#I almost posted this uncensored... almost

[anyataylorjoys]

BASIC INSTINCT (1992) dir. Paul Verhoeven

[silverislander]

i need ai to be banned/severely restricted if only bc it is being used to create reaction images for the WORST people on the fucking planet. i have literally never in my life seen images more racist than some of the ones the tw/tter nazis are using

[bunny-corp]

Hi Everyone!

now THIS is what I was excited about, Hurricane kids from early 2000's (SPECIFICALLY late 2003) will remember this almost IMMEDIATELY! These are restored framed from the original Fredbear and friends ad campaign! I was SO SO excited when i recovered these, I swear they were like MY FAVORITE back in the day!

This ad ran from around 7/10/2003 to about 8/15/2003 being pulled after the Fredbear and Friends project was canceled by the subsequent disappearance of Henry Emily in October. [Specifically around 10/13/2003 - 10/16/2003, There are several dates here, but I personally couldn't find one that was not immediately disproven by another.] The ad featured the character designs from the 2007 Freddy Fazbears location, alongside Spring-Bonnie and Fredbear himself!

The ad's purpose was to announce new animatronic characters alongside an animated series in a more simplistic art style, a general expansion of the Fredbear family name, and for a while after the bite of '03 it was a hopeful statement that despite the tragedy, founders William Afton and Henry Emily would keep Fredbears Family Diner open!

Which, as you know, Didn't happen.

With Fredbear's officially shut down in November of 2003, William Afton would later reopen the business under another name in 2007! Putting these designs to good use in the infamous Freddy Fazbears Pizza!

By the way, sorry about the censorship and the semi-smear frame of chica, ALL the frames I could find with Fredbear or Springbonnie were blotted out, I believe this is because of the mass rebranding when the franchise was bought out and as for Chica? That was the clearest I could get, most of her frames are of her twirling!

Rest assured, this happens all the time! It just means I need to do a little more digging to find the uncensored version! I'll update this post when I find them!

~Bunny C

[am-i-the-asshole-official]

AITA for flagging unmarked/improperly tagged fanfiction as "missing community label" on tumblr?

I (25NB) am a reader of fanfiction here on tumblr. I prefer AO3, but there are some writers that exclusively post on tumblr. I'm also asexual, and while I'm sex-favorable, reading smut isn't really my preferred genre and I'd prefer to not interact with that side of fanfiction. I am not aromantic, so most of the fanfiction I read on tumblr involves shipping.

Over the last several months, I've noticed an increasing number of smutty fanfictions (in numerous fandoms and tags) that are not properly tagged - via tumblr tag, mentioned in the actual post, or via community label - and some of these are never hidden behind a 'read more.' I've tried everything possible to filter out this content, from blacklisting common tags and words associated with smut, to blacklisting keywords that are almost always mentioned in content warnings or present kinks. I had also unfollowed tags because of the amount of uncensored smut that's crossing my dash, and blocked alot of reoccurring authors, which sucks because I don't see writing smut as something worth blocking someone over.

I've recently decided that instead of unfollowing tags and blocking authors, I'd just flag the posts as "missing community label." Now, I've only been flagging the posts that still show up on my dash that remain unfiltered despite my best efforts.

This came up in conversation with some of my friends and I've gotten mixed reactions. Some agree with what I've been doing, citing similar reasons I listed as well as mentioning how this could help prevent minors from interacting with a writer who doesn't allow under 18s to read their content. (Obviously we know some minors will still try to get into a 18+ space regardless of how hard we try.) Others have disagreed and said that I'm taking away potential readers and notes from these authors, basically censoring them for expressing their sexuality.

I never meant to censor anyone for what they wrote. I'm just getting tired of authors not properly labeling their work, or even attempting to add content warnings, especially with mature topics such as smut. Plus, I'm only flagging the works that manage to not fit any of my filtering criteria. AITA?

What are these acronyms?

[theboombutton]

Bad Fictional Data vs Fictional Bad Data

WARNING: This post will include discussion of a name that might be Alice Dyer's deadname. I won't be calling Alice by this name or using it in the context of that name being a pointer to Alice, but I will be using the name, uncensored, when talking about where and why the name appeared in chdb.xls .

----

You may know that as part of the ARG, the sleuths on Statement Remains uncovered a document called chdb.xls, allegedly a list that has something to do with The Magnus Institute. There's a list of names, ID numbers, first and last names, dates of birth, and information apparently related to each person's "score" in an assortment of psychological/personality tests. Three of the names in particular have stood out in a lot of analyses: Samama Khalid, Gerard Kaey [sic], and Connor Dyer.

You likely don't know that the commonly linked version of the spreadsheet, ported to Google Docs and linked in the TMAGP ARG Masterdoc, is presented out of order. (I'm guessing they didn't lock down editing until it was already all out of order from various people messing with it - totally understandable, this is not a callout post, thank you for making this easily accessible to people.)

But let me tell you about something I discovered by looking at the spreadsheet in its original order, and the almost certainly incorrect rabbit hole of theorizing it has sent me down.

Bad Fictional Data

Until episode 2 I had the same thought about the Dyer listed in the spreadsheet that I think most people did: that it was Alice's deadname, and that she had therefore been one of the Institute's young subjects. But after Alice had absolutely no reaction when Sam mentioned the Magnus Institute to her in episode 2, I now think this is significantly less likely.

Don't get me wrong: it's still reasonable to think that the Dyer listed in chdb.xls is Alice. Maybe she had some kind of supernatural experience that wiped her memory. (It probably wasn't that Alice was too young to remember, as the Dyer on the spreadsheet is listed as being at Piaget Stage 3, which occurs from 7-11 years old; but it's always possible that the Magnus Institute was using the names of legitimate psychological tests to hide their tracks when recording more esoteric data.) The point is, this isn't hard evidence that Alice has no connection to the Magnus Institute; it just made me go looking for more evidence.

I went back to the spreadsheet to look for more clues about whether or not this was Alice's deadname. What I found instead was some extremely sloppy fake data at the bottom of the spreadsheet.

For context, here are first ten names in the spreadsheet:

Note how each ID begins with the name's first and last initial.

Now check out the last ten names:

Not only do these IDs no longer always match their subjects' names, they occur in order: CD, EF, GH, IJ, KL, MN, OP, QR, ST, UV. The first names of each pair match the first letter of each ID, but many, though not all, of the surnames don't match the second letter.

My first thought was that whoever Rusty Quill had contracted to generate these names had gotten sloppy at the end of the list, created the IDs all at once using this alphabetical pattern, and picked names to fill in that roughly matched the IDs. But hey, we could use this to our advantage! Any name that was filled in as part of a series of IDs with an alphabetical pattern like this could be removed from consideration for red string analysis - we'd know they were meaningless fakes added by a lazy contractor, and not clues or characters that might show up again later.

Scrolling back up the spreadsheet, we can see the person generating the data having more care the earlier we go. We find the beginning of the AA/BC/DE/FG/HI pattern at line 136, but at first, the names mostly conform to the initials they've been given. JK09874 "Josie Jordan" at line 154 is the first break from the "first two letters of the ID are their initials" pattern; and breaks occur more often the further you go down the sheet.

Scrolling up to before line 136 (AA09911 - Aaron Atkinson), while the pattern isn't yet at AB/CD/EF/GH levels of obviousness, the first initials are still in alphabetical order. Zoe Hart follows Yara Logan follows Xavier Freeman follows Wyatt Edwards. The data creator skips a few letters - for example Niamh Fenton is followed by Phoebe Emmett, and S and T are together in the same line in Skye Travers.

We can follow this less-obvious version of the alphabetical pattern up to an abrupt break right at line 118, above which the IDs don't follow an alphabetical pattern at all. (They might follow a different pattern, but it's not one that I've found yet.) So that means we can discount all the names in line 118 and below as purely fake, generated lazily by a contractor, and not worthy of our attention for the purposes of red-stringing. Right?

What the fuck?!

(highlight is my own, it is not present in the original document)

My first thought was that the sloppy data generator had done the funniest thing imaginable, sending everyone on a wild goose chase about Alice's deadname just by having the name "Dyer" on the brain while looking for a surname that started with D. This would be Very Funny. No plot relevance, no implications, just the brain fart that launched a thousand theories.

My second thought was that maybe Connor Dyer was the last legit name on the list, and whoever started filling the rest of the sheet in with alphabetical junk data was inspired by the "CD" initials in the first place - whoever it was went on from there.

These are both valid thoughts! But I prefer my third thought:

What if it's on purpose?

Fictional Bad Data

There is a very obvious break between the set of data that doesn't look obviously* fake, and the set of data that is immediately identifiable as such. If we assume that this was intentional - and I want to reiterate that it all being unintentional is still a very real possibility here - why would someone at Rusty Quill want the data to be structured like this?

If the sharp dividing line between reasonable-seeming data and obviously fake data is intentional on RQ's part, it would suggest that we should take the data above row 118 as in-universe real data, and the data below row 118 as in-universe falsified data. It suggests that someone, either at the Institute or after its demise, was adding nonexistent children to the roster of The Magnus Institute. Why would someone want to do that?

There are all kinds of possible reasons, but here are a few off the top of my and my theorizing buddies' heads:

Financial fraud (institutional edition). If the Magnus Institute received funding on a per-child basis, they'd have an incentive to inflate their numbers.

Financial fraud (researcher edition). One or more people on staff were blowing off their child-analysis sessions and recording fake numbers for fake children. This would be ballsy as hell if they could be fired for it, but it was the Magnus Institute, so there's decent odds they couldn't be.

Scientific fraud (faking conclusions edition). The Magnus Institute in the Protocolverse claimed to be doing research on giftedness in children, which is the kind of thing that you'd normally publish in a scientific journal. It's not unheard-of for dickhead academics to falsify data to generate statistically significant results, since statistically insignificant results aren't going to get you published.

Scientific fraud (obscuring paranormal bullshit edition). If the Magnus Institute was using legitimate psychological test names to record Fear-related test results, it's possible their results showed different patterns from what you would expect from the real tests. They could have added the fake children to balance out the dataset as a whole.

Pseudonyms. The children are all real, the Institute just started using fake names for them for privacy purposes. They couldn't go back and change the names they'd already written properly for some reason. Probably something paranormal.

Those are all pretty interesting possibilities, and if we could narrow them down, it might tell us something about what things were like at the Magnus Institute before it burned down!

And the other big question is: why did RQ make the dividing line between the two sections, the first likely-fake entry, Connor Dyer?

One straightforward reason could be as a troll, a red herring to watch fans get in a lather over. And once the community inevitably noticed all the obviously falsified entries, RQ could eat popcorn and watch us lose our minds over whether or not that's even a real entry! (That sounds really fun, I would absolutely do that.)

But let's dig a little deeper, and look at what Connor Dyer being on the border between the real and fake entries would mean in-universe. Because of its position as the border between real and fake, it would be very easy for that entry to be accidentally included in the wrong group - a real research subject discarded as fake, or perhaps more interestingly, a fake research subject accidentally reclassified as real.

Remember, if a name is fake in the context of the Magnus Institute's research, that doesn't mean that the name itself is made up. If I was trying to think of a name that fit the initials CD, and those were the initials of my next door neighbor's kid, I might just write their name in as a lark. Especially if it was my first time trying to get away with falsifying information: this is a kid that verifiably exists and lives in the area.

My theory, supported primarily by my love for The Implications instead of actual evidence

Twenty years on, after all institutional memory of the fraud was long gone, trans icon Alice Dyer applies to work for the OIAR - an institution that (according to this theory) has an unofficial preference for hiring former Magnus Institute kids.

They are very confused when Alice proceeds to act nothing like a former Magnus Institute kid. It doesn't occur to anyone that her entry might have been falsified. What reason would anyone have to do that?

----

* Of course people with a background in data analysis or statistics will see immediately that even above line 118 this is a wild-ass dataset that would raise red flags for falsification, but at least it's not "the alphabet over and over" levels of obvious.

[guruan-is-not-here]

Facets series Part 2

From the back 🤭

(Repost)

For the new people out there! yes, this is part 2. Part 1 was posted months ago, you can find it on my masterlist

Uncropped/uncensored version on twt or link to pillowfort (no log-in needed) on masterlist ❤

I'm going to be posting maybe every 5 days, or one every week! 6 parts left!

I've took so long finishing these that I forgot almost everything I had to say about this one.

I really like his face in this one. He's holding back, but he's still enjoying himself.

My masterlist | Series masterlist

Prev | Next

[wrdn-tabris]

BATMAN BEYOND/TERRY McGINNIS; a reading list

So, you're interested in the Batman of the future! A series which takes place in the far off year of... 2039? Listen, the original show came out in the nineties, you gotta give it some slack.

Hopefully here I've compiled a nice list of the comics, as well as any extra appearances of Terry, Batman of Neo-Gotham.

Who is Terry McGinnis?

Terry McGinnis is our seventeen year old protagonist. He meets Bruce Wayne after the old man helps him in beating back a gang who take after the late Joker, and in helping Bruce into his manor discovers that he was formerly Batman. After his father's murder, Terry steals the hi-tech batsuit in order to hunt down the people responsible for his death. In doing so he sees Gotham for how corrupt it really is, and becomes the Tomorrow Knight and Batman of the future.

Where to start?

The best place to start is with the 1999 animated series of the same name. It takes place firmly in the DCAU, alongside Batman: The Animated Series and The Adventure continues, Superman TAS, Justice League and Justice League Unlimited.

The show goes over three seasons, with cameos in a spin off called The Zeta Files (which only ran for a season) Static Shock (ep, Future Shock) and Justice League Unlimited (The Once and Future Thing; part 2, Epilogue) and a movie, Batman Beyond: Return of the Joker.

While the cameos are more optional, you don't really need to watch them, though Epilogue is treated as the 'end' of both JLU and Batman Beyond. ROTJ also has two different versions, a censored and uncensored one.

You can watch it on WatchCartoonsOnline, though I'd be a little careful with using that site. If you also have MAX, it should be available for streaming on there.

Comics wise, I apologize for not putting individual issues. I've also included links to readcomicsonline for each comic.

DCAU Tie-In Comics

These tie in directly with the show, and as far as I know, were released at the same time.

Batman Beyond I

Batman Beyond II

Superman Adventures #64

Unlimited and 2.0

The unlimited and 2.0 comics take place post show, and are in the same universe as the DCAU so I personally consider it canon to the series.

Batman Beyond: Hush Beyond (2010)

Batman Beyond: Industrial Revolution (2011)

Batman Beyond: 10,000 Clowns (2012)

Batman Beyond Unlimited

Batman Beyond 2.0

Justice League Beyond

Justice League Beyond 2.0

(and optional, the Superman Beyond comics. I think Terry only has some cameos, but it's always fun to hang out in the world a little bit with different characters)

Superman Beyond 2011

Superman Beyond 2012

N52 Futures End and Rebirth

Futures end is... personally, I'm not a fan. While Terry isn't Batman for the entirety of 2015, 2015 takes place in the aftermath of futures end, while Rebirth is the aftermath of 2015, only a few months later.

N52 Futures End #1-17 #18-30 #31-48

Batman Beyond (2015)

Batman Beyond Rebirth

Neo-Year

A reboot of BB, Urban Legends #7 and Neo-Year set off as Terry's own personal sort of 'year one' as Batman, one without Bruce. I'm personally highly enjoying it so far, and I feel like it does treat his character very well. Neo-Gothic is currently on-going.

Urban Legends #7

Batman Beyond: Neo-Year

Batman Beyond: Neo Gothic

Optional Individuals and Cameos

Batman #700

Superman/Batman 2010 Annual #4

Milestones 30th Anniversary A story with Static and Terry

Batman 2016 #135

Countdown #21 (Just a brief cameo)

Justice League vs The Legion of Superheroes #3

Batman: Beyond the White Knight

This is as comprehensive of a list as I can get, including almost every appearance of Terry's that I can think of. I hope that this helps anyone who is interested about Terry, he's personally one of my favorite characters and I think he's really fun and compelling.

[pinkgy]

SIR WHAT !? I JUST WOKE UP WHAT IS THIS

THE POSITION ? THE MARKS ? THE WET SHIRT ? THE FACE ? THE SLUTTY WAIST ?

IN PUBLIC ??!!

There’s just so many things to say about this card, the more you look the more you figure out.

We can assume that we are going to get one of this cards for each king, can you imagine lucifer being introduced with these cards? It would be great if they put him last to generate suspense.

Because of the announcement Prettybusy made in December about the Erolabs Version getting uncensored content, I believe we can assume that these cards will get more explicit for this version, but we don’t have a date yet for this so I don’t know.

I’m assuming that before releasing that one card with Lucifer and his WEAPON RIGHT IN FRONT OF OUR EYES, Prettybusy will release his selfie card or something, as an introduction of course, but if I’m being honest, using that one card to introduce Lucifer would be awesome.

I would like to hear y’all’s opinion about this, I’ve been very fixated on lucifer lately and I appreciate any theory or content about him. :)

Posting today or tomorrow ! I almost always post at 2 or 3 am in my country, I work better when I’m tired, and I’m a little tired today soooo.

I hope you have an amazing day ♡

[aesopsharpmybeloved]

A Lesson In Sensuality

After receiving a very sensual letter from you, Aesop Sharp indulges in some solitary fun.

I would be lost without my brilliant consultant @tea-withjamandbread ❤️

This work has it's own illustration made by yours truly. Link for the full uncensored piece will be at the bottom of the post.

18+ GO AWAY CHILDREN!

A Lesson In Sensuality (3k words)

tw: explicit, female masturbation (mentioned), male masturbation, vaginal sex (mentioned), teacher-student relationship (reader is an adult)

When he saw that kittenish little grin on her face as he accepted her essay, Aesop Sharp knew she wasn’t only handing him her 16 inches of mandrakes' uses in potions, but that there was also something else included in the neatly folded parchment. Their hands touched momentarily as he took a hold of the parchment, and a tiny spark flickered in their intense gazes. Aesop had a hard time stopping a smile from breaking out on his scarred face.

It felt like forever since they last managed to exchange more than a few quick heated kisses and hushed soft words, and therefore this tiny moment was enough to make Aesop’s heart pound in his chest. Her cheeks reddened as she gave him one last little smile and a nod before leaving his classroom in a flurry of robes.

After the last of his seventh year students left, he decided to use the little bit of free time he had to improve his mood slightly by reading the clandestine note undoubtedly hidden within the otherwise normal looking essay. It wasn’t the first time she wrote him a little love letter, and Aesop himself made sure to always repay her in kind. 

Now, however, as he unfolded the parchment, he immediately saw that hidden among the no doubt Outstanding essay was no little letter. It was possibly even longer than the essay itself! Curiously, Aesop noticed that the text seemed to alter throughout - the letter began with his sweetheart’s neat script, but was at a certain point replaced by what he recognised as the basic Self-writing Quill font. And then, almost at the very end, her own handwriting appeared once more.

He brought the letter up to his nose, happy to find it lightly smelling of her perfume, and he saw its back was signed by the outline of her plush lips in a lovely shade of light lip rouge. His fingers slid across the smooth material of the letter. Aesop began reading.

My dearest Aesop,

Sweet Merlin, it feels so horribly long ago, an eternity almost, since I last had the utmost luck and pleasure to spend an evening in your company... In your wonderful arms, so strong and steady, shielding me from all the bad in the world, warming me up when all around me has turned to ice, and holding me upright, when I feel like I cannot stand on my own. 

The potions master smiled, his cheeks slightly warmer than they were before as he rested his chin on his hand. Cheeky little thing, she was beginning on a very poetic note indeed, and it made him strangely giddy to be the reason she chose to use such language.

How I long to be with you right now, to look into your ethereal eyes, dark and intense, like the mouth of a volcano, but so kind and sincere, like those of a majestic stag.

Your mouth... Heavens, your mouth. Each and every kiss you gift me with feels like a healing touch to my very soul. Your taste, so deep and rich and complex, so absolutely addictive. I could go days without eating or drinking, and I would not feel any hunger or thirst, your lips on mine enough.

Oh, by Salazar…He chuckled. She was being a bit dramatic, wasn’t she? However, Aesop couldn’t deny the way his heart was beating with all the intensity of a war drum as he drank in her beautiful words, the way she described him. The professor might’ve considered himself fairly handsome once, long before he became a professor, but not after what happened on that godforsaken boat. However, he never would've thought to be described like this… He was a little uncertain whether he was deserving of praise this high.

Aesop felt something inside him fluttering as he read her letter to him, the way she explained what she found beautiful about him was slightly on the dramatic side maybe, but goodness if it didn't feel good.

Your hands, your blessed hands, they dance when you brew, when you write. You are a virtuoso, my love. So strong and yet so soft, I go weak in the knees every time you take a hold of my face, every time you guide it to your own, everytime your wonderful fingers glide about the skin of my cheeks... 

Every time you caress my body with them. When you worship me with them, I feel myself slowly losing my mind. When you touch my breasts, I gasp and sigh for you, my love, because nobody else's touch could ever feel so good. I try to imagine my own hands are yours as I circle my nipples with my fingers, pinch them like you do, as I massage my bosom the same way... It doesn't feel the same, as much as I try to imagine it is you, it just isn't enough... It isn't you. It is you I need, Aesop, you I need to touch me like this, need you to caress me until I am begging for you, until my sighs turn to moans.

Oh… oh, goodnes… It was this kind of letter. Aesop skimmed the following text with his eyes, already feeling his pants get slightly tighter. Just then, however, the door to his classroom opened, and a bored looking fourth year made her way inside, soon followed by her Hufflepuff and Gryffindor classmates.

Aesop never hid a letter inside of his coat faster in his life.

He tried his hardest to stop being just that, willing his body into obedience, even as her words still swam in front of his eyes. Bloody hell… A single slightly more… explicit paragraph, and he was half hard in his underwear, his length obviously more than a little interested in the contents of the letter. 

After a few more minutes spent at his desk while his students readied themselves at their stations, and him mentally cataloguing his private stocks, he felt… relaxed enough to begin the lesson, standing up to write today’s instructions on the blackboard.

The letter seemed to burn inside of his overcoat’s breast pocket, goodness, how he wanted to read what else she wrote, his stomach twisting with excitement. Later, he reminded himself, later when he was alone in the comfort of his chambers, when nobody would come and disturb him. 

Although, there was one person he wished had the time to actually come and disturb him, possibly read her letter to him out loud.

Later, Aesop, concentrate!

—

As soon as his last class that day left, Aesop Sharp hurried to his chambers, his fingers covertly moving to the letter where it was concealed under his overcoat, as if it could have evaporated into thin air during the last few hours. There was some time before supper and he knew he wouldn’t be bothered by anyone. 

In any case, once the door to his rooms closed shut, he cast a locking charm on it, beginning to shed his layers not a second later. He carefully extracted the letter from the confines of his pocket before throwing his overcoat on his bed. His jacket and waistcoat soon followed, his tie was tossed away as if it had been choking him. It had, if Aesop was being honest. Not long after, the potions master was as naked as the day he was born, his manhood already partly filled with his excitement at finally discovering what other lovely things she wrote in the letter.

He sank into the armchair by his bed heavily, his stomach tugging with anticipation as he unfolded the letter again searching where he left off. Oh, yes.

Every time you caress my body with them. When you worship me with them, I feel myself slowly losing my mind. When you touch my breasts, I gasp and sigh for you, my love, because nobody else's touch could ever feel so good. I try to imagine my own hands are yours as I circle my nipples with my fingers, pinch them like you do, as I massage my bosom the same way... It doesn't feel the same, as much as I try to imagine it is you, it just isn't enough... It isn't you. It is you I need, my Aesop, you I need to touch me like this, need you to caress me until I am begging for you, until my sighs turn to moans.

You would then slide your hand lower, as I do right now... Thank goodness for these self writing quills... I know you would be so lovely as you'd stroke at my inner thighs, spreading me gently, your fingers teasing the very place where I want you the most and where you want me. You'd spread my velvety curtains, damp with my exhilaration and drag your long finger along my seam, those beautiful eyes of yours igniting me, setting me on fire from the inside out.

Oh Merlin! So that’s why there is that change of font, she was dictating the letter while she… Goodness. Aesop closed his hand around his now fully erect penis, only squeezing lightly for now as he continued reading, seeing her pushing her own fingers into her tight little cunt in his mind’s eye clear as day, the very imagine making hotness run through him. He pulled his foreskin lower with his fingers, his thumb gliding along the sticky sensitive tip of his prick, spreading the moisture that began to gather there.

And then... And then you'd push your finger inside, finding me so wet and ready for you... Ready as I am right now, but empty, and craving to be filled, twitching, almost sucking your finger in, like it belongs there. You'd masterfully search my hidden crevices, soon finding that place that makes my thighs shake, and my back arch upon the bed. My body in bliss, I loosen up, inviting your other fingers to join in on the fun...

My fingers are so small compared to yours, they don't quite manage to do the job, yet I imagine they're yours anyway, pumping into me, while your thumb rubs along my lovebud, slowly making me mad with need.

And afterwards, once you opened me up enough, more than likely bringing me to my peak in the process, you'd finally, finally enter me, stretching me so much, I feel like I'm going to split in two. The burn is delicious by now, I crave it with every single inch of my feverish body, I crave the way you sigh into my ear once you settle within me fully, your breath hot and damp against my already heated skin. I love the way you press kisses along my neck then, as you wait for me to get used to accommodating your length inside me, your teeth grazing my skin. 

Aesop was slowly moving his hand up and down his shaft, occasionally coming up to squeeze at the bared glans, staring at the words on the parchment, also imagining the little picture his sweetheart painted within her sentences. His rhythm was slow and deep at first, just like the way he’d take her was she here right now. 

Oh, how he wished she was here right now. His hand was damp with the precum leaving his tip in little crystal clear drops. The engorged member throbbed in his hand, appreciative of the attention he was bestowing upon it, but the potions master would have been much happier if it wasn’t his hand bringing him this pleasure, but rather the young woman’s heavenly body.

And then, when you'd begin moving, your hips rutting into my own, our bodies colliding in a union as ancient as time itself, I wish I could stop the world around us, to have us forevermore stuck in this blissful moment. I want to run my fingers through your silky hair, grasp strands of it between them, press my nails against your scalp, until you groan into my skin, sending vibrations through my body, travelling to my very core. And when your need takes hold, and you start taking me, fully taking me, I feel my release approach swiftly, its sweet promise of absolute ecstasy licking up my form like waves of sea, wild and unhinged, and so utterly beautiful.

The way you'd look into my eyes as you'd fill me over and over again, makes me tremble with bliss. You'd be taking me, and you'd be doing so rightfully, taking what's yours, yours, yours, yours only. I would shatter around you, my entire world collapsing and crashing down as I cry your name to the heavens, my nails digging into the wide expanse of your strong back. The sounds of our bodies connecting drive me wild with want.

Aesop’s hand sped up, the words he read having a profound effect on him. He imagined her hands in his hair, on his shoulders and back, imagined the sweet sting of her nails cutting into his flesh. The slapping sound of his own hand tugging at his weeping prick filled his ears, and he was unable to stop the occasional groan and grunt from leaving his lips. Hngh, that little minx, he was going to fuck her until she could barely speak, much less use such enticing language, the next time he got the chance.

The potions master spread his legs wider, pumping himself faster. He was almost tempted to release the parchment from his hand and use both of his hands, one to pull at the now almost painfully hard cock more, the other to play with his testicles, to brush and poke at that one spot behind them, but… but he so desperately wanted to read on, he wanted to read more of those delightfully sinful sentences, the sentences combined with the picture burned into his mind that made the burning coil in his stomach materialise out of nothing, and then begin to burn brighter, grow tighter. 

He groaned again, feeling droplets of sweat form at his hairline, some rolling down his burning cheeks.

He was close, dancing along the edge of bliss. Still, he made his fluttering eyes find another paragraph and read on.

And then... You probably have no idea how beautiful you are, and you probably have no idea just how absolutely breathtaking you get when you're about to plummet down the edge yourself. You are magnificent, like a mighty animal, bared of all inhibitions, thrusting into me with wild abandon, chasing your pleasure in my body. And the moment you peak, the way your eyes flutter and close, that wonderful sound that leaves your lips, 

Oh…

the way your hands grab me in their iron grip, showing the true strength of them,

Oh, hngh!

the way your own back arches as I feel your hotness enter me. You claim me as your own, filling me with your lust, your love, the very essence of you, in a moment of the most primal carnality.

Ah! Mhhhm!

With a deep groan, rope after rope of thick cum shot out of Aesop’s throbbing cock, landing against his chest and clinging to the thick hair there. His hand closed around the letter as he threw his head back, stroking himself through the orgasm hard and fast, until the very last drops wept out of the overstimulated glans, rolling down his foreskin and shaft, some dripping down onto his thigh.

He sat there heavily for several minutes, his hand loosening around his softening prick, still twitching lightly, spent and sensitive, his other hand still gripped at the parchment bearing her words and the ghost of her lips. He enjoyed the deep gratification that was seeping into his now so heavy bones, his head feeling near empty, only his heart searching for the other, the one it beat for. After the potions master regained some control of his higher functions again, he lifted the letter to read the last few paragraphs.

I dread the moment you leave my exhausted, but sated body, but you soothe this dread of mine with your delightful kisses, allowing me to drink from your lips as the world around me rebuilds, as the sounds around us once more come into reality. The proof of what we've done, our still trembling limbs, the sweat upon our cooling bodies, your essence flowing out of me, our breathless words and hot kisses. It's another moment I'd like to freeze, that wonderful afterglow with you and only you.

And even as I lie here now, spent and breathless, I cannot deny the pang of regret that you weren't the one to do this to me.

I miss you so terribly, my beloved, and I pray that we can steal away a moment for just the two of us soon, as otherwise I might start going completely mad.

Aesop.

My love. My sweetheart. My entire world.

I love you most ardently, with every inch of me, with my entire heart. It only beats for you. 

You hold it in your amazing hands, and I couldn't ever imagine a better person to be allowed to do so.

Let our next amazing stolen moment together come very soon.

Forever yours.

Oh, fucking hell…

How he wanted her here. No, he needed her here! Aesop needed her to be right here with him, doing the wonderful things she wrote in her letter. He had half a mind to only just make himself presentable, send a house elf to locate her, and steal her away to his chambers, and not let her go. However, his release left him entirely unwilling to do any such thing as moving right now.

The letter… Merlin, where did she learn to write like that? He was gone the moment she mentioned she was thinking of him and pleasuring herself while dictating the Self-writing Quill what to write… 

Maybe…

Maybe he could return the favour. 

Aesop didn't know whether what he'd write would have the same effect on her as her letter had on him, but he could at the very least try. He chuckled breathlessly.

Let's see which one of us cracks first.

Thank you for reading, I hope you enjoyed this little PWP. As always, you can find this story and all of my other stories over at AO3. I greatly appreciate all feedback! ❤️

UNCENSORED ART

[archie-sunshine]

ARCHIE'S CAPTAIN'S (B)LOG(Mar 1st '24)

Hey there sailors! thanks for sticking with me for another EXCITING INSTALMENT of archie's captain's blog.

Starting off with some housekeeping! as usual, today is the inbox extinction event day, so I'm going to be picking through and trimming all the ones I won't be answering this time around, and answering as many as I can!!

The 7th chapter of survey says is on it's way, and will be released HOPEFULLY before the end of this weekend, and if not, before the end of the week.

On the 3rd of march I will be posting the new chapter of Rehab/Cohab!

Don't get too excited, but I'm preparing to work on finally making a SIMPATICO HEADCANON MASTERPOST so that all of the people desperate to hear my thoughts on them for literal months now will finally get to hear my ramblings.

Commissions are being worked on, and I'll be reopening once I am finished all of my other comms!

BUT!! IN BIG NEWS!!!

I made myself a dang picarto account so I CAN STREAM MY DRAWINGS!!!

I'll likely be starting off by filming my quick request fills from the inbox, but from there, who knows what else I might get up to!!! please feel free to drop by and say hello. I will be silently streaming(specifically so I can still be listening to youtube videos while I draw) but I'll be excited to catch you guys there to watch the uncensored porn drawing in action.

OH AND I ALMOST FORGOT THE LINK: https://picarto.tv/archiesunshine

2. NEW WEEKLY EVENTS!!

I've decided that i've been sketching far too much, and I need to start working on my colouring, and so, once a week, I will run a single day long poll on the subject matter of my ONCE A WEEK FULL COLOUR PIECE. You are all encouraged to swing the vote in tags and reblogs and comments, make propaganda, or just generally freak the fuck out in my tags.

Thanks everyone again for sticking around. I know that the whole tumblr ai thing has scared a few of my friends off, which makes me sad, however, those of you that have stuck by, I can't thank you guys enough for that :]

See you on the 15th for another update!!

[verybigvag]

There's been a lot of recent discussion with Angel Dust, his scene Poison, and Its interpretation. I would like to talk about it.

⚠️ Trigger warning for discussion of Sexual Violence/Assault, Abuse, Drug Use, fetishization, and In*c'est mention ⚠️

I would like to start by saying that I wanna be able to have more posts like this and discuss topics both serious and not for media/entertainment here on Tumblr, however, I would like to keep articulate and not too long but that won't be the case here lol.

In Episode 4 of Hazbin Hotel 'Masquerade', there is a musical scene showcasing Angel Dust singing 'Poison' about his trauma and current situation of being sexually abused, and taken advantage of by the porn industry and how he copes with drug addiction, masking himself and relying on his hypersexuality to get through it with the possibility of losing himself to it all and killing him in the end.

While the scene doesn't show his assault outright, it is rather disturbing and obvious imagery of his situation. Back in 2017 there was a music video for a fan song Addict turned soft canon at the time. It was the original showcase for what we will get for Angel dust as a character and his nuances going into the show, as well as the first instances of Valentino taking advantage of him. While the music video isn't as dark as poison, he does an amazing job at just that. Not needed to go so far and yet it's so obvious through the animation.

Now the question I would like to give my opinion on is, Is Poison fetishizing Angel's abuse? In my personal opinion and the show's intention... No.

Poison is a disturbing scene, it's dark and almost uncensored. There's an argument to be made that it's supposed to make you uncomfortable and while that is true, nobody should use that as justification to talk down to victims when they have something to say. I'm a victim myself and frankly, I'm conflicted on how I feel about this. I think the scene does work in the fact that it gives Angel's perspective well what he sees and how he wants others to perceive him. Then we have the fact that the show is presenting that angel situation is something to take seriously but will characters harass others and the occasional r*ape joke. (Sir Pentious in the most recent example)

People are conflicted and at times it's unsure how some perceive this. It's almost whiplash to see SA played for laughs then later in the same episode, we see a character stand up to their abuser and is presented as a triumphant moment, a starting point and Proof he is strong and can make it out and is also protecting his friend, showing he good character traits, someone who cares for other and wants to protect them.

I think people are right to point out its writing issues with its comedy and tone armor and victims have every right to point that out.

There is more to this situation I will get into later in the post that Understandably makes people uncomfortable given the context.

It's almost like a popstar giving a performance, letting their persona out on stage; either Kampy, unapologetically themselves, hypersexual and glamorous. This is very common with mainstream I industry musicians/pop stars.

While it's not the case for every artist, it's well known that most are subjected to sexualization from the audience and media (unless they lean into that hypersexual persona).

Angel Dust is a product of his trauma and environment. With that I don't think the show will actually get into how unethical and exploitative the porn industry is (which I think they should), rather just how Angel is being exploited.

Now whether fans like it or not, your favorite media will be criticized for both warranted and ridiculous reasons.

There seems to be an issue with the stans of Hazbin Hotel and constantly deflecting any criticisms of the show. This isn't the case for all the fans but it's still common, unfortunately.

There are people who don't know what it's like to have a history of sexual violence and grooming, and that's ok. It's something I never want to wish upon anyone. It'll affect you for the rest of your life. Some days are better than others but it's not the same for everyone, and universally Trauma is processed differently. There will be experiences that many can relate to; Hypersexuality being one way, some want to reclaim themselves and disassociate sex from the experience and the feelings of uncleanliness that comes with it.

We don't need others who have an unhealthy attachment to a show to constantly speak over those who disagree with Angel's visual representation of his sexual exploitation/assault. Many have stated they don't have any issue with their scene, AND MANY others disagree and They are BOTH right to feel that way. We don't need fans who are selective with victims and their input on a serious nuanced topic.

The sentiment should be that we shouldn't be speaking over anyone who's been victimized, groomed, assaulted, and experienced similar circumstances. Whether they validate your opinions or not.

I still want to clarify, that it's ok to enjoy dark media. It's ok to enjoy what you want. In my opinion, there is a point where you go past safe consumption to obsession with problematic media that's concerning.

If you want to enjoy Valentino and Go ahead. Villains are popular for a reason and it's easy to enjoy characters who are Kampy yet evil in nature. Merchandise of villains is nothing new so I don't see why it's an issue now (unless it depicts said inappropriate tendencies in a glamorized light)

With that said, there was understandable discomfort knowing the artist who storyboarded poison.

I would go into details here but I recommend you go and read this thread by Uninformed Artist, It goes over everything you need to know but to keep it short, they have a r*ape fetish.

People are free to feel however they want about this, especially since there could be a chance Raphielles may have had interior motives but at the moment we can't say for sure and if so, it was conveyed at all in the scene. personally, It feels disingenuous to claim that they want to take the said topic seriously but aren't considerate of the team representing it.

Speaking of that, I may diverge a bit but I want to give an example...

This reminded me of another similar situation with another animated show; Rise of the Teenage Mutant Ninja Turtles

⚠️Incest Warning ⚠️

.

.

.

On Twitter an artist who goes by Sheldon made this below regarding a scene they storyboarded for an episode in season 2 called 'The Lair Games' and yes it did make it into the show.

Sheldon replied to a user who partakes in problematic content

To clarify, TCEST is what people refer to as shipping Any of the Main Brothers; Leonardo, Raphael, Donatello, And Michelangelo in the TMNT franchise. Yes, this means romantic/sexual.

There was much discomfort from many fans that was warranted given the implications. While something like this will never be implied for Canon for any TMNT iteration, it's weird knowing there may have been certain intentions from Sheldon.

With that said there was another reply clarifying the original tweet was a joke. I'd personally say it's really weird to make that type of joke in the first place and attract people you don't want to interact with and it's not a funny joke to begin with.

But I sincerely hope it was just a terrible joke in bad taste, That's hope I'm personally going to take it as this was about 2 years ago and the rise of the TMNT has unfortunately ended. Hazbin Hotel, however, is just getting started.

I do wish the best for the show and that it grows into something amazing, along with the writers getting into their element and doing these characters justice and I hope there is a bit more consideration that goes into depicting more serious topics later on.

So, I'm not sure how to end this but here we are. I would like to thank all of you for reading. If you have your input feel free to add on!

Make sure to be kind to each other and stay hydrated 💛💛💛

[themthouse]

The Internet Archive, Misinformation & the Problem of Digital Lending

I am in the embarrassing situation of having reblogged a post with misinformation. Specifically, the "Save the Internet Archive" post featuring the below image and its associated link to a website called "Battle for Libraries".

The post claims that the recent lawsuit the IA faced threatened all IA projects, including the Wayback Machine, which is not true. The link to a petition to "show support for the Internet Archive, libraries’ digital rights, and an open internet with uncensored access to knowledge" only has one citation, which is the internet archive's own blog.

After looking for more context, I found that even articles published from sources I trusted didn't seem to adequately cover the complexity of what is going on. Here's what I think someone who loves libraries but is hazy about copyright law and the digital lending world should know to understand what happened and why it matters. I am from the U.S., so the information below is specifically referring to laws protecting American public libraries. I am not a librarian, author or copyright lawyer. This is a guide to make it easier to follow the arguments of people more directly invested in this lawsuit, and the potential additional lawsuits to come.

Table of Contents:

First-Sale Doctrine & the Economics of E-books

Controlled Digital Lending (CDL)

The “National Emergency Library” & Hachette v. Internet Archive

Authors, Publishers & You

-- Authors: Ideology v. Practicality

-- Publishers: What Authors Are Paid

-- You: When Is Piracy Ethical?

First-Sale Doctrine & the Economics of E-Books

Libraries are digitizing. This is undisputed. As of 2019, 98% of public libraries provided Wi-Fi, 90% provided basic digital literacy programs, and most importantly for this conversation, 94% provided access to e-books and other digital materials. The problem is that for decades, the American public library system has operated on a bit of common law exhaustion applied to copyright known as first-sale doctrine, which states:

"An individual who knowingly purchases a copy of a copyrighted work from the copyright holder receives the right to sell, display or otherwise dispose of that particular copy, notwithstanding the interests of the copyright owner."

With digital media, however, because there isn't a physical sale happening, first sale doctrine doesn't apply. This wasn't a huge problem back in the early 2010s when most libraries were starting to go digital because the price of a perpetual e-book license was only $14 -- about the price of single physical book. Starting in 2018, however, publishers started limiting how long a single e-book license would last. From Pew Charitable Trusts:

"Today, it is common for e-book licenses from major publishers to expire after two years or 26 borrows, and to cost between $60 and $80 per license, according to Michele Kimpton, the global senior director of the nonprofit library group LYRASIS... While consumers paid $12.99 for a digital version, the same book cost libraries roughly $52 for two years, and almost $520 for 20 years."

Publishers argue that because it's so easy to borrow a digital copy of a book from the library, offering libraries e-book licenses at the same price as individual consumers undermines an author's right to license and profit from the exclusive rights to their works. And they're not entirely wrong about e-book lending affecting e-book sales -- since 2014, e-book sales have decreased while digital library lending has only gone up. The problem, they say, is that e-book lending is simply too easy. Whereas before, e-book sales were competing with the less-convenient option of going to the library and checking out a physical copy, there is essentially no difference for the reader between buying or lending an e-book outside of its cost.

Which brings us to the librarians, authors and lawmakers of today, trying to find any solution they can to make digital media accessible, affordable and still profitable enough to make a livable income for the writers who create the books we read.

Further Reading:

1854. Copyright Infringement -- First Sale Doctrine

The surprising economics of digital lending

Librarians and Lawmakers Push for Greater Access to E-Books

Publishing and Library E-Lending: An Analysis of the Decade Before Covid-19

Controlled Digital Lending (CDL)

Controlled digital lending is a legal theory at the heart of the Internet Archive lawsuit that has been proposed as one solution to the economic issue with digital media lending. This quick fix is especially appealing to nonprofits like the IA that are not government, tax-funded programs. Where many other solutions, like a legally enforced max price on e-book licensure for public libraries, would not apply to the IA, CDL would essentially be manipulating copyright law itself as a way to avoid e-book licensure altogether and would apply to the IA as well as public libraries.

Essentially, proponents of CDL argue that through a combination of first-sale and fair use doctrine, it can be legal for libraries to digitize the physical copies of books they have legally paid for and loan those digital copies to one person at a time as if they were loaning the original physical copy.

It is worth noting that the first-sale doctrine protecting physical media lending at public libraries does not cover reproductions:

“The right to distribute ends, however, once the owner has sold that particular copy. See 17 U.S.C. § 109(a) & (c). Since the first sale doctrine never protects a defendant who makes unauthorized reproductions of a copyrighted work, the first sale doctrine cannot be a successful defense in cases that allege infringing reproduction.”

This is where fair use comes in, which allows some flexibility in copyright law for nonprofit educational and noncommercial uses. Because the IA and other online collections are nonprofit organizations, proponents of CDL argue that they are covered by fair use so long as their use of CDL follows very specific rules, such as:

A library must own a legal copy of the physical book, by purchase or gift.

The library must maintain an “owned to loaned” ratio, simultaneously lending no more copies than it legally owns.

The library must use technical measures to ensure that the digital file cannot be copied or redistributed.

While this model first earned its name in 2018, it has been practiced by a number of digital collections like The Internet Archive’s Open Library since as early as 2010. It is important to know that controlled digital lending has never been proven officially legal in court. It is a theoretical legal practice that has passed by mostly unchallenged until the Internet Archive lawsuit. This is partially due to the fact that before releasing their official CDL statement in 2018, the IA had been honoring Digital Millennium Copyright Act (DMCA) takedown requests of books in CDL circulation, which authors claim they are not always responding to or honoring anymore. The legality of CDL essentially depends on a judge's interpretation of current copyright law and whether they see the practice as an infringement, which would set a precedent for similar cases moving forward.

There are, however, U.S. court decisions that have rejected similar cases, like Capitol Records v. ReDigi, which argues that digital files (in this case, music files) cannot be resold without copyright holder’s permission on the grounds that digital files do not deteriorate in the same way that physical media does, implying that first sale doctrine doesn’t apply to digital media.

In 2019, the Authors Guild, a group of American authors who advocate for the rights of writers to earn a living wage and practice free speech, pointed out this court case in an article condemning CDL practices. They also argued that not only does CDL undermine e-book licensure (and therefore author profits off e-book sales), but it also would effectively shut down the e-book market for older books (the market for copyrighted books that were published before e-books became popular and are only being digitized and sold now). The National Writers Union has also released an “Appeal from the victims of Controlled Digital Lending (CDL),” that cites many of the same complaints.

Further Reading:

U.S. Copyright Office Fair Use Index

Position Statement on Controlled Digital Lending by Libraries

FAQ on Controlled Digital Lending [Released by NYU Law’s Engelberg Center on Innovation Law & Policy]

Controlled Digital Lending Is Neither Controlled nor Legal

Appeal from the victims of Controlled Digital Lending (CDL)

FAQ on Controlled Digital Lending [Released by the National Writers Union]

 The "National Emergency Library" & Hachette v. Internet Archive

While the Internet Archive is known as the creator and host of the Wayback Machine and many other internet and digital media preservation projects, the IA collection in question in Hachette v. Internet Archive is their Open Library. The Open Library has been digitizing books since as early as 2005, and in early 2011, began to include and distribute copyrighted books through Controlled Digital Lending (CDL). In total, the IA includes 3.6 million copyrighted books and continues to scan over 4,000 books a day.

During the early days of the pandemic, from March 24, 2020, to June 16, 2020, specifically, the Internet Archive offered their National Emergency Library, which did away with the waitlist limitations on their pre-existing Open Library. Instead of following the strict rules laid out in the Position Statement on Controlled Digital Lending, which mandates an equal “owned to loaned” ratio, the IA allowed multiple readers to access the same digitized book at once. This, they said, was a direct emergency response to the worldwide pandemic that cut off people’s access to physical libraries.

In response, on June 1, 2020, Hachette Book Group, HarperCollins, John Wiley & Sons, and Penguin Random House filed a lawsuit against the IA over copyright infringement. Out of their collective 33,000 copyrighted titles available on Open Library, the publishers’ lawsuit focused on 127 books specifically (known in the legal documentation as the “Works in Suit”). After two years of argument, on March 24, 2023, Judge John George Koeltl ruled in favor of the publishers.

The IA’s fair use defense was found to be insufficient as the scanning and distribution of books was not found to be transformative in any way, as opposed to other copyright lawsuits that ruled in favor of digitizing books for “utility-expanding” purposes, such as Authors Guild, Inc. v. HathiTrust. Furthermore, it was found that even prior to the National Emergency Library, the Open Library frequently failed to maintain the “owned to loaned” ratio by not sufficiently monitoring the circulation of books it borrows from partner libraries. Finally, despite being a nonprofit organization overall, the IA was found to profit off of the distribution of the copyrighted books, specifically through a Better World Books link that shares part of every sale made through that specific link with the IA.

It worth noting that this ruling specifies that “even full enforcement of a one-to-one owned-to-loaned ratio, however, would not excuse IA’s reproduction of the Works in Suit.” This may set precedent for future copyright cases that attempt to claim copyright exemption through the practice of controlled digital lending. It is unclear whether this ruling is limited to the National Emergency Library specifically, or if it will affect the Open Library and other collections that practice CDL moving forward.

Further Reading:

Full History of Hachette Book Group, Inc. v. Internet Archive [Released by the Free Law Project]

Hachette v. Internet Archive ruling

Internet Archive Loses Lawsuit Over E-Book Copyright Infringement

The Fight Continues [Released by The Internet Archive]

Authors Guild Celebrates Resounding Win in Internet Archive Infringement Lawsuit [Released by The Authors Guild]

Relevant Court Cases:

Authors Guild, Inc. v. Google, Inc.

Authors Guild, Inc. v. HathiTrust

Capitol Records v. ReDigi

 Authors, Publishers & You

This is where I’m going to be a little more subjective, because each person’s interpretation of events as I have seen has depended largely on their characterization and experience with the parties involved. Regardless of my own ideology regarding accessibility of information, the court ruling seems to be completely in line with current copyright law and precedent. Ironically, it seems that if the Internet Archive had not abandoned the strict rules regarding controlled digital lending for the National Emergency Library, and if they had been more diligent with upholding those rules with partner library loans prior to the NEL, they may have had a better case for controlled digital lending in the future. As is, I agree with other commentators that say any appeal the IA makes after this point is more likely to damage future digital lending practices than it is to save the IA’s current collection of copyrighted works in the Open Library. Most importantly, it seems disingenuous, and even dangerously inaccurate, to say that this ruling hurts authors, as the IA claimed in their response.

The IA argues that because of the current digital lending and sales landscape, the only way authors can make their books accessible digitally is through unfair licensing models, and that online collections like the IA’s Open Library offer authors freedom to have their books read. But this argument doesn’t acknowledge that many authors haven’t consented to having their works shared in this way, and some have even asked directly for their work to be removed, without that request being honored.

The problem is that both sides of this argument about the IA lawsuit claim to speak for authors as a group when the truth isn’t that simple.

Authors: Ideology v. Practicality

Those approaching the case from an ideological point of view, including many of the authors who signed Fight for the Future’s Open Letter Defending Libraries’ Rights in a Digital Age, tend to either have a history of sharing their works freely prior to the lawsuit (ex: Hanif Abdurraqib, who had published a free audio version of his book Go Ahead in The Rain on Spotify before Spotify began charging for audiobooks separately from their music subscriptions) or have alternative incomes related to their writing that don’t stem directly from book sales (ex: Neil Gaiman, who famously works with multiple mediums and adaptations of his writing).

In these cases, the IA lawsuit is framed as an ideological battle over the IA’s intention when releasing the National Emergency Library.

Many other authors, including a large number of smaller names and writers early in their careers, take a much more practical approach to the lawsuit, focused on defending their ability to monetarily profit off their works. This is by no means a reflection of their own ideology surrounding who has the right to information and whether libraries are worth protecting. Instead, it is a response to the fact that these authors love writing, and they simply would not be able to afford to continue writing in a world where they do not have the power to stop digital collections from distributing their copyrighted work without their consent. These include the authors, illustrators and book makes working with the Author’s Guild to submit their amicus brief in  Hachette v. Internet Archive.

These authors claim that controlled digital lending practices cause significant harm to their incomes in the following ways:

CDL undermines e-book licensing and sales markets, as most consumers would choose a free e-book over paying for their own copy.

CDL devalues copyright, meaning authors have less bargaining power in future contract negotiations.

CDL undermines authors ability to republish, whether as a reprint or e-book, out of print books once their publisher has ceased production. This includes self-publishing after the rights to their work have been returned to them.

CDL removes the income from public lending rights (PLR) that authors receive from libraries outside of the U.S. which operate on different lending and copyright standards.

The amicus brief provides first-person anecdotes from authors, including Bruce Coville of The Unicorn Chronicles, about how the rights to backlisted books, or books without an immediately obvious market, make up a huge portion of their annual salary. Jacqueline Diamond cites reissues of out-of-print novels as what kept her afloat during her breast cancer treatment.

It is worth noting that according to the Author’s Guild, some authors who originally signed Fight for the Future’s open letter defending the Internet Archive have even retracted their support after learning more about the specific lawsuit, including Daniel Handler, who writes under the pseudonym Lemony Snicket. The confusion stems from the use of the term “library” by both the Internet Archive and Fight for the Future. While authors overwhelmingly support public libraries, online collections like the Internet Archive don’t always fit the same role or abide by the same regulations as tax-funded public libraries. Sandra Cisneros, author of The House on Mango Street, has written the following:

“To this day, I am angry that Internet Archive tells the world that it is a library and that, by bootlegging my books, it is simply doing what libraries have always done. Real libraries do not do what Internet Archive does. The libraries that raised me paid for their books, they never stole them.”

Further Reading:

Amicus Brief [Submitted by the Author’s Guild]

Fight for the Future’s Open Letter Defending Libraries’ Rights in a Digital Age

Joint Statement in Response to Fight for the Future’s Letter Falsely Claiming that the Lawsuit Against Internet Archive’s Open Library Harms Public Libraries [Published by the Author’s Guild]

Copyright: American Publishers File for Summary Judgment Against the Internet Archive

 Publishers: What Authors Are Paid

Some of the commentators I’ve seen are disgruntled specifically with the publishers suing the Internet Archive, and I will say that many of these complaints are valid. The four publishing companies behind the lawsuits (Hachette Book Group, HarperCollins Publishers, John Wiley & Sons, and Penguin Random House) are not known for the stellar treatment of their authors and employees. With the HarperCollins Publishers strike ending only a month before the IA lawsuit ruling, many readers are poised to support any entity at odds with one or more of the “Big Five” publishers. In this particular case, however, the power wielded by these publishing companies was used in defense of author’s rights to their works, for which The Authors Guild and other similar creator groups have expressed gratitude.

When it comes to finding solutions to the digital lending problem in general, it is important to understand what and how authors are paid for digital copies of their work. Jane Friedman has created the graphic below displaying the industry standards for the Big Five publishers. You can read more about agency and wholesome models here.

As you can see, authors and publishers alike benefit from e-book library licensure when compared to individual e-book sales, especially when you consider the time limits on library licensures. But advocates of this licensure model argue that the high prices for e-book licensure are designed to make up for the lost sales in e-books. While library goers buy more books than book buyers who don’t visit the library, the copies they buy typically vary by format. For example, a reader may borrow an audiobook from the library, decide they like it, and purchase a physical copy for their collection. While readers may buy a physical copy of a book after reading a physical library copy, they are unlikely to buy a digital copy after readying a digital library copy, making e-book lending a replacement for e-book buying in ways that physical lending doesn’t fully replace physical book purchases.

What ISN’T accounted for in this graphic is self-publication and what is known as a right of reversion. Depending on the wording of their contract, an author can request their publication rights be returned to them if the work in question is out of print and no longer being published. The publisher can then either return the work to “in print” status or return the rights to the author, who can then self-publish the work. In these cases, the 5-15% profit they would have made off their traditionally published book becomes a 35-70% profit as a self-published book. This is why authors are particularly frustrated with the IA’s argument that it is perfectly legal and ethical to release digital copies of books that are no longer in print. Those out-of-print works are where many authors earn their most reliable, long-term income, and they provide the largest opportunity for the authors to take control of their own works again and make fairer wages through self-publication.

The most obvious answer to this is that if authors are being the ones hit hardest by library and digital lending, then it is the publishers that need to treat their authors with better contracts. The fact that some authors are only earning 5% of profits on hardcover copies of their books (whether those are being sold to libraries or individuals) is eye opening. Alas, like the “we shouldn’t have to tip waiters” argument, this is much easier said than done.

Further Reading:

What Is the Agency Model for E-books? Your Burning Questions Answered

What Do Authors Earn from Digital Lending at Libraries?

 You: When Is Piracy Ethical?

There are number of contributing factors to Tumblr’s enthusiasm for pirating. We are heavily invested in the media we consume, and it is easy to interpret (sometimes accurately) copyright as a weapon used by publishers and distant descendants of long-dead authors to restrict creativity and representation in adaptations of beloved texts. There are also legitimate barriers that keep us from legally obtaining media, whether that is the physical or digital inaccessibility of our local libraries and library websites, financial concerns, or censorship on an institutional or familial level. In fact, studies have found that 41% of book pirates also buy books, implying that a lot of illegal piracy is an attempt at format shifting (ripping CDs onto your computer to access them as MP3 files, for example, or downloading a digital copy of a book you already own in order to use the search feature).

The interesting thing is that copyright law in the U.S. has a specific loophole to allow for legal format shifting for accessibility purposes. This is due to the Chafee Amendment (17 U.S.C. § 121), passed in 1996, which focused on making published print material more available to people with disabilities that interfere with their ability to read print books, such as blindness, severe dyslexia and any physical disability that makes holding and manipulating a print book prohibitively difficult. In practice, this means nonprofits and government agencies in the U.S. are allowed to create and distribute braille, audio and digital versions of copyrighted books to eligible people without waiting for permission from the copyright holder. While this originally only applied to “nondramatic literary works,” updates to the regulations have been made as recently as 2021 to include printed work of any genre and to expand the ways “print-disabled” readers can be certified. Programs like Bookshare, Learning Ally, and the National Library Service for the Blind and Print-Disabled no longer require certification from a medical doctor to create an account. The Internet Archive also uses the Chafee Amendment to break their Controlled Digital Lending regulations for users with print disabilities. While applications of the Chafee Amendment are still heavily regulated, it is worth noting that even U.S. copyright law acknowledges the ways copyright contributes to making information inaccessible to a large amount of people.

Accessibility is not the only argument when discussing the morality of pirating. For some people, appreciation for piracy and shadow libraries comes from a background in archival work and an awareness how much of our historical archives today wouldn’t exist without pirated copies of media being made decades or even a century ago. But we have to be more careful about the way we talk about piracy. Though piracy is often talked about as a victimless crime, this is not always the case, and each one of us has a responsibility to critically think about our place in the media market and determine our own standards for when piracy is ethical. In some cases, such as the recent conversation surrounding the Harry Potter game, some people may even decide that pirating is a more ethical alternative to purchasing. Here are a few questions to consider when deciding whether or not to pirate a piece of media:

Have you exhausted all other avenues for legally purchasing, renting or borrowing a copy of this media?

Is the alternative to pirating this media purchasing it or not reading/referencing it at all? If the former, how are you justifying the piracy?

Who is the victim of this particular piracy? Whether or not you think the creator(s) deserve to have their work pirated, you need to acknowledge there is someone who would otherwise be paid for their work.

If every consumer pirated this media, what would the consequences be? Would you be willing to claim responsibility for that outcome?

If you got this far,  thank you so much for reading! It is genuine work to try and understand the complexity behind every day decisions, especially when the topic at hand is as complicated as the modern digital lending crisis. Doing this research has changed the way that I understand and interact with digital media, and I hope you have found it informational as well.

Further Reading:

Panorama Project Releases Immersive Media & Books 2020 Research Report by Noorda and Berens

The Chafee Amendment: Improving Access To Information

National Center on Accessible Educational Materials

National Library Service for the Blind and Print Disabled

Books For People With Print Disabilites: The Internet Archive

Bookshare

Learning Ally

[khisoka]

Tiny flower fairies #2 (not naked anymore)

Okay, I'm just wondering if I post this art again, but now with the censorship, i.e. loincloths on fairies, it will change the notes numbers...

You can still look at the uncensored art if you're interested, there's just no clothes there) Fairies have everything tiny, so there was almost nothing to hide XDXD

⇒ https://khisoka.tumblr.com/post/730798189200998400/tiny-naked-flower-fairies

[genomynt]

After waiting for almost 3 years, here's my work for a One Piece fan zine, WANKPIECE ZINE!!

ft. A commissioned and never-seen-before NSFW work from @DakuShido! 👀

‼️ UNCENSORED VERSION OF THE FANART ON MY AO3 LINK BELOW

❈ I haven't posted it last 2021 because it's supposed to have TWO fanarts for this fanfic and he's MIA for years 😭

I have 2 fanfics: A Law x Robin 💛💜 one and a Niji x Cosette one 💙🩷👀👀

Link: ↓

Niji x Cosette:

https://archiveofourown.org/works/54103957?show_comments=true&view_full_work=false#main

Law x Robin:

https://archiveofourown.org/works/54104593

[lysa1201-saucy]

Don’t Read A Book In Abyssal At 3 AM! (Not Clickbait)(Emotional)(Gone Sexual) - Lucifer x F!Reader (Part 7)

Part 1 , Part 2 , Part 3 , Part 4 , Part 5 , Part 6

Read Chapters Early on my Patreon!! Chapter 8 will be posted on Patreon first! Also includes NSFW art uncensored!! <33

Lmk if you wanna be added to the tag list!! Thank you for reading! Reblogs, likes, and comments are appreciated!

This story will contain sexual themes and smut, which is why it is being posted onto my 18+ account rather than my SFW account. Thank you <33

Genre: Comedy, Romance (Fluff + Smut), Angst

Warnings: Male Masturbation OOPS lol

Word Count: 1054

++++

Those next couple of days were torture to Lucifer. As much as he wanted to go home, he wanted relief so badly, too. He felt as if every time you walked by, his dick would just ache in between his legs, confined in the tight slacks he wore.

“Lucifer,” You spoke up to grab his attention from the couch. He turned his head to look up at you near the front door. “I have to head to the store to pick up more things for the place. I never knew having a roommate would make supplies die so fast,” You playfully chuckled. “Do you want to come?”

Lucifer almost agreed; enjoying spending time with you, especially since he really didn’t have much to do anyway, but he realized that he could take advantage of the situation if he was alone for a short while. “I’ll be fine. I’m looking over something very interesting right now and would like to focus,” He responded. It was a lie.

“Awesome, I’ll be back soon,” You flashed a beautiful smile at him, then quickly left the apartment.

Now or never, Lucifer.

He waited a small bit, frozen, waiting to hear the footsteps fade and to find it safe enough to confirm that you weren’t coming back. When he felt comfortable enough with your absence, he quickly closed the books in front of him and pushed them aside. 

By the time he began unbuckling his belt, and quickly trying to take his cock out, he already felt himself getting hard with just the idea of being able to touch himself. Fuck, he hadn’t touched himself in so long. Had it really been that long without any pleasure? Well, he supposed it was due to him being in a different environment, focused on getting home, and not wanting the girl in the very small apartment to hear him quite possibly moaning her name.

Lucifer could push his pants and underwear down enough to let his semi free. The cool air wafting over it made him sigh in pleasure. Sure, he had to be naked to shower, so it wasn’t the first time his dick had been out there, obviously, but the feeling of freedom when he was aroused felt so good.

Lifting his shirt slightly, Lucifer grabbed his dick and started to rub his shaft slowly. A small groan from inside his throat slipped, the feeling that had been absent from him for such a long while felt so amazing. He could feel his cock become stiffer the harder he squeezed, and the more he rubbed. 

When he had found himself fully erect, he began to speed up his hand. Lucifer focussed on the tip for a small moment, rubbing his thumb over it and across his slit in a somewhat rough manner. His mouth fell agape, and he released a deep moan from the pleasure. 

Fuck, he thought, this feels so fucking good.

His hand slipped back down to his base as he firmly gripped himself and moved his hand up and down. Up and down, up and down, faster, faster, faster. 

Lucifer wasn’t sure how much time had passed or how loud he was moaning and groaning; frankly, he did not care. He just wanted to relieve himself. He wanted to come so badly. He wanted to feel the pleasure of his sticky semen shooting out of his cock and spilling over his hands and dripping onto his stomach.

“Fuck,” Lucifer grunted out, quickening his pace as he chased that feeling of elation. He felt it coming. “Fuck, fuck, fuck,” He began to pant, his chest heavily falling up and down as his hand squeezed tighter and tighter, making him feel so fucking good. So, so, so-

Then the door opened.

“Hey, Lucifer, can you help me-“ You walked inside, prepared to ask him for help with some of the bags you had, just to see him with his dick out and rubbing the shit out of it. “Lucifer!”

Lucifer turned to face you, yet, instead of the shock he felt he should’ve been feeling, he felt even better. Seeing your face, and hearing you shout his name, made him moan so hard as he came all over himself.

“What the fuck?” You screamed at the scene; immediately slapping a hand over your mouth, so you didn’t get a noise complaint from the neighbors. 

You quickly shoved your bags inside of your apartment and shut the door as fast as you could. Facing the couch, you still see Lucifer there with his dick out, rubbing it softly as his remaining cum spilled all over himself. His head was tilted back with his eyes closed as he took relaxed breaths. 

“Are you really going to sit there and pretend I’m not fucking here?” You stomped, hoping to get his attention.

Lucifer turned his head to you with half-lidded eyes and just smirked. “I actually like knowing you’re here, so don’t worry. I’m not pretending anything,”

Heat slowly ran up to your cheeks, unsure of what he meant by those words yet still feeling someone flattered by them. Stop, you thought to yourself. You should feel angry!

You stared at each for a short second. Lucifer, just smirking with his dick still in hand, and you were just trying to figure out what the fuck is happening. Soon, you snapped out of it and shouted again, “Put your fucking dick away! Don’t look at me like that!”

“Well, I have to clean up first,” He began. “Would you like to help me?”

Suddenly, you were choking on your saliva and coughing up a storm. “You’re a grown man, do it yourself!” You finalized before sprinting to your room and slamming the door. You could hear that idiot chuckling from the other room before hearing him get up and, what you assumed, cleaning his mess up.

Those words rang in your head as your mind went hazy after what had happened. Would you like to help me? Help how? You know what he was insinuating to. You played that game, he was in it enough for you to know his dirty-minded words.

Not only that, but you shouldn’t have liked it.

But you did.

A lot.

The next time he asks for help, why say no when you can say yes?

++++

Tag List: @sassykattery , @dfgdfgxftdd , @karmasadistic69 , @sayumiht , @naruucore , @alyssatjuhhh , @alexus4real , @lunaliaom , @yleivs , @hauntedcatnerd , @gumdrop111

(I hope I got the tag list right and didn't miss anyone.... thank you all for waiting!!!!)

Next Part