too many cross overs that involve ten or more books. Too costly for the average joe or jill to keep up with. Artist and writers on at least a ten issue a year stint. Two books off to make sure they have time to do all ten on time.
What kind of genres would you cover?
I like to be strong in Fantasy like Battle Chasers. But do all, but establish worlds for all genres so the flow is nice.
What style of art would you favor?
Style that fits with the book. But lean towards fusion. Fits the Fantasy best.
What kind of writing would you promote?
Don't need heavy stories. Fun and exciting, but smart would work the best.
Color or black and white?
Color!
Uncensored or family friendly?
Probably Uncensored for business reasons, kids just don't by books,
Creator friendly or tightly controlled?
Controlled creator freindly. If there are worlds established want to make sure things fit. But let the writers write, and see what they can do.
Licensed properties? Good, Bad?
Good. I would love to reinvent Thundercats or Heman for todays audience.
Spinner rack at corner groceries or comic shop shelves?
Some of both. Cheap books that do well on racks, to get people in the doors.
Low cover price/ "newsprint" print quality or high cover price/ gloss magazine quality?
If it worked, I would like to have both. The high quality would be the collectors books. These would be ones of ongoing titles in pull boxes, that people get every month. But would also have cheap ones so that you can try new titles with out breaking the bank.
But if I had to pick one it would be newsprint. I hate that my list gets smaller and smaller because they have to pay for expensive printing.
Too many titles for one character/team, such as Batman, who probably has 5-6 running at once.
That's entirely up to choice, but my focus would always be the superhero genre.
All styles, realistic, stylistic, mangar. ^^
Good writing, hopefully. Many different styles.
Both, whichever fits best. ^^
One imprint for family friendly, one imprint for adult.
Creator friendly. Joe Quesada and One More Day, Dan Didio and Countdown are some of the pitfalls.
No licensed properties of tv shows or films that are actual. I'd love to license another Gargoyles series though, but if Boom decides to do it, then I won't have to. XD In other words, I'd love to give old cancelled stuff a new chance at life. ^^
Undecided.
High cover price.
I can't say what they're doing wrong, but it was touched base w/ characters having too many different titles. I say a character or a team should have 2 at the most: 2 ongoing series, 1 main title and the other your guest creative teams, side stories, etc. That way, if ppl are craving more of that character or different creative teams want to jump on, Boom, there you go. 1 book out the 1st wk of the month, 2nd book out the 3rd wk.
I'd cover 3 genres: Super Hero, Anime & non-super hero(IE walking Dead, Fables, Y) I like your thought of covering a particular type of book like Marvel and DC did back then, but I'd like my brand to be diverse to a degree. I can see where yours would be successful though(Malibu & Valiant did the same thing & managed to sell their brands to make $$$)
I'd welcome b&w/gray tone books. There is still a market for them(back to walking dead) Also, I'm glad I haven't met Kirkman yet, as I really enjoy walking dead & hear great things about Invincible. They'd be tainted if I met him and he was rude. All I'd hear is his voice narrating to me like an asshole.
Censorship would be up the the creator, as I'm in favor of creator owned properties, HOWEVER, the covers would be noted for such. I'd like ppl to know what they're getting themselves into. I'd also do the same w/ art teams signing a contract for completion of storylines. Great idea. Also, a book would not be advertised until at LEAST 2 1/2 issues were done. I'd like everyone to have their rights as owners, but I'd still run a tight ship. Lateness wouldn't be tolerated & I think a 2 1/2 book mark would help w/ that. I think that's why Malibu and Valiant were able to market their books well, they seemed to come out regularly... from what I remember.
I actually wouldn't mind newprint to be honest, as it reminds me of my childhood. Nice quality paper would be a plus, but if you were a small group trying to get off the ground, I think this would be the smarter move. Once you start developing a decent fan base, then bump up the good stuff. Then again, it also depends on how much the cost is between paper. If it's not that huge of a difference then go for the gold.
I also think publishers need to really take pride in the pool of creators they have. I think a lot of the success that launched Image comics was that Marvel had really placed a lot of stock and hype in the work of those key artists. In that case I think it really went to their heads but I think with a little more restraint it would help bring some pride and prestige back to being a comic creator and get the fans excited to follow the work of a creator. As it is right now I just never know who will be doing a book from month to month. That makes me a very uncertain consumer.
R. Kirkman: I met him and Tony Moore back a few years (at Pittsburgh comicon) when they ran Funk-o-tron and were hyping Battle Pope. I bought a couple TPB collections and in our brief conversation thought he was smug to say the least. I also have a good friend who had an even worse experience with him being a smug, superior jerk... but in his defense it can be rough to work a con table all day dealing with some *unique* fans. That was a long time ago though and people can change- maybe he has?
Yeah, you never know! Maybe the guy has calmed down since then, or maybe he's even a bigger jerk now. Either way, I'll avoid him as I'd rather have a good book to read than a short conversation, good or bad
By far one of my favorite comic artists and maybe line-for-line the most talented guy in the industry but his work is very slow from what I have seen. Remember Pitt 1 and 2 were a YEAR apart? Now thats stretching a deadline.
Not sure he would have been able to keep up Marvels monthly pace for much longer. By the end of his Hulk run they had already brought in a couple "draw-alikes" (Jan Duursema and Gary frank) to do fill in issues for him to catch up.
I still see Keowns work from time to time at Top Cow, so hopefully he's speeded up his process!
When they got to Image it was like "I'll get it done when I feel like it" and you see what happened. Even when Image had an "editor" on a book over those guys it was kind of a joke since the artist employed the editor- not the other way around.
Image didn't strong-arm the founders to get work done... they waited until new artists were brought in and then screamed at them.
True pro-creator capitalists, those guys....not.