The employment of artificial intelligence

With artificial intelligence’s seemingly inevitable progress in creative work, artists are getting ready to fight back.

Brussels, the European capital of the medium and the birthplace of legendary characters such as Tintin, the Smurfs, Spirou, and Gaston Lagaffe, was clearly going to be the place in Europe where the comics industry was going to come up against advancements in the use of artificial intelligence. If there was any place in Europe where this was going to happen, it was Brussels. There have been statements made by the present proprietors of Hergé’s iconic work that make the viewpoint of the comics industry toward the growing prevalent use of artificial intelligence completely plain.

The artists are opposed to the utilization of their work without discrimination. During the GRAF independent publishing festival that took place in March of last year, a number of Spanish authors admitted that, despite the fact that artificial intelligence (AI) could be of assistance to artists, its usage without discrimination posed concerns. Elías Taño, an illustrator, expressed to EFE that the problem is not artificial intelligence. This is a fight against generative artificial intelligence, which is built on the theft and robbery of billions of data, photographs, graphics, and works of art that were generated by humans and used to train these systems.

Economic gain. ‘Universe!’ and ‘Slaughterhouse-Five’ author Albert Monteys also voiced his opinion on the matter, highlighting the immoral use of technology by stating that it “feeds and takes economic advantage of thousands of works that have an owner without there being any legislation to regulate it.” “In the end, the quality may be good, better, but we are not talking about whether it offers quality or not; rather, we are talking about the fact that it cannot be based on the effort of others,” says the cartoonist Nadia Hafid, who is known as “Chacales.”

This is a legal ambiguity. All of these worries are resulted from the fact that legislation pertaining to the topic is still in its early stages of development. The authorship of comic book authors and illustrators was protected by European copyright laws; however, practically all of these regulations (including the Directive on Copyright in the Digital Single Market, which was enacted in 2019, for example) trace their origins back to a period of time before the advent of artificial intelligence. These were the eras when generative artificial intelligences, such as Midjourney, which “learn” from pictures that had been created by human artists in the past, were not yet widely used.

AI versus Tintin. The company that is currently responsible for publishing and licensing Tintin’s adventures is called Le Lombard, and Gauthier van Meerbeeck is the editorial director of the company. According to articles published in the South China Morning Post, Meerbeeck asserts that the comics business is “completely opposed to the use of AI” because it “steals from artists.” In the middle of the year 2025, the emergence of the AI Law could bring about all of these changes.

What is stated in the law. When it comes to copyright, Section 105 of the Act makes it abundantly plain that “any use of copyrighted content requires the permission of the rights holder in question, unless the relevant exceptions and limitations of copyright apply.”

Additionally, it notes that “providers of general-purpose AI models are required to obtain permission from the rights holders in order to carry out text and data mining on such works in cases where exclusion rights have been appropriately expressly reserved.” To put it another way, there will be security for creators that is theorized to be comparable to the protection that is granted for traditional media, at least initially.

Educating an artificial intelligence. The opinion of Marnix Verduyn, a Belgian cartoonist who typically goes by the nickname NIX and who is currently training a generative algorithm with his own cartoons, stands in stark contrast to these pessimistic perspectives on artificial intelligence.

Verduyn’s observations were also published in the South China Morning Post. His training is in computer engineering, and he claims that his artistic side is a “accident.” Despite the fact that he ended up making comics, he holds a degree in computer engineering. According to NIX, the application of artificial intelligence to tasks that are repetitive and straightforward is “kindly disruptive” and makes it possible for more artisanal industries, such as the European one, to compete with the giants of Japan and the United States.

The employment of artificial intelligence

By knl9j

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