/tk/ - Tickling

>>10459

>to a point where you would pay for it

I need to amend that one detail I made…who am I kidding? There is no point where they'd pay for it.

The dude can claim anything he wants. Pirating happens and it is not the fucking reason people go out of business. Most people who download pirated stuff weren't going to buy the shit in the first place. It's not a question of whether it's right or wrong. The question is: how much does a business really lose from pirates and how much does it blame on pirating for it's low sales. We always see companies throwing out crazy ass numbers on what they lose to pirating.

A good example of pulling numbers out of your ass is the Josh Trank/Fantastic Four fiasco. Trank, the movie's directer, tweets Fox under the bus on the movie and Fox responds that Trank's tweet probably cost them ten million dollars in ticket sales. Seriously!? Where the fuck do they get that number?

Agencies' prices were always better than MTJ, but I never cared for most of their books, so I didn't buy them. The stuff I downloaded for free I deleted because I thought it was crap and was happy I didn't buy it. MTJ is crazy ass expensive and I've bought a few books from them, but not a lot.

If they want to fight piracy, try offering books at more reasonable prices and folks will be loyal. Pirates are always going to be out there, but most of us are willing to buy good shit at reasonable prices to support a business we like.

Don't think he's fully coming forward about the situation.

What I mean is, yeah, pirating is shit, especially in something like this, which is so small to begin with, so sales losses hurt. At the same time, Agencies probably isn't fully closing up shop because of piracy.

It's probably because return of investment/profitability isn't at the break even point, and hasn't been for a while, so rather than continue to go deeply in the red, he decided to pull the plug.

The constant self bumps of threads on the art forum, especially in conjunction to anything MTJ released, is telling of his business strategy.

>>10459

To be blunt. I think It has more to do with lack a sales, because half of his books have much more then tickling in them. Like, people being tortured or murdered.

I,e. People don't want to buy a boner killer.

There is literally nothing wrong with piracy.

>>10469

Well, I wouldn't say that. I just think blaming piracy for all your business problems is a weak argument and keeps you from addressing real business side issues that affect sales. If you're under the illusion that piracy is the culprit in your low sales, you're not going to deal with anything else.

>>10466

Yeah, there is a thread going on in the TMF about it. The guy is defending his creative direction, but maybe that was part of what caused his low sales. I don't know. Doesn't seem very appealing.

You know, I'd really like to see him try an "Everything $5 sale" before closing up shop and see if that affects sales.

For obvious reasons I'm into going to get into the morality of pirating or handing out backhanded remarks about what the actual businessman 'should have' done better, but I'll always argue on the fact that cheaper material would have/will encourage more sales. Pirates gonna pirate, but even as much money as I do spend on fetish shit I've never been able to buy as much readable material as I'd like and I imagine most of you are the same.

I have no idea about the costs of making the things, but I'd eat my hat if he didn't end up pulling more sales and at the end of the day turning a bigger profit if he went a different direction. But considering he had one of, if not THE best clip operations around and closed up shop on that without hesitation, I'm not holding my breath for it.

And here I wanted to try to publish stories with them in the future…

Here goes nothing then. It's a pitty though.

>>10472

That's basically the chickens come home to roost.

>>10473

Production along the lines that Agencies would do? Contracting out artists and that, with colors and letters? I think if you are talking 8 to 10 pages, all told, the cost is around a grand.

The prices aren't necessarily about turning profit. They are about breaking even and continuing to justify the investment to continue content creation. I empathize with them more so than clip producers because the actual work going into these things is a lot higher than, say, a lot of clip producers.

>>10478

>Contracting out artists and that, with colors and letters? I think if you are talking 8 to 10 pages, all told, the cost is around a grand.

Christ.

I don't know then. Patreon? There just seems like there should be some other option.

>>10479

There is. Stop using middle managers like MTJ to sell your stuff and just produce it yourself. You keep the costs down and people can actually afford your $5-6 book over the inflated $16 book with shitty art.

>>10479

I already left a comment on his journal informing him of Patreon and maybe entice higher-paying patrons to have a cameo or maybe even a role in their comics.

It's worth a shot… maybe also potentially save costs by having one artist do the layouts, another for the inks and another for the colors… instead of having one artist do all of it?

>>10479

I think Patreon has done a number on the commission art scene, for good or bad, depending on the side of the spectrum you are on between artists and consumers. Don't think it's truly proven to be viable in quality content generation, instead it acts as a new age paywall.

It's hard, because the professional level artists like Agencies would use are kinda the way to ensure you can turn projects around quicker, or to even do them if you lack the requisite artistic skill to do the stuff. Think that grand total is on the medium end, and to be honest, the goal of publication isn't to make it back in a small window, but over the course of years. It's why there's actually a pretty spirited debate over piracy doing a lot of harm, because to be honest, it isn't always as cut and dry as "well if it's cheaper, I would pay for it", since, if you know what to do with clips, for example, you can check different sources and say "well, it's available here for free, why pay for it? I can just buy something that isn't over here."

I mean, Kidect has very low priced comics, and it seems like his material is very prevelently passed around, regardless of things like a five dollar price tag.

>>10481

You don't know how the fuck this works, do you? MTJ isn't a middle manager. It's more an artist coop. Agencies was a venue for Obs. They aren't middle managers. The reason why that price is there is when you contract out an art team, that's what it costs for them to DO the work.

The shit isn't inflated. Sure, individual artists could lower some of that cost, but look around at the commissionable artists of middle to higher tier. One image is, most times at the lowest, fifty bucks. One. That's not even one comic page.

If people don't get enough to make it even worth breaking even, they aren't going to do it at all.

>>10485

I do know how it works. Agencies writes his own material, but hires out artists. MTJ hires out both. Artists doing 8-10 page projects where they are writing/illustrating/coloring can keep costs significantly lower while still making a decent work per hour profit. I'm an artist. I don't do fetish stuff, but I also don't do art through middle managers who often try to sell you on taking a percentage of the sales rather than a straight paycheck. A lot of internet people don't have the capital to pay artists up front and pull this shit. I don't know what Agencies or MTJ does, but I do know they offer NOTHING to the artist that the artist couldn't do themselves as far as marketing and advertising.

The "rep" of MTJ or Agencies doesn't really equate dollars. Offering a solid product with samples, affordable pricing and "advertising" in your target markets is what it takes. MTJ and Agencies are not needed for that.

>>10488

Except Agencies isn't an artist, and neither are many of the MTJ story creators. Agencies and those people are not doing the lines, the inks, the coloring, the lettering. Those that do? The best way to make it so stories and IPs they want to keep going and not take years because of real life obligations is to contact an art team.

You're essentially advocating for artists independently labeling, which is great, except a lot of them get gobbled up by the trading scene because accessibility trumps even a five dollar price tag. And also, this is like saying "well, yeah, you can keep production costs on this movie if the artists are making props and rigging the lights and are working in post". Yeah, it controls costs. Yeah, artists could go out there and make their own material and sell it for cheap and the like. And they should. I've been advocating different artists to do this that have been giving their own shit away for free.

There's a reason why a lot of artists and story writers desire to 'work' with MTJ or Agencies…and it's the same reason so many of them do commissioned work; because someone is willing to pay them to generate content and sell it.

If this wasn't the reality, this wouldn't be a conversation.

>>10490

And this is why MTJ charges $16 for a book instead of $6. I know artists. They think selling their work is hard and that they need publishers to market and put their work out there for them. They don't. Especially in such a small market like online fetish comics. More of these fetish artists need to go solo and just create their own content and sell it. The outlets are plenty and the learning curve is practically zero.They would make a higher profit and the cost of the book would be cheaper. It is that simple. I've been making a living doing it for years.

>>10493

What niche market do you work in? Because tickling comics? Super niche.

I know artists too. They put their stuff on DA or use other means to independently sell comics and art. The reason they think selling their work is hard? It's because it is, and if it wasn't, independent artists like oetekitickles and darkharp wouldn't have forgone independent status. It's also what the market does to independent artists and titles. Kidects 5 dollar comics sell a few copies, but get pirated to shit. Pabuluz independently released a comic and for the work he put in, didn't make anywhere near what the time cost was worth for it.

It's not just bootstrapping and it will happen. Do you honestly think if it was, someone would've figured that out in twenty odd years from the hayclon days of usenet?

And, again, not every release is has someone who can do art, story, art, letters.

>>10493

And, by the way, $16 ain't shit. I'm willing to spend my money on good stuff regardless of price tag. I'm willing to spend my money in commissioning high quality stuff and am willing to pay up front for it. It's no thing.

And I guess I'm also the guy who is willing to front some cash to an artist to actually make it viable, in this market, for them to independently release and not feel like they're getting their ass smashed by art traders to the point where its not worth their time or effort to create.

>>10496

I work in vanilla independent comic and illustration as well as commission work. I don't buy your premise that selling their work is hard. It's not. In fact, it's harder for me because I don't have a built in community. For fetish artists selling niche comics, this is not trying to sell your work to the world. They have a built in community and that is the bulk of their buyers. MTJ and Agencies do practically no advertising outside that community. The artists themselves could easily do this. I know fetish artists who make good money selling their own work without any "publishers" marketing it for them. An unnecessary middle man that inflates prices. Again, I speak from experience.

>>10497

"$16 ain't shit"

Really? Well, a lot people, including me, think it is shit. A lot of shit. It's also often not justified with $16 price tags being placed on very mediocre work. It's a reason I stopped using middle men a long time ago. They may have been an asset at one time, but they are becoming less and less necessary as artists can take their work to the masses themselves with the advent of user friendly tools and new opportunities that were once reserved to publishers with capital and resources. You're arguing for the age of dinosaur online publishing. It's dying and artists are finding that they can make it just fine on their own.

>>10496

By the way. Let's get a reality check. There are very cheap programs that can allow you to do lettering and comic formatting, so the days of letters and other peripheral comic jobs is slowly being phased out. As far as stories….again…this isn't War and Peace. I've read a number of these comics I bought. Not a whole lot to them. Most people can manage to put together a porno comic. If you really need to outsource, writers are a lot cheaper than artists. I know that, because I'm also a writer, so I know which pays me more. An artist really doesn't need a lot of outside help to get a project off the ground.

>>10498

And I don't buy your premise because you are trying to correlate your experience in the apples and oranges manner, to implicate there is a vacuum in which all comic and illustration art exists.

I've worked with and spoken with artists who do this work in this community. This community doesn't have the potential upside of vanilla mainstream publication. This community has an extremely narrow scope with a small pool of potential buyers that is made fractional by those who are willing to actually buy. An artist you speak of doing this, in this economic climate, selling at your projected price point, for the time and energy of doing this work even like a part time job, is making somewhere in the neighborhood of two hundred to five hundred dollars.

The other thing doesn't equate is that you do you work as a primary way to earn a living. Take a look around the tickling art community and look at what you'll see; wage slaves and college kids who eek out a pissant living and look to supplement their income with commissions. If someone is putting in full time at work or study. And even twenty hours a week into this art, it's abundantly clear why someone would view this as difficult to do. In most cases, those are enthusiast.

And a lot of those people aren't even selling. Which gets back to the point. Obs doesn't draw. He can't. Colin doesn't draw. He can't. There are others who can't draw that create IPs and that, do stories, that fundamentally can't do what you are prescribing be done.

Reality check yourself. You speak in opaque terms and speak of experience in the field and knowing plenty of people within this community that make tons of money self publishing. Where are their names? Why don't I know about them? Because I damn sure would be interested in knowing who exactly they are.

>>10500

I also want to be clear…was it your intention to fuck the underage bunny or was it not? Inquering minds would like to know.

>>10502

Absolutely…I proudly admit my underage bunny fetish. Ohhhhhh….you think I'm CAB.

>>10497

You are implying Agency stuff is good.

>>10504

Not really. I don't think it is. Pretty outspoken about that.

>>10503

Maybe.

Or maybe the whole is a gas to me.

>>10506

>>10503

C.A.B.

I have yet to notice a more infamous person in this community then him. In the way he is see.

>>10507

I never interacted with him, so I don't know anything about him. As an artist, his Silke Arches stuff was kind of cool, but the rest of his stuff was, meh.

>>10506

Well, I'm not. But if I was, I don't see how it matters. I just don't agree with your view of how relevant publishers are to web artists wanting to publish their own work. Granted, a writer with no art skills needs to find an artist to work with and MTJ can offer that option. However, a writer can solicit an artist on their own, if they want. There are plenty of vanilla websites for bringing writers and artists together. That doesn't exist in the fetish community, but artists make their services and prices available through a number of ever growing outlets.

>>10508

I find everything around C.A.B odd. Like their magical power to make artist who dont take request do things for them.

That the mascot creeps me out. Correction,all of them do.

>>10511

I don't know. I have met some very douche artists who still manage to have people fall all over them.

I think some people just idolize anyone with a creative bone in their body.

>>10512

See your point.

But,still. It is C.A.B

>>10466

I've got to agree with you heartily on that. They have a few series that are pretty fun to read though for the first couple of issues, then suddenly things go tits up or that "Relentless" thing is forced in to the story and all becomes more of a drama than what it is: a niche fetish book. When people want their hardcore drama and deep, compelling story lines in comics and such they go to DarkHorse or such. Having a fun little storyline to go along with your work is fun and all, but at the end of the day it's a fetish material so you have to understand that the audience is mostly there for one thing and one thing only

>>10519

I mean really. When,you come here /tk/. You start to notice no one really cares for Agency. In fact everything said about It boils down to "What you ham fisting Ruthless"

>>10527

I think he used Agencies and any of his other books as outlets for his own fantasies. While that's fine, a lot of people didn't find them all that appealing. I found most of his writing a little too "deep" for what it was.

So since they're going out of business on December 31, everyone should upload all of their comics on here at the end of the year.

>>10537

Not really.

No one would really be interested in them. You are more likely to get interest If you said you found lost tomato dragon comics.

>>10459

eh, who cares. Freelance tickle artists almost always produce a higher quality of work without publishers jamming their dicks in it.

>>10527

But that's the core problem of it. The series and their stories are enjoyable and entertaining enough to stand on their own. But you get about 3 books into a series and then suddenly "Ruthless" is in every issue and becomes a lot of the focus, despite this not being that comic series. It's kinda like how Batman or Superman appear in every DC thing just to show up the hero of that particular book

>>10543

Yeah,the worst part. It is..The Ruthless sucks as villain. There is nothing special about the Ruthless,It is basically venom of sexual kinks.

Funny thing. Long ago I read tickle Magnet. But the ruthless could not keep its hand off of that and CC.

Like really, can you wait til everything is 100 issues in before cross over?

I'm not losing any sleep over him closing his doors. I'd be sad to see MTJ go. I miss their old artists like FTKL. When was the last time he did a book? Five years ago? Guess his video business keeps him busy.

>>10559

Can someone even explain to me what the Ruthless is other then a nut-hair way to say These take place in the same world you see."

I just, I just can't care about the Ruthless. I could write a freaking short story explaining why But It comes down to 5 things maybe more

1.You don't belong here.

2.What are you?

3.Why do you look like a spiderman villain.

4.What are your rules?

5.Are you a tickle fetish monster, or domination.

6.Why are you sometimes a man, then take over a body and now a woman?

7.Where is the body of the man you took over?

8.Why do all the female characters seem the same?

9.Why is there a spaceship with the Ruthless in red hair chick stage, Over a fanasty world.

10.Who are we looking for the ruthless?

It just confuses me.

>>10560

He tried to create a breakout character that tied his books together into one universe. I'd say he achieved half of that as Ruthless never became a breakout/popular character. It was just a character he pushed all the time and that made crossovers into various book, tying them together (sometimes loosely). Yenny is a breakout character. I don't think any of MTJ's other characters have reached that level of breakout success, but MTJ certainly has other popular characters. Agencies, it's highest profile character, Ruthless, is largely a failure in that department.

>>10561

Well that is because The Ruthless is not the following things

1.Fun

2.Cute

3.interesting

4.Memorable

5.SLT

Musings about the art business aside, I've always seen Agency as a low quality, high price racket. I'll stick to the mass amount of free content better artists put out daily and paying for the odd commission.

>>10586

Agencies is usually decent quality and at lower prices than MTJ, but the owner fancies himself a writer and wants to create these convoluted plots for what is essentially porn. He also adds his own philosophical musings or fantasies about death and mysogony which is a boner killer.

>>10513

Now that I see this is the kind of stuff that was getting produced, I'm starting to think that he actually DID get shut down for having shit content. I don't even see why people would want to pirate this, much less pay for it.>>10513

>>10597

> adds his own philosophical musings or fantasies about death and mysogony

Tell me more..

>>10623

He seems interested in injecting dark themes into his stories. I don't know if it's fantasy or commentary. If I had to guess, I'd say it's his commentary on it. Either way, a lot of people don't seem to care for it. It's like having sex with a hot looking militant activist. You try to enjoy it, but she keeps killing your erection by reading her manifesto pamphlets during sex.

>>10459

When you have shit-tier business pratices, customers will not buy.

If he didn't want to spend so much time filling copyright claims, maybe he should… You know, ignore it, since people who pirate are people who were not going to buy in the first place. And use this time and effort to improve your business plan and pratices.

Free market is a bitch. Though Agency was always miles better than MTJ, so that's a bit sad. I'd rather see the second going bankrupt.

>>10659

And you constantly overstate the effects of piracy. Does it exist? Absolutely. Is it going away? Not on your life. But how much can a company legitimately blame their low bottom dollar performance on piracy? Many people make a very valid and often recited claim…pirates were NEVER going to buy that product in the first place, so the company isn't losing money. This is largely true. Are there people who straddle the fence and might have bought the book if it wasn't out there for free? Absolutely. However, the number of people who are willing to do that is probably fairly small in relation to the overall pirate community. Big vanilla corporations roll out ludicrous figures of how much they are losing to piracy. They are ludicrous because they have no rational basis to support them. It's largely hypothetical based on actual numbers conflated with the number of possible pirated items that have not been discovered. It's a very good way to deflect blame away from poor business practices of overpricing and inferior products onto ethically questionable individuals stealing said products.

>>10660

You started in on some bullshit free market diatribe, and then come back with this. Take what you know, crinkle it into a ball, and throw it into the shit heap.

I know the data. I know sales figures. Broad generality "yeah but um" responses talking about overstating the effects of piracy? I KNOW the effects. You and assholes like you who want to sermonize don't. It's why you and people like you overstate potential consumer pools, or why you come up with crackpot value assessments on cost of content and price it into the pisser, or try to make apples to apples comparisons talking like Marvel fucking Comics, a BILLION dollar revenue generator for Disney, compared to a company like Agencies which is designed to sell enough comics to continue producing the next one.

I'm fine if people don't want to buy it. And there's always been an unwritten code about how material is traded since the days before usenet. But don't go on trying to justify things without even a modicum of savvy or sense.

>>10660

>>10661

Agreed. Piracy hurts, but like the above anon stated: How much does it hurt? None of us know how much these tickle producers and publishers make. Kiedtics isn't here so he can't tell us if he made bank even with his shit getting pirated. He probably lost some sales to piracy, but I saw a download number on a site that had his book and it showed over 1000 downloads. Did he lose 1000 downloads?

>>10662

>>10659

> anons acting like they're hard as fuck and also have some MBA level business acumen even though they don't understand free markets or how their shit notions don't correlate with reality?

I see. So YOU'RE the guy with the MBA and the rest of us don't know shit. Glad that was straightened out.

>>10662

>I'm fine if people don't want to buy it.

Man you aint fine with this. You have gotten banned from this forum for yelling at pirates.

Dont sound like a man thats fine with it.

>>10664

Considering I am the only one throwing around numbers and know production costs, yeah, I kinda do know more than someone who can't even properly put Free Market into the proper context.

>>10665

I've never, ever been banned from this forum, you fucking simpleton. I said I am fine if people don't buy, which you seem to think means I am implying that I am actually cool with piracy. No. Stop being dumb.

>>10666

Throwing around numbers? Really. What numbers? Where did you get them? Have they been confirmed? See where I'm going? Basically where you're going. Nowhere.

>>10661

>>10663

Kidect probably made a little bit on his stuff. Again, I can only go back to my experience with Pabuluz when he did it and saw the numbers. My issue is, how much undercutting happened that made it so Kidect didn't make as much as he could've made.

I kinda dig artists and creators getting financially incentivized to keep creating content, or for it to be considered healthy enough that more content gets made. It seems like we win in that environment.

>>10667

You're trying so hard to make your bullshit stick, but not a bit of it is. It'd be funny if it weren't so damn pathetic.

I know sales figures on books. I know the costs that go in. I know the mission statement and the philosophy that artists and companies have. I've worked with independent artists who have sold content and know their sales figures as well. I know other independent artists and how much they've earned and lost by doing it by themselves. I've mentioned these in this thread.

I've mentioned them in others on this board and others.

You're the one spinning your wheels, trying to talk business platforms when you can't even gather how to properly utilize free market to make a point. You're the one trying to say I got banned (LOL). You're the one who can't articulate a point outside the most broad generalities you can muster…and it's cute, because I sure your little bit works with a lot of people, but it doesn't work here, so kindly go fuck yourself and stop being such a goddamn dipshit.

>>10669

And you're just a borderline troll who thinks he knows the answers and everyone else is a complete fucking moron. If anyone is peddling bullshit, it's you.

>>10671

Dude. You are so a troll.

>>10673

>>10673

>And?

…nobody gives a shit about your fake MBA. :P

>>10674

No.

Nobody cares about your faggotry.

You really suck at this.

>>10671

>>10674

Let us be frank. Even with numbers of people actually buying Agency comics and not pirating them.

It would still go down in to the dirt. No one wanted the product, so it did not sell.

>>10669

Who are you really? I such your user name on DA and found nothing but favs only. So,I am curios who this actually is. And how much of what you say is fact and fiction.

>>10670

To be fair, Artist do need money to create art. And Piracy can be really irritating If you want to make buyable works.

If something is lost to time. Then,yes pirate away. (Cause I know some books lost to time)

But new stuff. Their is no real excuse to pirate those right off the starting gate.

>>10676

>>10676

I mean, I kinda post all over the place under this handle. I use DA as a place to look and fave art, and used to use it so I could send notes and shit to folk. I don't post work I commissioned on my own page, as that belongs to the artists themselves to do, so if you're looking on DA for me, you're somewhat looking in the wrong place.

>>10675

That is literally an "I know you are, but what am I" comeback. You fancy yourself a scribbler and that's the best you can come up with? Epic fail.

>>10676

>Who are you really?

>>10676

I've always thought meangry is an alt nic someone uses to post all their whiny trolly shit.

>>10676

>But new stuff. Their is no real excuse to pirate those right off the starting gate

Let's be honest, they shouldn't be pirating any of it. It doesn't become ok after the artist has reached a certain profit point. As far as lost to time? I suppose that's ok. BAC's stuff was kinda pirated for a number of years until he returned to the scene for a while.

>>10683

>>10684

My God, the flooding bitch tears.

Your low level, low effort shit posting after all the garbage above shows just how shook you are. Sorry someone with a brain didn't fall into the semantic debate trap. Learn how to Internet better.

>>10685

I remember people getting pissed when he came back that he dared sell his old Tales of Tickle Torture comics and the like, saying stuff like "how dare he?!" Clean digitized art from BAC, with comics being fully completed rather than missing pages, and there were people that were mad.

Like…come on. His work was foundational. If you care about the genre, dude is like a patron saint. It sucks that he isn't able to produce art anymore, or isn't anymore. Guy might've been the best ever.

I liked whoever did the first few Lexi comics. is my contribution to all this.

>>10689

Tomato Dragon?

My favorite of his is always going to be Topin. Topin was so great

>>10686

>>10686

>My God, the flooding bitch tears.

I know. it's fucking amazing how much whining you do. BLAM

>>10698

I was a huge fan of Ozzy. He went away for a while, but when he came back his work was shite. It's like he didn't even care and was just collecting a paycheck.

>>10705

It's kind of assumed while he liked tickling, he WANTED mainstream success and was always bummed it never happened. Like for what he got, it was very impressive what he ended up doing with it, but still.

That said how popular was Yenny going to be? The entire gimmick was "She has big feet". That's only going to get traction among footfuckers.

>>10707

Yeah, the whole idea that he could go mainstream with that was crazy. Like no one was going to find out it started out as tickle porn. I read the few mainstream issues he produced, but they weren't very interesting. I didn't find them entertaining and he cut the tickling almost entirely from the book. I hear he's doing a book with Paul Dini of Batman TAS fame. Like the above anon, I was stoked when he came back and utterly disappointed when I bought the books.

>>10709

Some people say that he never really left. That he went under the female nic Velly and burned a bunch of customers on commissions he was paid for. I've seen the Velly portfolio and there are a lot of similarities. If I had to fall on one side of the fence or another I would say Ozzy and Velly are the same person.

>>10707

You're forgetting (or may not be aware of, as most people aren't) the snowjob he tried to pull when it went mainstream. He tried to make it seem like Yenny was a mainstream comic first, then a porn artist bought the character and he bought it back try and redeem her or something. There was a wikipedia article about it all for a while, but it got deleted for a variety of reasons.

Doing a search now, all I can find is one artists article that mentions Yenny as a major work:

https://en.wikipedia.org/wiki/David_%C3%81lvarez_(artist)

>>10717

Talk about revisionist history. Ozzy would love that he never has his name associated with the tickling community. I'm amazed that MTJ pays for the dog crap he hands them. I guess they figure they can sell books on his name. Victoria? The black chick is ok, but the big book pink haired one? Oh my god is that awful. We're talking rajee awful.

>>10717

How did this pass wiki standards?

The writing reads as though it was Dave Alvarez himself wrote it. Shit is too informal

>>10720

I wouldn't be surprised if he did. A lot of famous and not so famous people write or edit their own wikis.

Anyone find It weird that you can do normal porn and no one bats a eye.But. once you hit fetish shit everyone loses their cool.

>>10723

I'm not surprised. Things become acceptable in stages. At one time, no kind of porn was acceptable and you took great efforts to conceal your personal and especially professional connection to it. Fetish porn, to many, is porn ratcheted up a notch. Eventually the tamer stuff will become acceptable while the more "extreme" stuff will still be stigmatized. Will all porn eventually be acceptable? I don't know. It's certainly becoming more widely accepted and less demonized by the general public.

>>10720

It's not uncommon for people with relatively low notability to write their own wiki pages.

>>10720

Just another article that got bullshit together and just hasn't been caught yet. He may even be watchdogging it, I didn't check the edits. For the old Yenny article, sloths kept challenging it, but they never got a stronger animal on the case to see it through. Eventually, he just AfD'd his own article to remove the speculation.

>>10459

yeah, I agree, sending DMCA to people is very shitty.

>Congrats! You destroyed a pillar of the community which was the biggest publisher of tickling comic content. No comics from them ever again by next year! GOOD FOR YOU!

Well, if they needed payment, I would not get them anyways. So at the end, I win.

I would prefer giving my money as donations to someone who does this for free because he enjoys it.

>>11256

I'll probably buy a bunch at christmas

>>11299

Cool, email?

I''l let you know what I already have and plan to buy

>>11318

in the field

>>11325

huh?

>>11331

Click his purple "Anonymous" tag, his email is in there.