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Frompolitical censorshipin the 1950s to asales crashin the 1990s and the modern era ofdigital distribution, creators can be understandably hostile to a technology widely viewed as a vehicle forcopyright theft.

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In November, comics legend Jim Starlin, creator of the archvillain Thanos of the Marvel films,revealed in an interviewwith Popverse that he would be incorporating AI in a future book. While he noted he would be transparent about what parts of his work would be touched by AI, he also likened opponents of the technology to Luddites.

“Embrace the fact that you can do three book projects at once now where before you couldn’t do one. Embrace the fact that you can take your thing and extrapolate it, you can basically create a world of assistants,” illustrator and AI art instructor Steve McDonald told 【 - Free Top-Rated Stock Analysis 】. “There’s a positive way to look at it is my point.”

Comic book publishing platform WEBTOON agrees. Inits SEC filingfor its IPO earlier this year, the digital publisher pointed to its new AI tools being rolled out for creators to speed up production.

“We have leveraged artificial intelligence and our data advantage to launch products aimed at reducing the workload for creators to produce high quality content,” the filing said, listing painting and 3D and 2D modeling tools as offerings.

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“When they’re using AI for that, that’s where they’re excited that they could actually kind of speed up their production process,” he said. “Because when you’re an independent publisher it takes you four times as long to put out a comic as if you’re, like, Marvel, DC or Image.”

But to a lot of creators, the advantages of AI still don’t offset the potential downsides. Amy Reeder, an established artist who’s worked for Marvel and DC, said she believes she lost potential work due to the tech.

“I’m pretty sure that I was offered and then lost a job because of AI,” she said. “I know this because they had a mood board that was all clearly AI work.”

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“Talking to the students, they really are worried and affected and don’t know what to do, and I think some of them probably are considering how do I use this in my work,” Ellis added.

Even some established artists with a secure position in the industry don’t feel safe, afraid that their copyrighted material is being stolen without compensation, used totrain the diffusion modelsand added to commercial work without their say.

Comic artist Ben Caldwell argued that AI proponents often echo the views of a larger “anti IP movement” looking to free up big corporate copyrights, such as those owned by Disney, “Which is understandable in terms of wanting to prevent a lockdown of creativity, but has been in some cases blindly, in other cases deliberately, weaponized against small creators.”

It’s difficult to imagine some of the more vocal anti-AI creators would find any use of AI acceptable. But not that long ago digital downloads caused a massive headache for the entertainment industry, and it found a way to overcome that seemingly existential threat.

“Maybe you remember when we had similar concerns about pirating music and movies in the late ’90s and early 2000s, and what happened was we had things like Spotify, other platforms, emerge where people just basically got licenses,” said Jeff Trexler, interim head of the Comic Book Legal Defense Fund.

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For other media industries,numerous copyright lawsuitshave been launched in recent years and are wending their way through the courts. Celebrities like comedian Sarah Silverman and news outlets likethe New York Timesare testing the legal system to see if precedent can defend their IP before new laws are even written.

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“There’s a lot that I think we attorneys have to do to educate our clients, so they don’t run whole hog and adopt an AI-forward platform and then find out they’re going really have a hard time making money,” attorney Thomas Crowell said on the panel.

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