Podcasts about comicmix

It's the conversation the internet gods didn't want you to hear! But not even a hurricane could stop the fury of Joe Corallo. A razor sharp critic and all around entertaining guy, Joe stops by to talk about the role of an editor, writing for fulfillment vs paying the bills, where the ideas come from, and how he balances it all.About Joe:Joe Corallo started self-publishing comics he wrote in 2011 with various collaborators and tabled at his first convention. As he got more involved in the world of comics, he became a contributor to pop culture websites including insertgeekhere, ComicMix, Geek dot com, and Geeks OUT where he serves as blog editor.His short-form comics writing can be found in a number of anthologies including Archie's Jinx's Grim Fairy Tales and Happy Horrordays, the Ignatz nominated Dates Vol. 3, as well as Dead Beats: A Musical Horror Anthology, Yule: Dreadful Tales For The Holiday Season, and Lower Your Sights; all Ringo Award nominees. It also includes his DC Comics debut in DC Pride: A Celebration Of Rachel Pollack which spotlights DC's first trans superhero, Coagula, for the first time in over two decades available June 4th, 2024.His long-form work includes collaborations with Liana Kangas on the series She Said Destroy and TKO Shorts #1: Seeds of Eden, Rachel Pollack on The Never-Ending Party released digitally through ComiXology Originals and in print through Dark Horse Comics, as well as having written Becstar and Dahlia In The Dark for Mad Cave Studios. His debut young adult graphic novel King Arthur & the Knights of Justice, a reboot of the 90's animated series, is available now.Joe is also an Eisner and GLAAD award nominee and Ringo award-winning editor of comics and graphic novels from his anthology he curated and co-edited with Molly Jackson, Mine: A Celebration Of Liberty And Freedom For All Benefiting Planned Parenthood and Oh S#!t It's Kim & Kim! His clients include ComicMix, A Wave Blue World, Black Mask Studios, ComiXology Originals, MERC Publishing, Mad Cave Studios, and Dynamite Entertainment. For More from Comics Are Dope:Get This Week in Comics, our weekly e-mail newsletter: http://thisweekincomics.comSubscribe on YouTube: http://youtube.com/@comicsaredopeJoin our online Discussion Communities:Facebook - http://bjkicks.link/communityDiscord - http://bjkicks.link/discord

Fika with Vicky welcomes back Mark Ryan Date: March 7th, 2024 Episode 7 Description: -Fika with Vicky welcomes returning guest Mark Ryan. It's always a great conversation when Mark visits, so grab yourself an extra-large coffee for this one. We have so much to catch up on, you won't want to miss a minute of it running for a refill. About Mark: “Mark Ryan has been combining his acting, singing, writing, action direction and producer talents in an eclectic and successful international career ranging over 45 years. He did several major musicals in London's West End, spending 4 years in Andrew Lloyd Webber's smash hit "Evita" playing "Magaldi" and "Che" under the direction of Broadway legend: Hal Prince. He originated "Nasir" for the cult British TV series: "Robin Of Sherwood" and has appeared in dozens of films and television series both in the US and UK. Mark is also an accomplished author and has written for DC Comics and created "The Greenwood Tarot" for Harper Collins. Mark also toured the US with original "Monty Python" member: Eric Idle, performing at Carnegie Hall and the Hollywood Bowl. He was Swordmaster and Fight Director on "King Arthur" for Antoine Fuqua and trained Keira Knightley, Stellan Skarsgard and Clive Owen. He has appeared in such productions as "The Prestige" and "The Thirst" and has continued to work in theater and TV in the US, recently completing "SpecialOps: Delta" playing Col. Anderson Savage. He began working on the 2007 film Transformers during filming as the on-set voice of several different robots. This work continued throughout filming and into editing, prior to the actual casting of voice-over talent. He was then cast as the voice of the character Bumblebee. Ryan also voices Ironhide and Hoist for the Activision video game based on the film. During 2008 he wrote and produced a musical adaptation of "Wuthering Heights" starring Jenn Korbee, directing the video "Women" for the project. In the fall of 2008 the online publisher, ComicMix, began running "The Pilgrim" written by Ryan and drawn by legendary graphic artist Mike Grell. He continued voice-work on "Transformers: Revenge Of The Fallen" into 2009, performing several characters and standing in for the robots during principal photography. In May 2010, Ryan returned to work on Transformers: Dark of the Moon, once again as the onset voice of the Autobots. Work on this third Michael Bay Blockbuster continued at locations across the US and also at Kennedy Space Center - Cape Canaveral. The film was shot in 3D with post production voice-work carrying on into the spring of 2011 at Bay Films and Ryan contributed uncredited military lines and voices to the final cut of Transformers: Dark of the Moon. In 2014 he also voiced the alien bounty-hunter "Lockdown" for the 4th Transformers movie: "Age of Extinction". His biography; "Hold Fast" was written with John Matthews and published in 2015. "Hold Fast" includes chapters on "Black Sails" in which he played Quartermaster "Hal Gates" and the 5th movie in the franchise: "Transformers: The Last Knight" in which he voiced "Bulldog", "Hot Rod" and appeared as a British Army SAS Officer. In 2022 Mark began work on co-writing: "The Sherwood Oracle" with John Mathews using imagery from the acclaimed artist; Anne Yvonne Gilbert to be released in the spring of 2024 and published by major New York publishing house: Stirling Ethos. In 2023 he began co-producing with films such as "Penitent" and "Grail" and his first movie as co-producer and actor: "23 Letters From Vincent van Gogh" shot entirely on location in The Netherlands, will be released in 2024”.

Fika with Vicky welcomes back Mark Ryan Date: March 7th, 2024 Episode 7 Description: -Fika with Vicky welcomes returning guest Mark Ryan. It's always a great conversation when Mark visits, so grab yourself an extra-large coffee for this one. We have so much to catch up on, you won't want to miss a minute of it running for a refill. About Mark: “Mark Ryan has been combining his acting, singing, writing, action direction and producer talents in an eclectic and successful international career ranging over 45 years. He did several major musicals in London's West End, spending 4 years in Andrew Lloyd Webber's smash hit "Evita" playing "Magaldi" and "Che" under the direction of Broadway legend: Hal Prince. He originated "Nasir" for the cult British TV series: "Robin Of Sherwood" and has appeared in dozens of films and television series both in the US and UK. Mark is also an accomplished author and has written for DC Comics and created "The Greenwood Tarot" for Harper Collins. Mark also toured the US with original "Monty Python" member: Eric Idle, performing at Carnegie Hall and the Hollywood Bowl. He was Swordmaster and Fight Director on "King Arthur" for Antoine Fuqua and trained Keira Knightley, Stellan Skarsgard and Clive Owen. He has appeared in such productions as "The Prestige" and "The Thirst" and has continued to work in theater and TV in the US, recently completing "SpecialOps: Delta" playing Col. Anderson Savage. He began working on the 2007 film Transformers during filming as the on-set voice of several different robots. This work continued throughout filming and into editing, prior to the actual casting of voice-over talent. He was then cast as the voice of the character Bumblebee. Ryan also voices Ironhide and Hoist for the Activision video game based on the film. During 2008 he wrote and produced a musical adaptation of "Wuthering Heights" starring Jenn Korbee, directing the video "Women" for the project. In the fall of 2008 the online publisher, ComicMix, began running "The Pilgrim" written by Ryan and drawn by legendary graphic artist Mike Grell. He continued voice-work on "Transformers: Revenge Of The Fallen" into 2009, performing several characters and standing in for the robots during principal photography. In May 2010, Ryan returned to work on Transformers: Dark of the Moon, once again as the onset voice of the Autobots. Work on this third Michael Bay Blockbuster continued at locations across the US and also at Kennedy Space Center - Cape Canaveral. The film was shot in 3D with post production voice-work carrying on into the spring of 2011 at Bay Films and Ryan contributed uncredited military lines and voices to the final cut of Transformers: Dark of the Moon. In 2014 he also voiced the alien bounty-hunter "Lockdown" for the 4th Transformers movie: "Age of Extinction". His biography; "Hold Fast" was written with John Matthews and published in 2015. "Hold Fast" includes chapters on "Black Sails" in which he played Quartermaster "Hal Gates" and the 5th movie in the franchise: "Transformers: The Last Knight" in which he voiced "Bulldog", "Hot Rod" and appeared as a British Army SAS Officer. In 2022 Mark began work on co-writing: "The Sherwood Oracle" with John Mathews using imagery from the acclaimed artist; Anne Yvonne Gilbert to be released in the spring of 2024 and published by major New York publishing house: Stirling Ethos. In 2023 he began co-producing with films such as "Penitent" and "Grail" and his first movie as co-producer and actor: "23 Letters From Vincent van Gogh" shot entirely on location in The Netherlands, will be released in 2024”.

On this episode of And I "Quote": Ryan talk with writer, editor and co-founder of Crazy 8 Press , Robert Greenberger. We will also be taking your questions. Don't miss it! Robert Greenberger is a writer and editor. A lifelong fan of comic books, comic strips, science fiction, and Star Trek, he drifted towards writing and editing, encouraged by his father and inspired by Superman's alter ego, Clark Kent.While at SUNY-Binghamton, Greenberger wrote and edited for the college newspaper, Pipe Dream. Upon graduation, he worked for Starlog Press and while there, created Comics Scene, the first nationally distributed magazine to focus on comic books, comic strips, and animation.In 1984, he joined DC Comics as an Assistant Editor and went on to be an Editor before moving to Administration as Manager-Editorial Operations. He joined Gist Communications as a Producer before moving to Marvel Comics as its Director-Publishing Operations.Greenberger rejoined DC in May 2002 as a Senior Editor-Collected Editions. He helped grow that department, introducing new formats and improving the editions' editorial content. In 2006, he joined Weekly World News as its Managing Editor until the paper's untimely demise. He then freelanced for an extensive client base including Platinum Studios, scifi.com, DC and Marvel. He helped revitalize Famous Monsters of Filmland and served as News Editor at ComicMix.com.He is a member of the Science Fiction Writers of America and the International Association of Media Tie-In Writers. His novelization of Hellboy II: The Golden Army won the IAMTW's Scribe Award in 2009.In 2012, he received his Master of Science in Education from the University of Bridgeport and relocated to Maryland where he has taught High School English in Baltimore County. He completed his Master of Arts degree in Creative Writing & Literature for Educators at Fairleigh Dickinson University in 2016.With others, he cofounded Crazy 8 Press, a digital press hub where he continues to write. His dozens of books, short stories, and essays cover the gamut from young adult nonfiction to original fiction. His most recent works include numerous short stories plus the concluding chapter of This Alien Earth for the late Paul Antony Jones and the first chapter of Above the Ground, in collaboration with Matt Medney.Bob teaches High School English at St. Vincent Pallotti High School in Laurel, MD. He and his wife Deborah reside in Howard County, Maryland.Follow Robert Greenberger on Social Media: Website: www.bobgreenberger.comWebsite: www.Crazy8Press.comTwitter: https://twitter.com/bobgreenbergerFollow Ryan on Social Media: https://linktr.ee/ryanandiquoteMake Sure to LIKE, COMMENT, & SUBSCRIBE!Nerd Culture MERCH!!! www.nerdculture.threadless.comHWWS NC Merch - https://hwwswebtv.threadless.com/designDONATE to our Patreon: https://www.patreon.com/itsnerdcultureFollow:Twitch: https://www.twitch.tv/itsnerdculture/Instagram: https://www.instagram.com/itsnerdcultureTwitter :https://twitter.com/itsNerdCultureFacebook: https://www.facebook.com/itsnerdculture

This week on Episode 514 of Priority One: LeVar Burton shares some personal insight in a New York Times interview, there's a shakeup happening at ViacomCBS, Galaxy Quest might happen as a TV Series; in gaming, Star Trek Online's summer event gears up! This week's Community Question is: CQ: What do you think about using promo item sales to moderate Star Trek Online's dilithium economy? Let us know on social media like Facebook, Twitter, or by visiting our website! TREK IT OUT Edited by Thomas Reynolds LeVar Burton's A Sign Of The Times By Elio Lleo Several Star Trek alumni have gone on to lead remarkable careers, but one in particular has been such a cultural icon, he is affectionately known as one of the Four Horsemen of Wholesomeness. Like Bob Ross, Steve Irwin, and Fred Rogers, LeVar Burton is an institution not just to his Star Trek fans but to children. In a recent interview with The New York Times's David Marchese, LeVar opens up about his career and his latest adventure as the guest host of Jeopardy!. To whom it may concern: you're welcome. Image: Los Angeles Magazine. The interview is very personal and Marchese asks thought-provoking questions. When Burton was asked why he wants the Jeopardy! gig, Burton replied: Look, I have had a career for the [expletive] ages. “Roots,” “Star Trek,” “Reading Rainbow.” Won a Grammy. Got a shelf full of Emmys. I'm a storyteller, and game shows are tremendous stories. There's a contest, there's comedy, there's drama. If you don't know your [expletive] on “Jeopardy!” you're sunk in full view of the entire nation. The stakes are high. I love that. And Geordi will be disappointed in you. Do you want that? Do you? Image: Slashfilm. Burton goes on to discuss the balance between his celebrity and private personas and how he best engages with his fans---both in person and online. He also goes on to discuss how he approaches opportunities that might have come, or others that he might have missed.  Comcast Joins The Stream Team By Cat Hough In case anyone out there was not aware, the Streaming Wars have begun. Now, Comcast is joining the battle. It has been said by “sources” that Comcast CEO, Brian Roberts, has been wrestling with whether to build or buy to become a streaming powerhouse. He's considering a move similar to how ViacomCBS, Disney and Amazon, have struck mergers meant to supercharge their streaming efforts. Mr. Roberts, known as an aggressive deal maker in his two decades leading Comcast, has told people close to him that he doesn't feel a need to seek a merger. But he is scoping out options, and ideas on the table include a potential tie-up with ViacomCBS Inc. or an acquisition of Roku Inc. Now every network and content provider wants to be a streaming powerhouse, and in an effort to better prioritize streaming, executive teams continue to be reshuffled---including the team at ViacomCBS. Another restructure within the company was announced this week that included several promotions. The new exec team will focus on content groups rather than specific network oversight, with each newly promoted executive having greenlight power in order to keep supplying programming to Paramount+. The reorg will see ViacomCBS shift from a legacy model where networks had dedicated executives in favor of a structure that puts executives in charge of specific genres across the company. This move is fairly significant for ViacomCBS, since none of the four legacy media companies have similar exec structures.  Fair Use, Or Not So Fair? By Cat Hough There are some new and interesting limitations in place if you want to claim Fair Use as a defense to copyright infringement claims. This week, the Supreme Court refused to review a 9th Circuit's December decision that author David Jerrold and ComicMix LLC's were liable for copyright infringement because their mashup of Star Trek elements with Dr. Seuss's Oh, the Places You'll Go! did not make fair use of Seuss's work. The issue in this case came down to whether the new version transformed the original version enough to be considered fair use, and the court says no, it did not. Now, a brief lesson in copyright law: if you are a holder of a copyrighted work, you are entitled to protect your work from other people from using it. If someone wants to use your work, then they need to ask permission, which is known as getting a license. However there are situations in which someone does not have to get permission to use someone else's work, like news reporting or teaching. There are other ways, too - but those are just an example. The thing with fair use is that it is a defense to copyright infringement, so you actually have to get sued first in order to prove that you are not guilty of infringement. If you use fair use as a defense, you are basically saying, “yes, I used your protected work, but my use is an exception to the normal rules.” Image: Brendan McDermid, via Reuters. Oh, The Cases You'll Go (To Court For) In this case, Mr. Jerrold and the publisher, ComicMix LLC took Dr. Suess's book, Oh, the Places You'll Go! and published a version based on Star Trek. Now it's very clear that the underlying work is Dr. Suess's book, but the 9th Circuit went through an entire analysis of each element of a fair use defense - which we won't go into here, but eventually they found that the mashup was copyright infringement because the publisher and author did not give any new context to the original work or the work was not transformative enough. If you're interested in other case law about fair use, the essential case to read is the “Oh, Pretty Woman” case brought against 2 Live Crew by the publishers of the Roy Orbison/William Dees song [actual citation: LUTHER R. CAMPBELL aka LUKE SKYYWALKER, et al., PETITIONERS v. ACUFF ROSE MUSIC, INC---Ed.].     But Don't Take Our Word For It Priority One's legal analysis, as always, is good for educational and entertainment purposes only---for actual legal advice, consult a practitioner licensed in your jurisdiction, and pay for your own content. And if you are planning on using other people's work in your own creative way, it's best to err on the side of caution and get a license. Even if some guy on the internet told you it's fair use. Yeah, he seems trustworthy. Image: ViacomCBS, via HeroCollector. Quick News Roundup Here are a few headlines that we didn't discuss but might interest you. If you need a chuckle, Facebook user “Spock Pointy-ears Vulcan” created a video montage of the famous Picard Maneuver (you know, the one where SirPatStew tugs on his uniform). In this interpretation though, each time he does it, his com-badge pops off. Captain Pew-card, if you will. One of Star Trek's greatest films might be getting a made-for-television adaptation! Well, OK---it's not Star Trek, it's one of Trek's greatest love letters: Galaxy Quest. In an interview with The Times, Georgia Pritchett let slip that she and Simon Pegg are working on a new Galaxy Quest project. Unfortunately, there are no more details to share. Noah Averbach-Katz (Discovery's Andorian Ryn and Mary Wiseman's husband) is raising funds in support of the non-profit organization T1International, and their mission to make insulin freely available to all who need it. Visit his website to find special #Insulin4All Starfleet combadges and signed photos for sale and help support this important cause. Image: Noah Averbach-Katz. STAR TREK GAMING NEWS Edited by Thomas Reynolds A Top-Tier Luxury Cruiser By Cat Hough Last week, Star Trek Online announced this year's Summer Event ship will be the T6 Risian Luxury Cruiser. We now have more information about this upgraded version of the ship. First, this ship features a Lieutenant Commander Universal/Temporal Operative Bridge Officer Seat, and is also equipped with Solar Sails, which allow its Quantum Slipstream Drive to travel at increased speeds for twice as long as normal. Image: Cryptic Studios. Also, the Risian Luxury Cruiser can be equipped with a Soliton Wave Generator console.  This allows the ship to generate a powerful, but stable, Soliton wave that will draw nearby enemy ships toward the Cruiser and deal minor radiation damage.  During this time, the Soliton Wave Generator is building up a powerful charge that is released after a short time and will damage nearby foes---plus briefly knock their engines offline. This console also provides a passive increase to Current and Max Shield Subsystem Power, and Reduced Recharge Times for Temporal Operative Bridge Officer Abilities. Image: Cryptic Studios. As befitting a T6 ship, the Luxury Cruiser also has the Leisurely Pace Starship Mastery Trait. While at or below 25% Throttle, Exotic Particle Generators and Control Expertise get a stacking bonus once every 5 seconds (4 stacks max). Once you have at least one stack, activating any Control Bridge Officer Ability will cause up to 5 foes within 5km to suffer a Debuff to their Flight Speed and All Outgoing Damage for 5 seconds. The severity of this debuff is increased by additional stacks of this trait's buff, gained by remaining at Low Throttle. This effect may only be triggered once per 5 seconds. D.R.E.A.M. (Dilithium Rules Everything Around Me) By Thomas Reynolds A key part of humanity's future in Star Trek is the end of the scarcity-based economy. Money is nothing and chips are free (on Earth, at least). So to be honest, when we start talking about manipulating currency economies in STO, it feels just a bit weird. On June 25th, the official STO Twitter account acknowledged that the Dilithium Exchange was apparently not showing offers anymore. But rather than a display bug, there was simply no offers to show: “any offer to buy Dilithium is *instantly* filled, leaving nothing to display.” https://twitter.com/trekonlinegame/status/1408497068742561794?s=20 Cryptic's solution to balance the economy? Sell more stuff, of course! To sink a lot of dilithium out of the game---fast---Cryptic is temporarily adding ten previously promo-only Vanity Shields to the Dilithium Store. That sweet Section 31 aesthetic you've craved for so long? Just drop 280,000 dilithium between now and July 8th, and it can be yours.  SHUT UP AND TAKE MY CRYSTALS. Image: Cryptic Studios. Cryptic's goal is to rebalance the economy without raising the dilithium cap, which it reportedly has no plans to do so. On the one hand, that makes this special shield offer feel somewhat like a stopgap measure. Then again, it also makes promo items accessible to players without sacrificing on the altar of RNGesus: something we strongly support. That brings us to our community question this week: CQ: What do you think about using promo item sales to moderate Star Trek Online's dilithium economy? Magic: Legends Exits Play By Thomas Reynolds For years the STO community voiced concerns that Magic: Legends was drawing development resources away from our own big-name licensed MMO. That turns out not to be the case. On June 29th, former STO EP Steve Ricossa announced that Magic: Legends will be shutting down on October 31st. This might not be a surprise given Legends' troubled development history, rough open beta launch, monetization controversies, and recent lack of player engagement. Still, going from beta launch to shutdown in only seven months is a grim trajectory–especially for those who put so much effort into it. With Legends headed off into the serene sunset, Cryptic simultaneously laid off about 40 people associated with the project effective immediately. Ricossa promises that Cryptic “learned several valuable lessons along the way, and...will use them to improve Cryptic's future development efforts,” but it'll be with fewer faces around. Image: Cryptic Studios.

The largest global power during the rise of intellectual property was England, so the world adopted her philosophies. The US had the same impact on software law. Most case law that shaped the software industry is based on copyright law. Our first real software laws appeared in the 1970s and now have 50 years of jurisprudence to help guide us. This episode looks at the laws, supreme court cases, and some circuit appeals cases that shaped the software industry. -------- In our previous episode we went through a brief review of how the modern intellectual property laws came to be. Patent laws flowed from inventors in Venice in the 1400s, royals gave privileges to own a monopoly to inventors throughout the rest of Europe over the next couple of centuries, transferred to panels and academies during and after the Age of Revolutions, and slowly matured for each industry as technology progressed.  Copyright laws formed similarly, although they were a little behind patent laws due to the fact that they weren't really necessary until we got the printing press. But when it came to data on a device, we had a case in 1908 we covered in the previous episode that led Congress to enact the 1909 Copyright Act.  Mechanical music boxes evolved into mechanical forms of data storage and computing evolved from mechanical to digital. Following World War II there was an explosion in new technologies, with those in computing funded heavily by US government. Or at least, until we got ourselves tangled up in a very unpopular asymmetrical war in Vietnam. The Mansfield Amendment of 1969, was a small bill in the 1970 Military Authorization Act that ended the US military from funding research that didn't have a direct relationship to a specific military function. Money could still flow from ARPA into a program like the ARPAnet because we wanted to keep those missiles flying in case of nuclear war. But over time the impact was that a lot of those dollars the military had pumped into computing to help develop the underlying basic sciences behind things like radar and digital computing was about to dry up. This is a turning point: it was time to take the computing industry commercial. And that means lawyers. And so we got the first laws pertaining to software shortly after the software industry emerged from more and more custom requirements for these mainframes and then minicomputers and the growing collection of computer programmers. The Copyright Act of 1976 was the first major overhaul to the copyright laws since the 1909 Copyright Act. Since then, the US had become a true world power and much as the rest of the world followed the British laws from the Statute of Anne in 1709 as a template for copyright protections, the world looked on as the US developed their laws. Many nations had joined the Berne Convention for international copyright protections, but the publishing industry had exploded. We had magazines, so many newspapers, so many book publishers. And we had this whole weird new thing to deal with: software.  Congress didn't explicitly protect software in the Copyright Act of 1976. But did add cards and tape as mediums and Congress knew this was an exploding new thing that would work itself out in the courts if they didn't step in. And of course executives from the new software industry were asking their representatives to get in front of things rather than have the unpredictable courts adjudicate a weird copyright mess in places where technology meets copy protection. So in section 117, Congress appointed the National Commission on New Technological Uses of Copyrighted Works, or CONTU) to provide a report about software and added a placeholder in the act that empaneled them. CONTU held hearings. They went beyond just software as there was another newish technology changing the world: photocopying. They presented their findings in 1978 and recommended we define a computer program as a set of statements or instructions to be used directly or indirectly in a computer in order to bring about a certain result. They also recommended that copies be allowed if required to use the program and that those be destroyed when the user no longer has rights to the software. This is important because this is an era where we could write software into memory or start installing compiled code onto a computer and then hand the media used to install it off to someone else.  At the time the hobbyist industry was just about to evolve into the PC industry, but hard disks were years out for most of those machines. It was all about floppies. But up-market there was all kinds of storage and the righting was on the wall about what was about to come. Install software onto a computer, copy and sell the disk, move on. People would of course do that, but not legally.  Companies could still sign away their copyright protections as part of a sales agreement but the right to copy was under the creator's control. But things like End User License Agreements were still far away. Imagine how ludicrous the idea that a piece of software if a piece of software went bad that it could put a company out of business in the 1970s. That would come as we needed to protect liability and not just restrict the right to copy to those who, well, had the right to do so. Further, we hadn't yet standardized on computer languages. And yet companies were building complicated logic to automate business and needed to be able to adapt works for other computers and so congress looked to provide that right at the direction of CONTU as well, if only to the company doing the customizations and not allowing the software to then be resold. These were all hashed out and put into law in 1980. And that's an important moment as suddenly the party who owned a copy was the rightful owner of a piece of software. Many of the provisions read as though we were dealing with book sellers selling a copy of a book, not dealing with the intricate details of the technology, but with technology those can change so quickly and those who make laws aren't exactly technologists, so that's to be expected.  Source code versus compiled code also got tested. In 1982 Williams Electronics v Artic International explored a video game that was in a ROM (which is how games were distributed before disks and cassette tapes. Here, the Third Circuit weighed in on whether if the ROM was built into the machine, if it could be copied as it was utilitarian and therefore not covered under copyright. The source code was protected but what about what amounts to compiled code sitting on the ROM. They of course found that it was indeed protected.  They again weighed in on Apple v Franklin in 1983. Here, Franklin Computer was cloning Apple computers and claimed it couldn't clone the computer without copying what was in the ROMs, which at the time was a remedial version of what we think of as an operating system today.  Franklin claimed the OS was in fact a process or method of operation and Apple claimed it was novel. At the time the OS was converted to a binary language at runtime and that object code was a task called AppleSoft but it was still a program and thus still protected. One and two years later respectively, we got Mac OS 1 and Windows 1. 1986 saw Whelan Associates v Jaslow. Here, Elaine Whelan created a management system for a dental lab on the IBM Series One, in EDL. That was a minicomputer and when the personal computer came along she sued Jaslow because he took a BASIC version to market for the PC. He argued it was a different language and the set of commands was therefore different. But the programs looked structurally similar. She won, as while some literal elements were the same, “the copyrights of computer programs can be infringed even absent copying of the literal elements of the program.” This is where it's simple to identify literal copying of software code when it's done verbatim but difficult to identify non-literal copyright infringement.  But this was all professional software. What about those silly video games all the kids wanted? Well, Atari applied for a copyright for one of their games, Breakout. Here, Register of Copyrights, Ralph Oman chose not to Register the copyright. And so Atari sued, winning in the appeal. There were certainly other dental management packages on the market at the time. But the court found that “copyrights do not protect ideas – only expressions of ideas.” Many found fault with the decision and  the Second Circuit heard Computer Associates v Altai in 1992. Here, the court applied a three-step test of Abstraction-Filtration-Comparison to determine how similar products were and held that Altai's rewritten code did not meet the necessary requirements for copyright infringement. There were other types of litigation surrounding the emerging digital sphere at the time as well. The Computer Fraud and Abuse Act came along in 1986 and would be amended in 89, 94, 96, and 2001. Here, a number of criminal offenses were defined - not copyright but they have come up to criminalize activities that should have otherwise been copyright cases. And the Copyright Act of 1976 along with the CONTU findings were amended to cover the rental market came to be (much as happened with VHS tapes and Congress established provisions to cover that in 1990. Keep in mind that time sharing was just ending by then but we could rent video games over dial-up and of course VHS rentals were huge at the time. Here's a fun one, Atari infringed on Nintendo's copyright by claiming they were a defendant in a case and applying to the Copyright Office to get a copy of the 10NES program so they could actually infringe on their copyright. They tried to claim they couldn't infringe because they couldn't make games unless they reverse engineered the systems. Atari lost that one. But Sega won a similar one soon thereafter because playing more games on a Sega was fair use. Sony tried to sue Connectix in a similar case where you booted the PlayStation console using a BIOS provided by Connectix. And again, that was reverse engineering for the sake of fair use of a PlayStation people payed for. Kinda' like jailbreaking an iPhone, right? Yup, apps that help jailbreak, like Cydia, are legal on an iPhone. But Apple moves the cheese so much in terms of what's required to make it work so far that it's a bigger pain to jailbreak than it's worth. Much better than suing everyone.  Laws are created and then refined in the courts. MAI Systems Corp. v. Peak Computer made it to the Ninth Circuit Court of Appeals in 1993. This involved Eric Francis leaving MAI and joining Peak. He then loaded MAI's diagnostics tools onto computers. MAI thought they should have a license per computer, but yet Peak used the same disk in multiple computers. The crucial change here was that the copy made, while ephemeral, was decided to be a copy of the software and so violated the copyright. We said we'd bring up that EULA though. In 1996, the Seventh Circuit found in ProCD v Zeidenberg, that the license preempted copyright thus allowing companies to use either copyright law or a license when seeking damages and giving lawyers yet another reason to answer any and all questions with “it depends.” One thing was certain, the digital world was coming fast in those Clinton years. I mean, the White House would have a Gopher page and Yahoo! would be on display at his second inauguration. So in 1998 we got the Digital Millennium Copyright Act (DMCA). Here, Congress added to Section 117 to allow for software copies if the software was required for maintenance of a computer. And yet software was still just a set of statements, like instructions in a book, that led the computer to a given result. The DMCA did have provisions to provide treatment to content providers and e-commerce providers. It also implemented two international treaties and provided remedies for anti-circumvention of copy-prevention systems since by then cracking was becoming a bigger thing. There was more packed in here. We got MAI Systems v Peak Computer reversed by law, refinement to how the Copyright Office works, modernizing audio and movie rights, and provisions to facilitate distance education. And of course the DMCA protected boat hull designs because, you know, might as well cram some stuff into a digital copyright act.  In addition to the cases we covered earlier, we had Mazer v Stein, Dymow v Bolton, and even Computer Associates v Altai, which cemented the AFC method as the means most courts determine copyright protection as it extends to non-literal components such as dialogue and images. Time and time again, courts have weighed in on what fair use is because the boundaries are constantly shifting, in part due to technology, but also in part due to shifting business models.  One of those shifting business models was ripping songs and movies. RealDVD got sued by the MPAA for allowing people to rip DVDs. YouTube would later get sued by Viacom but courts found no punitive damages could be awarded. Still, many online portals started to scan for and filter out works they could know were copy protected, especially given the rise of machine learning to aid in the process. But those were big, major companies at the time. IO Group, Inc sued Veoh for uploaded video content and the judge found Veoh was protected by safe harbor.  Safe Harbor mostly refers to the Online Copyright Infringement Liability Limitation Act, or OCILLA for short, which shields online portals and internet service providers from copyright infringement. This would be separate from Section 230, which protects those same organizations from being sued for 3rd party content uploaded on their sites. That's the law Trump wanted overturned during his final year in office but given that the EU has Directive 2000/31/EC, Australia has the Defamation Act of 2005, Italy has the Electronic Commerce Directive 2000, and lots of other countries like England and Germany have had courts find similarly, it is now part of being an Internet company. Although the future of “big tech” cases (and the damage many claim is being done to democracy) may find it refined or limited. In 2016, Cisco sued Arista for allegedly copying the command line interfaces to manage switches. Cisco lost but had claimed more than $300 million in damages. Here, the existing Cisco command structure allowed Arista to recruit seasoned Cisco administrators to the cause. Cisco had done the mental modeling to evolve those commands for decades and it seemed like those commands would have been their intellectual property. But, Arista hadn't copied the code.  Then in 2017, in ZeniMax vs Oculus, ZeniMax wan a half billion dollar case against Oculus for copying their software architecture.  And we continue to struggle with what copyright means as far as code goes. Just in 2021, the Supreme Court ruled in Google v Oracle America that using application programming interfaces (APIs) including representative source code can be transformative and fall within fair use, though did not rule if such APIs are copyrightable. I'm sure the CP/M team, who once practically owned the operating system market would have something to say about that after Microsoft swooped in with and recreated much of the work they had done. But that's for another episode. And traditional media cases continue. ABS Entertainment vs CBS looked at whether digitally remastering works extended copyright. BMG vs Cox Communications challenged peer-to-peer file-sharing in safe harbor cases (not to mention the whole Napster testifying before congress thing). You certainly can't resell mp3 files the way you could drop off a few dozen CDs at Tower Records, right? Capitol Records vs ReDigi said nope. Perfect 10 v Amazon, Goldman v Breitbart, and so many more cases continued to narrow down who and how audio, images, text, and other works could have the right to copy restricted by creators. But sometimes it's confusing. Dr. Seuss vs ComicMix found that merging Star Trek and “Oh, the Places You'll Go” was enough transformativeness to break the copyright of Dr Seuss, or was that the Fair Use Doctrine? Sometimes I find conflicting lines in opinions. Speaking of conflict… Is the government immune from copyright? Allen v Cooper, Governor of North Carolina made it to the Supreme Court, where they applied blanket copyright protections. Now, this was a shipwreck case but extended to digital works and the Supreme Court seemed to begrudgingly find for the state, and looked to a law as remedy rather than awarding damages. In other words, the “digital Blackbeards” of a state could pirate software at will. Guess I won't be writing any software for the state of North Carolina any time soon! But what about content created by a state? Well, the state of Georgia makes various works available behind a paywall. That paywall might be run by a third party in exchange for a cut of the proceeds. So Public.Resource goes after anything where the edict of a government isn't public domain. In other words, court decision, laws, and statutes should be free to all who wish to access them. The “government edicts doctrine” won in the end and so access to the laws of the nation continue to be free. What about algorithms? That's more patent territory when they are actually copyrightable, which is rare. Gottschalk v. Benson was denied a patent for a new way to convert binary-coded decimals to numerals while Diamond v Diehr saw an algorithm to run a rubber molding machine was patentable. And companies like Intel and Broadcom hold thousands of patents for microcode for chips. What about the emergence of open source software and the laws surrounding social coding? We'll get to the emergence of open source and the consequences in future episodes! One final note, most have never heard of the names in early cases. Most have heard of the organizations listed in later cases. Settling issues in the courts has gotten really, really expensive. And it doesn't always go the way we want. So these days, whether it's Apple v Samsung or other tech giants, the law seems to be reserved for those who can pay for it. Sure, there's the Erin Brockovich cases of the world. And lady justice is still blind. We can still represent ourselves, case and notes are free. But money can win cases by having attorneys with deep knowledge (which doesn't come cheap). And these cases drag on for years and given the startup assembly line often halts with pending legal actions, not many can withstand the latency incurred. This isn't a “big tech is evil” comment as much as “I see it and don't know a better rubric but it's still a thing” kinda' comment. Here's something better that we'd love to have a listener take away from this episode. Technology is always changing. Laws usually lag behind technology change as (like us) they're reactive to innovation. When those changes come, there is opportunity. Not only has the technological advancement gotten substantial enough to warrant lawmaker time, but the changes often create new gaps in markets that new entrants can leverage. Either leaders in markets adapt quickly or see those upstarts swoop in, having no technical debt and being able to pivot faster than those who previously might have enjoyed a first user advantage. What laws are out there being hashed out, just waiting to disrupt some part of the software market today?

The Fellowship is pleased to present our discussion on the history of Desilu Productions (created 70 years ago). They did a lot of groundbreaking stuff back in the day, and, surprisingly in that time period, was run by a woman for a lot of its existence. We talk about how it began, some of the things they did differently, some of the things they pioneered, some of the shows they made, and a bunch of other stuff. Plus our usual tangents galore and our comics picks of the week.   Announcements: Come hang out with us! We have monthly meetups on 2nd Saturdays in Garland, TX; details on Facebook & Twitter & the Events tab on our website We're super excited to announce our partnership with ComicBooks For Kids. Details on the website (and you should be listening to hear more, too

This Monday we take a look back at the biggest copyright cases of the year. Fourth Estate vs Wall-Street.com My favorite, the Fourth Estate versus Wall-Street, finally ended a split in the circuits. It used to be that the case really depended on where your copyright case was happening as to whether or not you could bring it before you got a copyright registration. That Supreme court ruling in Fourth Estate versus Wall-Street finally ended that circuit split. The U S Supreme court said in March that copyright owners must wait for the copyright office to give them the green light to sue. That means your copyright now must be registered. So copyright registration, more important than ever, before you can file suit. Do it early, do it often. Good rule for copyright registration. Rimini Street vs Oracle Another big decision was Rimini Street versus Oracle. That case said that costs, and again, this was a Supreme court case, unanimous decision written by Justice Kavanaugh, followed by the entire Supreme court, said that costs in a copyright case include attorney's fees but don't include these massive expanded costs that happened in the Rimidi case. $12 million, which included things like E-discovery and expert witness costs. Marcus Gray vs Katy Perry Another big decision I thought was kind of fun was the Marcus Gray versus Katy Perry - Joyful Noise case, which is on appeal. A jury verdict found that Katy Perry had infringed Joyful Noise.  Dr. Seuss Enterprises vs ComicMix Dr Seuss enterprises versus ComicMix addressed mashups and mashups is something that's I think we're going to see more of soon because in this decision, they said it was fair use. In other words, it was allowed for the company ComicMix to create a version of a Dr Seuss book because they had transformed the comic book efficiently.  Silver Top Associates vs Kangaroo Manufacturing In August, the third circuit cited the Star Athletica case, a Supreme court 2017 ruling when it said that this company Rasta Imposta, which had a copyright on its banana costume, could block a rival company called Kangaroo Manufacturing from selling a look alike costume. The court said, Rasta Imposta established a reasonable likelihood that it could prove entitlement to protection for the veritable fruits of its intellectual labor. 

  Emily S. Whitten is back with her new graphic novel The Underfoot: The Mighty Deep. You might remember Emily from episode 80 where we chatted about writing for the popular site ComicMix. The Underfoot is a magical book full of science, friendship, and hamsters. In this episode, Emily and I cover her writing process, hamster expertise, and upcoming plans for the series.    Show Notes:  Buy the book! Instagram (@theforesthouse) Twitter (@theemilyesse) YouTube  

Powers of X #1, Exilium from Alterna Comics, Mickey Spillane's Mike Hammer: The Night I Died from Titan, Jon Sable: Freelance Ashes of Eden from ComicMix, In Waves by AJ Dungo from Nobrow, The Spirit Volume 1: Angel Smerti, The History of the Marvel Universe, Marvels: Epilogue, Invisible Woman #1, Coda Volume 2 from BOOM!, Miles Morales: Spider-Man #4, The Boys on Amazon Prime, Frank Cho's Ballpoint Beauties from Flesk, Matthew Allison's Sweet Sepulcher II, plus a whole mess more!

THE REDFIELD ARTS REVUE Episode 5: Mark Redfield In Conversation With Mike Gold At Baltimore Comic-Con ALSO OLD TIME RADIO REVISITED With Martin Grams, Jr. - Superman On The Radio! "I’ve known Mike Gold casually for a few years, having met at a Baltimore Comic Con, and every year when he and I sit next to each other in artist Mark Wheatley’s Insight Studios booth we just chat our fool heads off. That is , when Mike isn’t off to some panel discussion to impart wisdom and insight gained from over thirty years in the comic book industry as an editor or publisher. Mike Gold started in the comics industry at DC Comics in the 70s, and then went on to launch First Comics in 1983 during that fertile decade, a happy time, the 80s, when both indie comics and indie films could flourish, be creative and find a way to market and to an audience. Mike went back to DC comics and continued his successful career as an editor, and in 2006 he founded ComicMix with Glenn Hauman and Brian Alvey. So, at the 2018 Baltimore Comic Con, while we sat at booth number 118 merrily chatting our fool heads off, I asked him if I could turn the recorder on, and in the roaring, noisy convention center hall asked him about the current state of the comic book industry, especially for creators, be they newcomers or seasoned pros…" - Mark Redfield For more great audio be sure to visit http://www.redfieldartsaudio.com

Kelsey Hercs joins Mayday to talk about the story she is writing for ComicMix's #Kickstarter Comic Anthology project to benefit Planned Parenthood! She is a writer, actress, and part time burlesque performer and her story centers on the lives of a modern day sex worker and a sex worker from the late 1860's. What's changed since then? What hasn't? What feels like it should have? Plus she tells who her fictional best friend, romantic partner, and arch-enemy would be! We also talk Jane Austen, Plays, Comics, and Art as a vehicle for social change. Visit AllConsumingContent.com for more or subscribe wherever you get your podcasts. --- Send in a voice message: https://anchor.fm/themaydaypodcast/message Support this podcast: https://anchor.fm/themaydaypodcast/support

We talk with Joe Corallo from ComicMix about the Kickstarter for Mine! a Comic Anthology to Benefit Planned Parenthood!

We talk with Joe Corallo from ComicMix about the Kickstarter for Mine! a Comic Anthology to Benefit Planned Parenthood!

Remember when convenience stores had spinning racks with signs at the top that shouted, “Hey, Kid! Comics!”? Actually, I barely remember that myself, it’s been so long. Finding comic books hasn’t been easy since the late 1970s. And the comic book companies don’t even make the real dough from the so-called 32-page “pamphlets” anymore. The real money is in selling characters to the movies or as toys. So fire up the web browser and head for ComicMix.com.

Seuss v. ComicMix Amended Complaint The amended complaint is here! As expected we have an amended complaint in the Seuss v. ComicMix et al case. You can also listen here. Because I don’t exactly have a lot of time these days, I will summarize … Continue reading The post Seuss v. ComicMix Amended Complaint appeared first on Semantic Shenanigans.

The Seuss v. ComicMix Defense Summary Judgment Motion Has Been Granted in Part So, the ComicMix case continues! I analyze it here. Despite what you may have heard or read elsewhere, this case is far from over. Instead, the court heard a defense motion for summary judgment. … Continue reading The post Seuss v. ComicMix Defense Summary Judgment Motion Granted in Part appeared first on Semantic Shenanigans.

Today's Guests: Mark Wheatley, comic book artist, Robert Tinnell, comic book writer, "Lone Justice" Order from Amazon.com by clicking the book cover above Artist Mark Wheatley and writer Robert Tinnell are two good reasons that comic book readers are following the crowds to online media iterations of the 20th century comic panels. EZ Street by Robert Tionnell and Mark Wheatley. Order your copy today by clicking on the book cover above! Together they produced last year’s Harvey-nominated webcomic EZ Street. Separately, you’ll recognized Wheatley’s work from Hammer of the Gods, Black Hood, Frankenstein Mobster and Mars. And Tinnell is known for comics such as The Black Forest and Feast of the Seven Fishes and film scripts that include Frankenstein and Me, Kids of the Round Table and Believe. He also produced and acted in the film Surf Nazis Must Die. The duo’s latest joint production is the just released, sort-of sequel Lone Justice: Crash! You can read both EZ Street and Lone Justice: Crash! online for free at ComicMix.com. They even have a theme song for their web comics! Mark Wheatley Website • Facebook • Twitter • LinkedIn • Order Lone Justice Volume 1 from Amazon.com Robert Tinnell Website • Facebook • LinkedIn Order 'Will Eisner: A Spirited Life' (2nd Edition) by Bob Andelman, available from Amazon.com by clicking on the book cover above! <   The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!

Welcome to October! And to celebrate the occasion, Andy and Derek do what they do at the beginning of every month: look through the current Previews catalog! And for October, the selections are plentiful and exciting. The guys find a number of upcoming titles from the premier publishers, but there are also many coming out from smaller presses, some of which the guys discuss for the very first time. Among the many upcoming releases they discuss on this month's Previews show are titles from Dark Horse, Vertigo, Image, IDW, Fantagraphics, Alternative Comics, Creature, Dover Publications, Comicmix, Locust Moon Press, Humanoids, BOOM! Studios, and Viz Media. Also on this episode: Derek encourages everyone to support Salgood Sam's Patreon campaign, Andy discusses his current situation moisture, the guys express and enthusiastic “Thank you!” to Box and Jared at Big Planet/Retrofit Comics, and Andy shares his deep and abiding love for steampunk comics.

On this episode of Word Balloon, we talk with Archie Comics Writer/Artist Dan Parent , who created Kevin Keller, the New Kid In Riverdale, and after 3 nominations won the GLADD award this week. We talk about Kevin, and all the other great ideas that have made Archie Comics one of the most innovative publishers in comics.Gerry Conway returns to talk about his days at DC Comics, from his first works starting in 1969, and his early 70's return that included a lot of work on Superman.More Bronze Age DC talk with former colorist Anthony Tollin. Today Anthony is the publisher that is re-presenting the original stories of THE SHADOW, DOC SAVAGE, and other pulp heroes.Check out his catalog of books here.We wrap up with Mike Gold, who was the editor of great books at First Comics like GRIMJACK JON SABLE AMERICAN FLAGG, and then brought a bunch of talent to DC in the 80's for runs on HAWKWORLD, GREEN ARROW, SUICIDE SQUAD , WASTELAND and more! We talk about Mike's pop culture website COMICMIX , which is also getting into the business to help creators make their comic books dreams into reality.

This week on the SciFi Diner Podcast, we share an interview we did with Glenn Hauman of ComicMix and Crazy 8 Press. He also authored Star Trek and X-men Novels. We also give you another chance to win Michael Hogan.

This week on the SciFi Diner Podcast, we share an interview we did with Glenn Hauman of ComicMix and Crazy 8 Press. He also authored Star Trek and X-men Novels. We also give you another chance to win Michael Hogan.

Episode 117 Part A: Sean and Jim discuss the Action Comics Annual #11, the last part of Last Son with an audio comment from Jason Page of the Fanboy Faceoff Podcast giving a retrospective of the storyline. Plus more listener content from the NYCC.   0:00 Show opening: Heroinitiative.org, DCBService.com, Instocktrades.com, general chat and upcoming episode comments.   12:49 Action Comics Annual #11   1:19:46 Jason Page of Fanboy Faceoff on Action Comics Annual #11 and a Last Son retrospective.   1:51:36 Show closing   1:53:00 BONUS: Listener and friends of the show from the NYCC show floor. Casual conversation with listeners, author Timothy Callahan on his new book revolving around the Legion and his work on Comic Book Resources, Comicmix.com which features a number of big name creators and original comics,   We’ll be back no later than Thursday night with Episode 117 Part B. Check Ragingbullets.com and the forum for regular updates.   Don’t forget to submit your own content for the web site and the show. We love your participation.

I moderate a panel on webcomics at Farpoint Convention with Dan Warner and Glenn Hauman manages to wander all the concerns of online media in general, the reasoning behind selling out, and what awaits you if you try to self-publish. Also, inexplicably, Warren Ellis. You can find out more about Daniel Warner at danielwarner.net. Glen Hauman's ComicMix site is located at comicmix.com This episode was recorded with a microphone from Giant Squid Audio Lab. The Voice of Free Planet X theme was written and performed by Russell Collins of www.clockworkaudio.net