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But they all counted towards that Diamond chart.
#Cowboys and aliens graphic novel free#
And they did – selling the comic when it arrived for 50 cents, or giving them away free with any purchase, eventually giving them away free to anyone who walked in and then just throwing them away in a dumpster. So Rosenberg contacted a number of prominent stores on the East and West coasts and arranged to give them a cheque to cover the cost of ordering five figures worth of the graphic novel for their stores. Image, as one of the four brokered publishing partners of Diamond, could alter the terms of what did or did not count as a graphic novel.īut maybe this was not enough. So he did a deal with Top Cow, part of Image, to list the graphic novel alongside theirs in Diamond's catalogue. Diamond Comics Distribution, whose sales chart he wished to be at the top of, defined a graphic novel as costing $9.99 or more. That was just part of the pitch.īut there was a problem. The story in the magazine reported that this was an upcoming comic-turning-into-a-movie, but there was never any comic. With William Morris representing them, they got a cover image in Variety, the image of a cowboy on his horse with a large space ship overhead. With Paul Benjamin, the pair created five drawings and a bunch of character designs and details. So Greg Noveck (later to work for DC on films like Red, and now at Syfy Films) suggested a title. Why extra pay for the rights to a good Western when you could just make… a good Western? His people were having trouble selling it as a movie, because, that's basically what it was.
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With Ervin Rustemagić, founder of Strip Art Features in Sarajevo, he gotten hold of the rights to the Italian comic book Tex, a western comic book that was basically… a really good Western. A long time ago, in a galaxy far far away, (the mid nineties) Scott Rosenberg had just sold Malibu to Marvel and as Platinum Studios, he was flush with cash.