Ralph Tedesco, publisher of Zenescope had a lot to talk about to comic store owners at the Diamond Retailer Day held in London on Friday.

He first talked to the assembled comic book retailers about the history of Zenescope and the realisation that, against type, they were suddenly starting to attract a lot of female readers – without actually meaning to. Their original intent was to appeal to the adolescent male (of whatever age) with cheesecake cover upon cheesecake cover, impossibly rendered women in impossible clothing and with a seeming reluctance to wear practical clothing. A more sexist example of exploitation you'd be hard pressed to find in the current comics industry.

The inside content however, was less reflective of that attitude, and Zenescope found that by publishing comic book stories featuring "kick ass warrior women" that by their nature actually had to have content than gratuitous poses, they found themselves with a wave of unexpected female readers, a majority at some shows. The female Robyn Hood seemed a turning point. Retailers who carried Zenescope books in the audience backed up this assertion. They also talked about launching countertops to sell the books in store and Diamond were on hand to clarify the details.

I confess, yesterday, I did a little scoping out of the Zenescope booth at London Super Comic Con. And reality seemed to bear Tedesco's assertions out. Not a mass female throng but a solid and strong gradual stream of women, either coming to Zenescope specifically, or being intrigued by what they saw at the booth to make a purchase. Not a majority, by any means. But more than I saw from other publishers who didn't cover their comics in brokeback poses.

Because, yes, I have been mocking of Zenescope on occasion – and no more so when they weren't paying certain freelancers. I haven't heard any payment horror stories for many months now though. And once I've got past the cover, I've been pleasantly surprised by a number of the books. They may also be credited for committing to the adult retelling of fairy tales as a long form comic before the success of Fables and the current trend for Once Upon A Time, Grimm and the like.

Okay, for some, you're not going to be able to get past the covers. But even there, there has been more variance. Zenescope have an all ages line now as well, for their Discovery Channel-themed material as well as work less fitting with their reputation as a cheesecake merchant.

So here's the question – would sacrificing the covers that bring them such attention end up helping or harming the publisher? And does it even matter? Should you really judge a comic book company by their covers?