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Random Stranger
Nov 27, 2009



Skwirl posted:

I mean, I'll never have to prove the holocaust happened in a court of law to avoid being sued for calling an anti semite an anti semite.

You say that, but the problem with UK law is that you can call a US Nazi a Nazi while you are both in the US and then they sue you in the UK court because the statement was repeated online. That's the "libel tourism" mentioned upthread.

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Random Stranger
Nov 27, 2009



Jedit posted:

Vertigo had all the blood and tits.

But there were so many words! How could you concentrate on the blood and tits when all those words were in the way? They didn't even have cool cyborg mercenaries with big guns to look at while you waited for the blood and tits to show up! You might as well go right to the source and get a comic without things like "story" or "characterization" getting in the way.

Random Stranger
Nov 27, 2009



Open Marriage Night posted:

Kirby was going to do a story where the FF fight a Nazi Fantastic Four (the Furhrer’s Four), but he instinctively stabbed the sketches as soon as he finished drawing them.

The only reason Kirby drew the Hate-Monger story in FF #21 is so that he could kill Hitler again. Kirby was later heard to remark that it wasn't as much fun the second time around.

Random Stranger
Nov 27, 2009



Barry Convex posted:

Bendis also very strongly implied that she had slept with Wolverine, which is incredibly creepy and I have no idea what he was thinking



I'm shocked that Bendis would handle a character poorly in his Avengers run. Absolutely shocked. :geno:

In fairness to Bendis on Squirrel Girl (he does not get this leeway on any other character), Squirrel Girl appeared in that story that got dumped in the Marvel Superheroes anthology book that existed to print some file drawer stories, then over ten years later got used in GLA which is of dubious continuity where I don't think her age comes up, and that's literally all of her appearances. So the GLA Squirrel Girl is aged at vaguely "young adult" and also makes people go, "This Squirrel Girl character is pretty fun!" so that's where Bendis is coming from he brought her over to his Avengers run. Ryan North brought her age more back in line with the original appearance.

I agree that Wolverine sleeping with any young adult is pretty creepy, though.

Random Stranger
Nov 27, 2009



Apraxin posted:

https://twitter.com/renfamous/status/1262742651566059522
the past 90s is a foreign country; they do things differently there

That's not from a Youngblood reboot. That would be from the Team Youngblood book which was the second ongoing series. I want to say it was issue #3, but I might be slightly off.

But if they're posing Masada, they might as well be posting all the panels of her slut-shaming her teammate.

Random Stranger
Nov 27, 2009




Is it okay that I don't like either design?

Black Cat's comic book outfit is very 70s so it absolutely needs a redesign. The cartoon one reads as "woman who punches out demons at the south pole" than "cat burglar" to me. Also the split color pants look weird.

Random Stranger
Nov 27, 2009



Vince MechMahon posted:

It's also an early design and she's been changed since and looks just fine on the actual show.



I still don't care for it but it does look better in black than brown.

Note that "don't care for it" means "shrug and not think about it again", not obsess over it and demand it be sexed up 200%.

Random Stranger
Nov 27, 2009



JordanKai posted:

I have no idea but that story absolutely rules.

It's the kind of stunt that insures you won't get hired again, but then when you're not getting paid that's moot.

Random Stranger
Nov 27, 2009



Codependent Poster posted:

Chuck Austen made a joke about Nightcrawler having two dicks. Hard to say if he was serious or not.

"Hard two"? :grin:

Random Stranger
Nov 27, 2009



Madkal posted:

I kind of wish Steranko went the same way as Adams and just found some weird conspiracy theory (that I don't think is racist - please don't tell me it's racist) to obsess over instead of becoming a chud. Also I am assuming Adams isn't a chud and just likes weird conspiracy theories.

A lot of the especially zany conspiracy theories wind up at white supremacy if you pull at the threads a little bit. However, since Adams seems to be the only person who believes his expanding/shrinking earth theory, I suspect it was just born out of some goofy 70s environmental/overpopulation fears rather than linking back to something like freaky biblical interpretations or Nazi mysticism. There's no group around it, no precedent, just one guy with weird ideas he can't let go of.

Random Stranger
Nov 27, 2009



Vince MechMahon posted:

As long as it's not racist and it doesn't matter if it's true or not, everyone is allowed to believe one looney conspiracy theory. You wanna believe the Earth is flat? Knock yourself out. You wanna think that the moon landing was fake? Great. Personally, I believe the CIA killed Kennedy using psychics they found during their investigations of ESP. Literal magic bullet. I call it the Chappelle Theory.

Flat earth is directly tied to racism as it's part of Christian dominionism. And a lot of the large scale conspiracy theories like moon landing and JFK assassination have gotten wrapped up in antisemitism. These aren't harmless things to believe.

Random Stranger
Nov 27, 2009



Uthor posted:

The shot where he dropped the camera and the tree disappears made my jaw drop. It was so pretty and simple.

I watched it a while ago and while nothing in it was new to anyone tapped into those circles (even the twist), the demonstration of the curvature of the earth was beautiful.

Random Stranger
Nov 27, 2009



X-O posted:

Why does it take so long?

Youtube algorithm.

Random Stranger
Nov 27, 2009



HMS Beagle posted:

I really love that story arc where he single handedly takes down that drug cartel in Nicaragua.

"Do you mean Neil Gaiman or Dream?"

"Yes."

Random Stranger
Nov 27, 2009



Uthor posted:

I've heard allegations of that in other collectable markets, to increase the perception of current value and to make it seem like it is appreciating and there is demand.

It definitely happens in collectable markets; I've seen it. I mean, it happens on the stock market, too. It's one of the oldest scams in the book and anytime something is "hot" or being hyped up as something people should buy, this is happening.

Random Stranger
Nov 27, 2009



BrianWilly posted:

I have lived decades without knowing what an NFT is and I hope to die the same.

It's a receipt that says you spent a month's worth of electricity for an American household + several thousand dollars + however much you paid as the price and got a hyperlink.

Seriously, that's what they are. That's not a joke.

Now you too are damned with this knowledge and there is no going back.

Random Stranger
Nov 27, 2009



Jordan7hm posted:

Of note - Thor and Spider-Man did not get particularly worse when Kirby and Ditko left (because Stan brought in great artists to replace both of them). They did get noticeably worse when Stan left.

One of the big reasons there isn't the scripting. Well, not just the scripting. It's that when Stan left, he stopped editing. For the entire 60's Stan Lee was Marvel Comics editorially and despite some serious missteps in handling the artistic talent, he was amazing at juggling those balls and running the the company. Marvel Comics as an entity really were Stan Lee. So when he stepped away, nobody could replace him and things fell apart.

Lee was good at scripting those books and getting the exact right tone and voice. But in terms of editing, he might have been the best editor comic books have ever seen.

Random Stranger
Nov 27, 2009



Davros1 posted:

Did you ever hear the story about how, when Kirby turned in the pencils for the first issue of the Galactus trilogy, Stan Lee was surprised to see a silver guy riding a surfboard in the story, since they had never discussed such a character?

And Kurby sometimes, but not always, wrote some loose dialog around the panels to explain what was going on which Lee would sometimes use.

Random Stranger
Nov 27, 2009



Angry Salami posted:

Plus, they already did that gag in an early issue - I want to say Electro or the Beetle - where Spider-Man's all excited to unmask the villain only for it to just be some random criminal and he realizes "Oh, yeah, there's no reason he'd be anyone I know."

Ditko wanted to do it again with the Master Planner but Lee said, "That's boring. He's Doc Ock." And that might be the actual breaking point between Lee and Ditko.

Random Stranger
Nov 27, 2009



Joe Fisto posted:

Not sure if this is the right place but I bought a 7 dollar comic from TFAW and they charged me 26 dollars to ship it 30 miles. I think that’s terrible.

So they basically charged you for the gas.

Random Stranger
Nov 27, 2009



JordanKai posted:

If I had been personally responsible for Louise Simonson and Chris goddamn Claremont being removed from the X-Men writing team I would've taken that with me to the grave.

It's pretty well known that they pushed the writers who had defined those comics and made them into smash hits off those books. Liefeld wasn't revealing anything here.

That whole era of "the writer is secondary" is just awful and it was a major point of contention at the time. Erik Larsen wrote an anonymous letter to one of the big industry magazines basically saying writers weren't needed. And you had artists basically making up any poo poo they wanted for the pages rather than following the plot and then scripters having to go in and patch together a story out of the unconnected splash pages. A few of the superstar writers of the time were known for being weirdos who produced full scripts and the idea was just crazy to people. It was like the Marvel method had metastasized, growing into a cancer that ate away at the industry.

The thing about the Marvel method is that it worked for Stan Lee as editor since he was producing work like crazy at a time when the standards for long term storytelling in comics was very different. And Lee was working hand in hand with some of the best storytelling artists that the industry had ever seen. Lee knew Kirby and Romita could take a story pitch and give him art for the issue twenty-eight days later while he worked on all of the other things that had to be done (Ditko... well, we know what happened there). They'd reliably give him the action and character beats he needed and then he could fill it in.

By the 90s that generation of arts had heard the stories of Kirby dropping off 24 pages of FF and Lee going, "Who's this guy on the surf board?" But none of them had the plotting chops or working relationship to pull that kind of thing off (a few of them grew into it, but most didn't). Didn't stop the "who needs writers? Just draw a fight scene with this cool character design!" crowd from giving us years of awful comics, though.

Random Stranger
Nov 27, 2009



Thranguy posted:

https://mobile.twitter.com/thetonyisabella/status/1543964078456061954

DC has lately been better than DisneyMarvel about this kind of thing but seems to be backsliding...

I bet that that Maggin's contract is so unusual that it's fallen out of institutional knowledge that WB doesn't own any of the stuff they used. Which doesn't absolve them of their responsibilities or excuse their lack of due diligence, it just explains how it happened.

There is a real problem with the giant media conglomerates using some severely underpaid people as IP farms for things that make billions, it's just that this is a very different circumstance where they actually violated a contract and did some IP theft.

Random Stranger
Nov 27, 2009



ImpAtom posted:

I'm pretty sure at least a third to half of this forum has people saying every day that they are inhuman monster pedophiles

I know SA populations are falling, but I don't think the mods make up a third of the forum.

Random Stranger
Nov 27, 2009



How Wonderful! posted:

Sort of, he did work on King of the Hill as a storyboarder, but at that point he'd been working in comics for almost fifteen years. He drew a few stories in Cat Yronwode's anthology series Alien Encounters in 1985 and actually had some pretty high-profile gigs-- he also penciled a handful of Alan Moore Miracleman issues and a 1988 issue of Zot!.

It looks like the King of the Hill credit is actually his earliest TV work, and that was 1998. So yeah, he wasn't exactly a household name prior to that, but he did have a healthy comics resume.

There's a lot of crossover between comics and animation as people swing back and forth to wherever they can find a paycheck. I've got a Superfriends drawing for transferring to a cel that might be by Geoff Darrow, for example (he was working on the show, but was one of several people who could have drawn it).

An even bigger example is how Jack Kirby worked for Fleischer Studios as an inbetweener on Popeye cartoons before he got into comics and wound up back in animation for a time in at the end of his career.

It's neat if you keep your eyes open where you'll spot comics creators in other creative fields.

Edit: Thought of another big comics to animation person: Winsor McCay. :v:

Random Stranger
Nov 27, 2009



Gripweed posted:

clothes that make no sense are a good giveaway

It's comics. It would be weirder if the clothes did make sense.

Random Stranger
Nov 27, 2009



Skwirl posted:

He went to college in the 30s, it was free for everyone.

Actually I don't know if original Clark Kent went to college, I'm assuming the modern version did, because it's basically impossible to get a job as a newspaper reporter without a degree, but I don't think that was true back in the 30s.

His college girlfriend was a mermaid. Those stories were from the 50s but give him a few years and that would be in college in the 30s.

Random Stranger
Nov 27, 2009



Endless Mike posted:

In at least one version of his origin, he crashed on the Kents' farm during a snow storm, so they just claimed he was born during that and got him a birth certificate and Social Security number. It's 092-09-6616

Gonna do some secret identity theft on Kal-El.

Random Stranger
Nov 27, 2009



Air Skwirl posted:

San Diego Comic Con will be interesting next year since there probably won't be anything concrete about movies or TV shows based on comics that aren't already mostly done now, with the strikes

Hell, the way studios are negotiating by dropping crumbs and berating the strikers for not being grateful for them, the strikes might still be ongoing for the next SDCC.

Random Stranger
Nov 27, 2009



Air Skwirl posted:

If they don't come to a deal by September or so my understanding is the major studios will be properly hosed because they won't have any new content.

I would be amazed of a deal could be reached by September at this point. The studios are unwilling to engage in any kind of actual negotiation.

I don't have any skin in the game beyond looking at how streaming services have been disastrous for writers and actors pay and thinking, "Yeah, that has to be fixed."

Random Stranger
Nov 27, 2009



Air Skwirl posted:

I want the actors and writers to take them for every loving penny they can and am willing to not have new TV shows for a few months, a year, or whatever for them to get it.

If the studios break instead of the writers and actors I will not be shedding any tears. They'll have deserved it and dug their own graves. But I want the people that they're hurting to be okay, too, and the best way that can happen is for the studios to accept all of the extremely reasonable requests from the unions (in fact, I'd be demanding more since it's clear that the studios need independent auditing and oversight with regard to residuals).

Random Stranger
Nov 27, 2009




It's a little more complicated and messy than just "now you can scan in the comics and print your own". It's the characters and concepts of Fables that are available to anyone. If Marvel decided to make a new Fables series, they could.

It's still a big deal, and even with my complaints about Willingham himself, I respect it. It's just the existing material has more owners than him and he can't give away Mark Buckingham's copyright on his art (assuming that wasn't done under a work for hire contract).

Here's something you could do: you could write your own novelization of the series and sell that.

Random Stranger fucked around with this message at 22:13 on Sep 14, 2023

Random Stranger
Nov 27, 2009



ImpAtom posted:

Time to kickstart my new series: "Fables: Without The lovely Parts."

I'm going to insert my own page where Bigby denounces Israel as a genocide committing fascist ethnostate.

Random Stranger
Nov 27, 2009



Something just occurred to me that would make perfect thematic sense. As of January 1st, you could do your own version of Fables where the Adversary is Mickey Mouse...

Random Stranger fucked around with this message at 00:01 on Sep 15, 2023

Random Stranger
Nov 27, 2009



CapnAndy posted:

Willingham may suck absolute poo poo as a human being, but he just went nuclear and hosed with WB’s IP library and that loving rules.

I wonder if it strikes him that it’s a sword that cuts both ways, though? If Fables is public domain now, surely DC doesn’t need his permission to get new writers or license it to Telltale again. After all, he doesn’t own it.

Telltale wouldn't need to license it from DC, they could just do it.

Something that gets missed in a lot of the "gently caress copyright!" talk is that copyright doesn't just mean media conglomerates can hoard IP seek rent, it means that those media conglomerates also can't just steal something that belongs to some little guy and make a billion dollars off it. It does happen because in the centuries that publishers of media in any format have existed, there hasn't been a single one that you should trust, but it does make it a lot harder for them to get away with it.

I strongly suspect that DC will now be able to do things with Fables and just cut out Willingham. It'll depend on the exact wording of the contracts, but now that the IP is in the public domain there's a shitton of wiggle room. And DC as a publisher is in a position to just do it; they own a lot of the stuff around Fables that's part of selling it as a comic. If someone wanted to make a new Fables series at Image, they'd have to be careful not to step on anything that was separate from what Willingham made and DC would have lawyers watching like hawks.

Random Stranger
Nov 27, 2009



Dawgstar posted:

People are getting very excited about this but it's becoming apparent Willingham can't actually do what he's claiming. There is no mechanism for putting something under copyright into the public domain. It's the literary equivalent of Michael Scott yelling "I DECLARE BANKRUPTCY!" Other people might get in a lot of trouble for acting on it, though.

Except people can release their work to the public domain and do so all the time. And, yes, all that is required to do so is for the copyright holder to publicly say, "I DECLARE BANKRUPTCY PUBLIC DOMAIN!" That really is how it works. The only legal standard is a clear declaration of intent from the former own of the work.

Warners is claiming it's not valid but by their own legal paperwork, they say that Willingham owned Fables. So by everything that said up until this week, he could do this.

Random Stranger
Nov 27, 2009



Dawgstar posted:

Talking with a friend who actually does copyright law you'd need something like this:

'To the greatest extent permitted by, but not in contravention of, applicable law, Affirmer hereby overtly, fully, permanently, irrevocably and unconditionally waives, abandons, and surrenders all of Affirmer’s Copyright and Related Rights and associated claims and causes of action, whether now known or unknown (including existing as well as future claims and causes of action), in the Work (i) in all territories worldwide, (ii) for the maximum duration provided by applicable law or treaty (including future time extensions), (iii) in any current or future medium and for any number of copies, and (iv) for any purpose whatsoever, including without limitation commercial, advertising or promotional purposes (the “Waiver”). Affirmer makes the Waiver for the benefit of each member of the public at large and to the detriment of Affirmer’s heirs and successors, fully intending that such Waiver shall not be subject to revocation, rescission, cancellation, termination, or any other legal or equitable action to disrupt the quiet enjoyment of the Work by the public as contemplated by Affirmer’s express Statement of Purpose.'

Even this is creating an open/permissive contract. If Willingham does that - if he's legally allowed to do that, which is in dispute as Stuart Moore who oversaw those contracts from then says they are a lot more complicated - then we might have something but just 'public domain, y'all' no that doesn't work. Even looking at Lehrer's statement he says you can do anything you want with his music and Willingham's put riders on it (no reprinting DC's stuff) which means it is not public domain.

That just sounds like some attorney wants to get paid. :v:

More seriously, I get his approach since it removes all ambiguity. I think there's a good argument for people to interpret Willingham's non-legalese statement that way, but it can be messy.

And yeah, one of the key complications is that Willingham didn't own everything around Fables. He had a large chunk of it; the concepts, characters, and story, but not things like the art or the printed volumes or the videogame. What Willingham owned is rather firmly now public domain, but that isn't everything and DC will watch any Fables stuff that comes to make sure it doesn't infringe on what they do own.

Random Stranger
Nov 27, 2009



The Last Call posted:

For those that missed it, DC already put out a release saying, nope.

Good luck to anyone that tries to publish Fable stuff.

That's DC's opinion but let me just check with the legal statements of ownership provided by [checks notes] one "DC comics".



That's what I was saying upthread: until last week, every legal notice DC made was that Willingham owned Fables, but once he said it was released into the public domain, then they're claiming they were the owner.

Just to be clear, DC owned the actual book layout and the cover art. Willingham owned everything else. And DC themselves stated this.

Also, this industry drama is a lot more fun and interesting than the usual "this person is a shithead" drama.

Random Stranger fucked around with this message at 03:02 on Sep 18, 2023

Random Stranger
Nov 27, 2009



Kurui Reiten posted:

I think the easiest way to look at what happened is that Willingham decided to make things a clusterfuck to spite DC. The whole debacle over what what he did actually means is the whole point; the franchise is effectively legally poisoned until this is cleared up.

Whether or not that's a petty move is up to the reader, I guess.

It's not that much of a clusterfuck, it's just that the average person's interaction and knowledge of copyright is next to nothing. That means the real fun is in people misinterpreting Willingham's statement and that might be a genuine spite move on his part since he didn't bother to distinguish what he owned from what DC owned.

It really is as simple as "Willingham owned the characters and concepts behind Fables. Then he released them to the public domain so anyone is free to use those without license." There's definitely certain groups that benefit from trying to muddy the waters and people who don't understand what Willingham owned, but the fundamental principle is about as straightforward as they come and if Warners/DC tried to take legal action against someone staying on the public domain side of things they'd get slapped (and possibly SLAPPed given the likely venues) down hard.

Uthor posted:

I like to think about Wizard of Oz. I certainly don't know all the details (wow, the wiki is super long!), but basically the characters are in public domain, but the famous Disney movie is not (yet). So, you see tons of Oz adaptations, but they need to make sure and stay away from anything that was changed and/or new to the film.

https://en.m.wikipedia.org/wiki/Copyright_status_of_The_Wizard_of_Oz_and_related_works_in_the_United_States

Adaptation is really interesting when it comes to copyright because of how certain things that people associate with with a work might be a result of an adaptation. And it's not always the things you'd expect; a lot of iconic aspects of works were created for other versions of them. To take this back to comics, Jimmy Olsen and kryptonite didn't originate in Superman comics, though as far as I can tell National Comics owned the things derived from the radio show. There's no legal indica in those 50's Superman books that they were owned by someone else.

Random Stranger fucked around with this message at 03:45 on Sep 18, 2023

Random Stranger
Nov 27, 2009



The one time I met Dan DiDio he assaulted me.

That's not a joke.

It was at a con of course, and I was chatting with James Robinson and DiDio came up behind me, grabbed me by the shoulders, and started shaking me. "You're talking with James Robinson here! Chatting with James!" Completely bizarre.

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Random Stranger
Nov 27, 2009



Uthor posted:

Wait, he's the reason I stopped reading DC comics for a long time? :argh:

This applies to a lot more people and for a lot more reasons than Batwoman.

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