creator-owned titles. Around this same period, however, industry legend Jack Kirby, co-creator of many of Marvel's most popular characters, came into dispute with the company over the disappearance of original pages of artwork from some of his most famous and popular titles. Kirby had quit working for Marvel in 1979, angry over what he perceived as the company's mistreatment of him. Best-selling creators like Alan Moore, Frank Miller, and many other stars became vocal advocates for Kirby. Neal Adams also petitioned to have his Marvel originals returned, and the pair won their battle in 1987, when Marvel returned original artwork to him and Kirby, among others. This decision helped lead to the modern industry's standard practice of returning original artwork to the artist, who can earn additional income from art sales to collectors. Beginning in the 1980s, several new publishers and imprints went into business, offering comics writers and artists the opportunity to have their work published while retaining the copyrights to the characters and the stories. Publishers like Pacific Comics and Eclipse Comics were strong promoters of creator-owned superhero properties; their enticement of popular creators (such as Kirby) to their pages helped push the issue to the fore and put pressure on industry giants Marvel and DC. The alternative and independent publishers Fantagraphics and Dark Horse Comics entered the field during this period as well. Creator-owned properties allowed series to continue with multiple publishers as circumstances required; Usagi Yojimbo for instance has been published by four succeeding publishing houses. In the mid-to-late 1980s, creator ownership became a cause célèbre among many comics creators, including those working in the dominant genre of superheroes. Creators' repeated clashes with DC Comics, First Comics, and other publishers led to an industry-wide debate about the issue; and in the fall of 1988, DC revised the company's work-for-hire agreements to give more power to individual creators. Writer Alan Moore became increasingly concerned at the lack of creator's rights in British comics. In 1985, he noted that he had stopped working for all British publishers except IPC, publishers of 2000 AD, "purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like crap". He joined other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for 2000 AD as well. Moore's outspoken opinions and principles, particularly on the subject of creator's rights