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"Creators contributing are David Lloyd, Kyle Baker, Mark Wheatley, JC Vaughn, John McCrea, Phil Hester, David Hitchcock, Steve Bissette, Dan Christensen, Yishan Li, Algesiras, Alain Mauricet, Alexandre Tefenkgi, Billy Tucci, Mindy McPeak, Kathryn Layno, Kev Hopgood, Ferg Handley, Lew Stringer, David Leach, Carl Critchlow, Colleen Doran, Shaky Kane, Dave Hine, Hunt Emerson, Dylan Teague, Marc Hempel, Paul Maybury, Phil Elliott, Esteban Hernandez, Mychailo Kazybrid, Ben Dickson, Gavin Mitchell, Henry Flint and (believe it or not) many more...
Aces Weekly will be released as seven weekly issues which form a volume. Each issue will have at least three landscape pages from six contributors (18 pages per issue), plus extras such as artists sketches etc.
Then there'll be a break in publication before the next seven issue volume begins.
Readers subscribe to volumes which cost £6.99/$10 per seven issue volume.
I’ve been having a very long and involved email discourse with Garth Ennis about a couple of projects we’re both involved with. We’ve mainly been comparing notes on Battle Picture Weekly, but in the last few days the focus has shifted onto 2000AD, specifically the first 520 progs that were mostly printed on bog roll.
Garth’s got a stellar memory and can recall tiny details of strips from as long as thirty-five years ago, stuff that has long-since fallen out of my head. He’s got a theory that 2000AD changed fundamentally when it went onto higher quality paper and that those first 10 years’ worth represent the classic run of the comic’s long history.
It’s been a fun exchange of opinions, and has made me yearn for those old progs, coincidentally the only ones I kept from my once 1700-strong collection when I moved house last year. So, I’ve decided to re-read those 520 progs, and to share a few of my favourite moments along the way. Doubtless it’ll take me a long time to complete, but I’ll have fun trying.
also i had a couple of drinks With Simon Jacob the other night and from what i gather he's not finished with comic book art ??
Comic creators are raising concerns about changes afoot to copyright law in the UK, effectively stripping away long held rights and potentially handing the handling of your copyrighted creations to new 'colllecting agencies'.
Foremost, it proposed to turn the legal entitlement to copyright protection from an automatic right to one that will require you to opt in; the default assumption under this proposal is that you are happy to have your work, if declared an 'orphan' work, exploited and licensed by a third party body -- a collecting society. Note that the proposal does not require you to be a member of a collecting society (which could very well be a private company) in order for that society to deal with your work.
There is clearly a massive logical flaw in this at its most fundamental level: if you make yourself (and, thus, your work) known to the collecting society, how can it be an orphaned work? By definition, the creator will have to be either unknown or uncontactable for the work to be declared an 'orphaned' one, but since when did the obscurity of work deny it legal protection?
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Here's a hypothetical example: I put a piece of artwork up on my deviantArt site, which gets about 10 hits a day. It's a caricature of a celebrity I did for my own amusement, say. Someone working for a blog or site about celebrities right clicks that image, saves it down to their hard drive, and then re-uploads it to their blog, cropping it so that my signature is removed and failing to attribute it. I'm none the wiser -- there's no spike in traffic to my dA page, and I wouldn't see it on the blog, since it's not the sort of thing I read. The person who uploaded the image to the new location does a couple of dozen of these a day and doesn't keep a record of the sources.*
That image is now receiving thousands of times more views as an unattributed, 'orphaned' image than it will ever receive in its original location, with its proper attribution.
Enter the collecting society for cartoonists (remember that this could be a private company, and the proposal suggests that there could be more than one in each field; we're not talking about some cosy little creators' guild set-up, here) who declare it an orphaned work, license it to a clothing company for a fee and keep the money. My artwork is now on tens of thousands of t-shirts and, unless I actually see one, then I will be none the wiser.
And, let's say I do see one. There may be multiple collecting societies -- how do I find out which one has licensed my work? What if I am unhappy with the fee they have negotiated? Are they going to force the licensee to add my signature to all future printings of the t-shirt? What if I'm unhappy with the context in which my artwork is being used? Will the collecting society revoke the license? Compensate me for the inappropriate use of my work?
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What this proposal appears to do is turn the entire internet into one massive stock library for larger companies, giving them an easy point of contact (the collecting societies) to negotiate licenses to use content they don't own. Better yet, the collecting societies get to do this without your knowledge and then keep the money.
In October, Thanos: Son of Titan makes its debut as a five-issue miniseries that reveals the origin of this major galactic threat to civilization. (Thanos is also the foil to Captain America, Iron Man and Thor in Marvel's Avengers Assemble series.)
"It is about how Thanos came to be," says Joe Keatinge, 30, the up-and-coming writer who teams with British artist Richard Elson on Son of Titan.