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Peter St John

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  1. I tend to avoid Bulleit due to the long-running saga detailed here:https://neatpour.com/2019/07/exclusive-hollis-b-worth-talks-about-bulleit-diageo-split/ but it's definitely decent for the price! (and for a long time it was contracted-distilled by Four Roses, so if you like Bulleit, there's a good chance you'll enjoy any Four Roses bourbon too).
  2. Hmm, it's not *quite* the same. Firstly, Fist of Fun was well after On The Hour, and as far as I'm aware, the BBC still owns On The Hour. If Coogan / Iannucci wanted to distribute KMKY themselves, they'd have to do exactly what Lee & Herring had to do. If Lee & Herring wanted to make a series of Fake Rod Hull & The Curious Orange Fight Crime, they'd likely be as free as Coogan was to go to Sky with Mid Morning Matters. (also, the Marber call-out is amusing, considering he claimed ownership of Brian O’hanrahahanrahan, which was a Lee & Herring creation) What S0L says about the 80s contracts is spot on, though. It went on a lot during the 80s in various different media; IPC eventually worked out that they didn't actually have work for hire contracts for a great many of 2000AD staff…which probably was a reason why 20 years later, a full printing of Zenith Phase 1 by Titan Comics sat in a warehouse somewhere near Milton Keynes. I wouldn't be surprised if similar scenarios played out in the games industry (Ocean is probably one of the better ones, given their relative professionalism compared to others, but does anybody know if Matthew Smith actually tied up JSW in Software Projects or just licensed it to them after pulling Manic Miner from Bug-Byte?).
  3. How does it work on a TV series made in 1982 where the actors, writers, and directors still get residual payments?
  4. It's borderline until somebody decides to go after a service with large backers. (see also: Superkid, which is a Warner Bros. trademark suit just sitting like a timebomb)
  5. Well, I can think of at least one counter-example to that...
  6. Which is fine. Until Open Circle or whoever holds the rights now, comes after you for distributing work that violates their copyright. And music companies that might take an exception to games of yore’s predilection for lifting large chunks of popular songs in their soundtracks.
  7. You're really talking legally still, and nobody here is pointing out that you're on relatively firm ground here*, but ethically, the author(s) did not envisage that 20, 30 years later, their precious hard work might be part of a subscription-financed platform where neither they or the original company receives any money from its profits. They believed (at most), it would have a full price run and a budget run and that was it. I don't think you're fulfilling your ethical obligations simply by paying somebody who has harvested IP likely with pennies on the pound. (* though I'd watch out; given how free-wheeling the 80s UK scene was, you may not be on quite as firm ground as you believe to be contract-wise) For example, it's a special case of a contract, but nobody believes DC has acted illegally over the past 30 years concerning Watchmen. They've sure as hell acted unethically about it, though.
  8. Of course it is unethical. We don't know Ritman's contract, but he was working for Ocean, not this scavenging company picking over the remains of fallen software houses. They are profiting off the labour of the original creators' work, but unlike Ocean, have done very little to actually facilitate it or provide any further recompense (Ritman/Ocean probably did not believe the game would have a life beyond the few years in the 80s and the contract signed likely reflected that). In addition, it sounds like they're gearing up for an assault on the WoS archive, and fuck that for a game of soldiers.
  9. Also, can we please stop referring to Spectrum tape images and memory dumps as ROMs? Please?
  10. True! (which is a shame, as I think it's actually some of the best Smith material; I'm sad that Season 2 with KITT taking over the store never happened)
  11. Man, swiping the trial scene from Clerks: TAS and sticking in your trailer…is perhaps not a sign of great new work.
  12. Yeah, about that.
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