Comics A.M. | Top Cow reveals Cyber Force retailer incentives

by  in Comic News Comment
Comics A.M. | Top Cow reveals <i>Cyber Force</i> retailer incentives

Publishing | Top Cow Productions has announced details of its retailer program for the relaunch of Cyber Force, which is using Kickstarter to raise enough money to make the first five issues of the reimagined series available for free, both digitally and in print: Retailers will be charged 25 cents per copy for the first five issues, but will receive incentive variant covers — with suggested prices of $10 and $20 — to offset the cost of the comics. The Kickstarter campaign has raised more than $50,000 of its $75,000 goal with 17 days remaining. [ICv2]

Publishing | Former DC Comics editor Janelle Asselin, who now works for Disney, talks about her experiences at the editor’s desk and offers one reason there are so few female superhero comics creators: Women aren’t lining up for the job. “In my time at DC, exactly one woman reached out to me via email, and I hired her,” she said. “I didn’t hire her BECAUSE she was a woman, I hired her because she was good, of course. But in that same amount of time, probably at least two or three men a week contacted me looking for work, some of them intensely pushy and many of them decidedly not good. I think more female creators should put themselves out there. The numbers are growing, we all can see that, especially in indie comics and comics published by traditional publishers, but if there are women who want to work on super hero books, they need to speak up.” [Women Write About Comics]

Publishing | Valiant Entertainment Publisher Fred Pierce talks about the company’s success so far — more than 45,000 copies sold of X-O Manowar #1, 20,000 downloads of the talking variant cover — as well as the company’s philosophy on variant covers, digital comics and moving on to other media: “But yes, we’re dealing with Sony on a Bloodshot movie and these things, but the truth of the matter is the publishing division has to stand on its own and it’s the publishing division that draws heat to the rest of the company. In two or three years when we have a movie it’ll go the other way also, but right now we have to establish ourselves as a publishing company that’s exceptional.” [ICv2]

Publishing | There’s a new Peanuts book on the way, Charlie Brown! Brian Truitt talks to two of the folks behind It’s Tokyo, Charlie Brown!, writer and artist Vicki Scott and Paige Braddock, creative director for Charles Schulz Creative Associates as well as an artist for the book. Braddock inked the pages using a nib given to her by Schulz, who died in 2000. “In the beginning, I was very nervous to ink the characters, but giving me a box of his nibs, I think, was his way of offering quiet encouragement. Plus, some tips about how to draw Snoopy’s paws,” she said. [USA Today]

Comics | Rich Shivener hit the small press area at Comic-Con International and came up with a list of 10 small press comics that are worth a look. [Topless Robot]

Creators | Sean Murphy talks about his new Vertigo series Punk Rock Jesus: “You think about what would they do if they cloned Jesus? The answer quickly came to me: ‘Oh, they’d turn it into a reality show. They’d make it more interesting for better ratings and basically this thing would turn into a giant Super Bowl every day and would just grab the world’s attention.’ It wrote itself, in a sense.” [USA Today]

Creators | With the third volume of his Dungeon Quest complete, Joe Daly discusses creating a fantastical world on the foundation of a more normal one, making the characters sound real, and why part of the graphic novel is done in something that resembles hieroglyphs. [The Comics Journal]

Creators | Writer Josh Tierney walks us through the second volume of Spera with a “directors commentary” accompanied by some fully drawn pages to show off the art. [Forbidden Planet blog]

Digital comics | David Golbitz tries out comics on the Google Nexus tablet and comes away impressed. [Don’t Hate the Geek]

History | Paul Gravett rounds up some recent history-of-comics books that look like pretty good reading, along with a bit of commentary on the nature of writing history. [Paul Gravett]