#Trademark E-Register

[mystartupsolution]

Trademark Registration Services in Lucknow

Companies flourish in the vibrant metropolis of Lucknow when innovation and tradition coexist. To stand out in a crowded market, both new and existing businesses must have a distinctive brand. This is when the registration of a trademark becomes relevant. Providing smooth trademark registration services in Lucknow is our mission at My Startup Solution since we recognise how important it is to safeguard your brand.

Reasons to Register a Trademark:

A trademark is more than simply a name, symbol, or logo; it's what sets your company apart from the competition and symbolizes the core of your enterprise. There are several important advantages to registering your trademark:

Legal Protection: A registered trademark gives you exclusive rights to use your brand name or logo in connection with the goods or services you offer.

Business Credibility: A registered trademark builds trust with customers, clients, and partners, signaling that your business is legitimate and serious about its brand.

Market Advantage: Secure your unique identity and prevent others from using similar marks that could potentially confuse customers.

Valuable Asset: Your trademark can become a valuable asset that can be sold, licensed, or used as collateral.

Nationwide Protection: A registered trademark provides protection across India, allowing you to expand your business without the risk of infringement.

**How My Startup Solution Can Help**

Navigating the trademark registration process in Lucknow can be complex and time-consuming. At My Startup Solution, our experienced team is here to guide you through every step of the process, offering you a hassle-free experience.

Trademark Search and Consultation: Before you file for registration, our team conducts a comprehensive trademark search to ensure your proposed mark is unique and not already in use. We also provide expert consultation to guide you in selecting a mark that aligns with your business goals.

Application Preparation: Once you have chosen your mark, our team will prepare all necessary documents for your trademark application, ensuring that it meets the requirements set by the Indian Trademark Office.

Filing and Monitoring: We handle the filing process on your behalf and closely monitor the status of your application. If any objections or issues arise, we provide expert responses to address them.

Follow-up and Maintenance: After your trademark is registered, we help you maintain its status by monitoring for potential infringements and assisting with renewals when necessary.

Dedicated Support: Throughout the process, our team is available to answer your questions and provide support, ensuring a smooth and efficient experience.

Why Choose My Startup Solution

There are many reasons to choose My Startup Solution for your trademark registration services in Lucknow:

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Get Started with My Startup Solution

Whether you are a startup taking your first steps or an established business looking to protect your brand, My Startup Solution is your trusted partner for trademark registration services in Lucknow. Don't leave your business's identity vulnerable—let us help you secure your mark and build a strong foundation for your brand.

Contact us today to learn more about our services and take the first step towards protecting your brand with My Startup Solution. Together, we can ensure your business thrives and stands out in Lucknow's vibrant market. Visit Now: www.mystartupsolution.in Contact us for more details: +91 8795224400

[patntech]

Trademark Registration in Koramangala

Secure your brand in Koramangala with expert Trademark Registration services. Protect your business identity and intellectual property. Consult now!

[lunarleporidae]

Records of the Willy’s Chocolate Experience website

(Because there are some details I found funny that I haven’t seen yet and every new thing I learn about this cursed place is better than the last so I want to keep them here for posterity)

First of all, the first thing you see upon opening the website

…why are the letters shaded like that. I feel like there’s some kind of puzzle or secret message here

Also, smaller thing, but I looked it up and I Willy’s Chocolate Experience (tm) seems to Not Actually be a registered trademark. It’s just… Every little detail is so beautifully wrong, yknow?

Scrolling down, there are descriptions of attractions and those AI advertisement images (Encherining Entertainment and Sweet Teats and all that), then a description of the dates, duration, and location with a BOOK NOW! Button, and then

(You also get to this by clicking the “location” option in the sidebar thing)

(Also there’s more white space above and below this, I could not fit it all in the pic lmao)

Then, the FAQ’s, including two of the same question with different answers

Just kidding lol it actually does that Twice in a Row

When thinking abt this I’m constantly asking “who is behind this” And uh

I guess this answers my question??

My favorite part though

Is the “contact us” page

Which has a number, an office, an e-mail, and a box to contact them on the website

And then The Kicker, these 4 social media links:

That Facebook link seems to work but I don’t have a Facebook, BUT

- that Instagram link leads to a real Instagram with no posts

- that YouTube link leads to a TikTok page for a nonexistent user

- and that Twitter link leads to Twitter.com.

God I love this thing

[melrosing]

If you don’t mind me asking what were the symptoms of your dad’s tumor? I hope you and he are doing okay, thinking of you. X

Thank you anon, he’s doing really well out of surgery (the site of incision on his head is a faint line just two weeks on) and has recovered so much of himself ❤️ I am still feeling shit lol but better than before 👍🏻

I don’t mind you asking about the symptoms and to be honest they were very difficult to call so maybe it’s useful info bc all our theories were wrong.

“Dizzy spells” - The earliest sign was August last year when he suddenly felt extremely nauseous, dizzy, and though he could talk and walk it made him feel worse to do so. He could name the prime minister (and if u recall, in UK politics that was a tricky thing to do in summer 2022) and lift his arms, so we ruled out things like strokes, and figured it was some kind of vertigo?? Then the episode concluded and he went back to normal. That one lasted maybe 2 hours, but subsequently it was a steadily increasing number of similar episodes that lasted much shorter periods, i.e. seconds. We suggested he get it checked out but didn’t worry too much bc lots of people get “vertigo”. Anyway turns out these episodes were minor seizures, just with none of the trademarks that we recognised

Posture & Gait: suddenly his posture was awful?? Starting 4 months ago maybe. He was hunched over like a man in his eighties, and even when we tried to get him to stand up straight he physically couldn’t do it. He started dragging his feet a bit and navigating whilst walking suddenly became a conscious effort for him 2-3 months ahead of diagnosis. A week before diagnosis he fell and couldn’t arrange his limbs to get up again

Stamina & Fatigue: his stamina got steadily worse. I went to visit my parents a couple of times this year and we went for walks in the countryside, and vaguely registered that dad was lagging behind a bit. That got more and more noticeable until around July where he would be trudging by the end of a walk, and then a week before we got the diagnosis he could hardly manage 200 steps without intense fatigue. Also for months he was yawning and napping within a few hours of waking up and then all through the day. All the housework he did was done extremely poorly and he often left things in a mess bc he couldn’t find the energy to complete tasks

Voice: dad usually has a very powerful voice, but it was gradually thinning for months till he could barely raise it. He also was less open to conversation, because talking was suddenly an effort

Memory: this was really hard to spot for a long time, but a month or so ago he would occasionally get the day of the week wrong, and start prepping food he’d planned for Sunday on a Saturday. He kept buying milk even though they already had bottles. He wasn’t able to follow the precise nuances of a TV show (though he’d normally have no trouble with this). But long-term memory was absolutely fine, working memory was the problem and then not always

Mood: he wasn’t low exactly, but just kind of absent - and he’s usually very emotive. He didn’t engage with things he enjoys like usual. His friends couldn’t get him to chat for more than five mins on the phone, nothing really made him laugh anymore. When he really started deteriorating we were like ‘can you not understand how worried we are’ and he was just like :\ very dismissive like

Right-sided weakness: a week or so after my parents came back to stay w me I suddenly noticed my dad smiling w one side of his mouth which is not normal for him at all. He retained full control over his face but at that point we clocked there was a distinct right-side weakness and took him to A&E

I’m describing things in this longwinded way because I think it was hard for us to name what we were seeing for a long time, especially when the changes happened so gradually. At some point or another whilst desperately googling his symptoms I did see ‘brain tumour’ pop up but I dismissed it bc:

He had no headaches or indeed any pain at all. He had nausea occasionally but apart from the first episode it was never protracted

His vision was fine

The seizures didn’t look like what I thought seizures were (no twitching or blackouts etc)

The memory issues were not obvious, he’d follow a recipe fine and not miss any steps etc

He wasn’t having any real speech/language difficulties

Mood/personality changes weren’t obvious, he was just more subdued

I think if there had been any fucking results on google telling me what these ‘dizzy spells’ actually were we might have got somewhere a little sooner (for whatever that would’ve been worth), and if I had known how variable the symptoms of a brain tumour can be depending on where the thing is…. etc etc. a lot of things feel painfully obvious in hindsight but they weren’t at the time: GPs and paramedics both were fixated on neuromuscular issues. But yeah tumours present in complex ways, I think (hope) that the reason we found dad’s so hard to define is because it’s actually in a pretty good spot (as these things go) where it wasn’t really affecting his functions till it was the size of a small satsuma. anyway there you go that’s what happened

[putschki1969]

I am afraid that my question could be a little negative one.

I want to ask your opinion about Wakana’s high note.

Listening to her performances of “Yakusoku no Yoake” on “Wakana Calassic 2022” and “Wakana Winter Special live 2019”, I hear her high note in the beginning of the song “まだ暗い空から( mada kurai sora kara)～” really grating though it is so sorry.

Not only it sounds grating or too shrill but I feel that her high note has something wrong, and it is disappointing that the problem seems not to be temporary thing.

I know some people says her high note is grating or shrill from when she started her solo career.

I guess this is due to her Kalafina era where she had been burdened with successive use of high note and it had worn out her throat. If it was correct, I could not say how disappointing this is.

How do you feel when listening to the part?

Thank you for reading this, and I would be happy if you tell me your opinion about the issue.

Hello there!

Don't worry, you phrased your question in a perfectly respectful manner, nothing bad about that at all. I apologise though for taking so long to reply. I wanted to do this justice.

Melody/composition-wise, "Yakusoku no Yoake" is actually one of my favourite tracks from Wakana's debut album (the Celtic vibes are just so gorgeous) but I agree that it is a very demanding song that is unfortunately not very flattering for her voice. There are certain parts that are either too high or too fast-paced for her so she often sounds out of breath or strained during these sections. Her breathing is pretty loud and noticeable so people who are not into that should give this song a pass. While you could argue that her non-existent breathing technique is almost part of her charm and trademark style, it's one of those times where it bothers me quite a bit. It truly baffles me that none of her mentors, producers, teachers or instructors have ever pointed out those issues (and possible solutions) to Wakana during the 20+ years of her singing activities.

I find it very interesting that you chose the very first part of the song as the one that sounds most grating to your ears => “まだ暗い空から (mada kurai sora kara)～”

In my opinion, the intro is one of the better parts with Wakana managing to have moderate control of her voice. Not always of course but I think she sounds decent during most live performances. Ultra high of course but not unpleasant to my ears yet. The chorus is where she struggles most if you ask me (probably due to the higher tempo). The "hikatta" for example in the first line of the chorus, "あの向こうで光った", is a little too shrill for me. And then it just builds up for the remainder of the chorus, I really struggle listening to the following section: [...] 行ければいい | [...] ikereba ii 明日へ進む道に | Ashita e susumu michi ni 飛び込んで [...]| Tobikonde yukou [...]

I thought I'd include her three officially released live performances in this post to give everyone an idea what we are talking about. It's the first time I am inserting audio with the new Tumblr format so we'll see how it goes. Please note that I have no music education to speak of so everything you read below is based on my personal feelings regarding the individual performances.

Wakana Live Tour 2019 ～VOICE～

During her early stages of performing this song live, she seemed a bit rushed? I guess she was trying to emulate the original sound of the studio version but I prefer it when she takes her time (especially during the intro). I am glad they slowed down the tempo for some of the later performances. However, I thought the performance was actually quite good. Yes, she doesn't sound 100% comfortable in the higher registers but I can honestly still enjoy it. It's not damaging my eardrums or anything. And for the most part her singing comes across as more or less effortless, not too flimsy or strained, yes, it's unnecessarily breathy but it sounds relatively stable to me

Wakana Winter Special Live 2019 ～瞬き～

This is probably my favourite live version of "Yakusoku no Yoake". The reduced tempo seems to allow her to polish a couple of those super high notes. It's still far from being perfect but it feels like she is not constantly in need of catching her breath.

Wakana Classics 2022 ～Christmas Special～

Maybe the weakest performance. Her voice is pretty shaky and thin, I'm sure some of that can be chalked up to nervousness but a lot of it might be due to a bad technique.

As I've mentioned in my review post for "Sono Saki e", Wakana keeps talking about all the vocal lessons she's taking but they don't seem to be doing her any good, if anything I would say they are actually making things worse for her. I have never been one of the people who have complained about Wakana's voice essentially deteriorating ever since 2012, I acknowledge of course that certain changes have taken place but overall, she has continued to sound good to me, sometimes more so than other times. There are more than enough occasions where she can access facets of her voice that are reminiscent of the "old-Wakana", with her singing sounding strong, rich and emotional. This indicates to me that the potential is still there, buried somewhere deep inside her but for whatever reason, Wakana doesn't always rely on those skills. It could be a conscious choice to spare her voice or maybe she just doesn't receive enough professional guidance...? There's no doubt in my mind that Kalafina's brutal schedule has taken a major toll on her throughout the years but unlike many other fans, I don't think she is a lost cause with irreversibly damaged vocals...

[junkyardbluebox]

Self-publishing stories - any tips?

Hey fellow Classic Who fans, I've got some questions for anyone who's ever self-published a novel, preferably a DW novel. I'm planning on self-publishing one of mine, and a good friend is working on illustrations for it. I have a few questions and was hoping someone could give us some good advice...

The story is about 524 pages long, but might end up a few more pages once all the illustrations are finalized and added in. We'd originally put together a cover design which is a collage/photo manip featuring a couple of DW characters against an alien background wallpaper and a small version of the DW logo at the top. On the back would be a summary/preview of the story. We then decided to instead do an illustrated depiction of the same idea so we wouldn't run into copyright violations. But I'm assuming that as long as we add the obligatory "DW is a registered trademark of BBC Enterprises" etc. we would be okay? So would it still be okay to use any photos from the show as long as we give credit to the BBC and any other entity/location from which we use images?

Our goal is to print it in US Trade Paperback format and I know nothing about how big to make the book spine. But I've got an account at Lulu Publishing and noticed they have a built-in tool for that, so I'm just waiting to have the inner contents finalized, along with the cover design, and that should take care of that.

One question i have is regarding ISBN numbers. I've heard they're not completely necessary, but many articles I've read say it's a very good idea. We'd probably only get 1 because we're not planning on making it available for e-book format. Though I'm not sure if that might be a good idea, too...? As long as it isn't too expensive, I know that for print books, one ISBN# costs around US $125.

Last question... I assume it wouldn't be a big deal to register a copyright? Would such a thing idea? In that way we could be assured that no one could copy/steal anything we've written or drawn, right?

Apologies if most of these are just common sense, but I've a complete novice at this sort of thing. Any advice would be greatly appreciated. :) You can message me.

[zmediaoutlet]

fic: the syldra inn

honestly, if you have a PS5, why aren't you playing Rebirth? Do you not love crazy identity crises and dramatic irony?

title: the syldra inn pairing: Cloud/Barret rating: E length: 6600 tags: Game: Final Fantasy VII Rebirth (2024), Cosmo Canyon (Compilation of FFVII), Friends With Benefits, Shower Sex

summary: They came to Cosmo Canyon only to be told that they'd have to go to Nibelheim for answers. On the night before they leave for the north, Cloud can't sleep.

(read on AO3)

Barret breaks the promise they made a second time in Cosmo Canyon. Been a weird, weird couple of days and it's not even a drink for fun; this shit's gonna count as medicine. Bartender gives him the house special in a weird little ceramic cup, so thin the light passes through it. Barret's first thought is that it's kinda cool, that they're using natural materials and keeping to the gifts the planet gave them, and then he takes a sip—drink's not bad, kinda fruity and not up to Tifa's standard but fine, and it packs an alcoholic wallop so it's gonna do its job—but then he sees that the pretty little ceramic cup is stamped with the logo of the Inn on the base, complete with a registered trademark symbol, and it's another souring moment. Canyon's not what he thought it would be, that's for damn sure.

Quarter hour to midnight. No one much else around. The bartender's got that same ultra-serene look all the other staff around here have, doesn't seem to mind that it's nearly closing time and Barret's still occupying stool space and not letting him clean up. Bar's otherwise empty. Up the carved-in stairs he can see one clerk still at the desk, in case more wannabe planetologists wander in past the fiends and canyons to overpay for plush accommodation. The rooms otherwise seem full, the big cave mouths covered for privacy with heavy blanket curtains in greens and blues and browns. Barret wonders if those patterns are even real, from Red's people or the Cetra or whoever came before, or if they're trademarked, too. Buy your own blanket knitting kit with Real Native Artwork, only a thousand gil at the gift shop.

He grimaces. Drains the drink, tips the bartender a few extra gil. The inn sprawls through the cave system and he can only sort of remember where their room is. Red—or Nanaki, or whatever he wants to be called now—is up at Bugenhagen's observatory, and the girls and the cat are all sharing a big double-bed suite that he's sure someone pulled strings to get deeper inside the mountain, which leaves him and the merc—

He's about to climb the stairs on vague hope of recognizing the right passage when he sees it when he catches a glimpse of candlelight on blond hair and, aha. Speak of the devil.

"Can't sleep neither, huh," Barret says.

"Haven't tried," Cloud says. In that flat matter-of-fact way that sounds like fuck you but Barret has learned over the past while of traveling means that he's actually about a million miles away, in his head, thinking about who knows what. Nothing good, probably. And, yeah, maybe a little fuck you. God help him, Barret finds it charming at this point.

He's sitting on the steps down into the deep belly of the inn, watching the singers. Barret'd been so lost in bitter thought he'd stopped hearing it. Five of 'em, dressed plainer than the missionaries who travel from the canyon to any settlement big enough to preach. Different to the ones who were here when they first arrived, and the singing then was so sweet Barret had to put on his sunglasses to stop Yuffie making comments about folks going soft. Still sweet, though. Deeper. Four men and one woman and their voices blend and echo, bouncing back off the rock walls worn smooth by time and water and maybe the lifestream itself, according to the breathless tourist who'd been gossiping at the bar, earlier. Barret never did go to church, wasn't built for it, but if it sounded like this he could see the appeal.

He sits next to Cloud, who doesn't look over. "Didn't take you for a music lover," Barret says.

No response. He didn't much expect one. Cloud's left his sword against the wall of the stairwell, tipped against the handrail bolted into the rock, and as always looks about half the size without it rising ominously over his back. He sits with his elbows braced on his knees and his hands laced together between them and his chin dropped. Barret stretches his boots out, settles in to wait. It's a beautiful song, looping and hypnotic. A hymn, asking the planet to please reveal the way to the promised land. Barret didn't understand the words but he knew the feeling—hopeful, sad. Hopeful despite being sad, like—the point is the hoping, maybe, even if what's hoped for never came.

A woman comes down the stairs past where they're sitting. Barret moves his gun-arm out of the way but she only smiles at him, briefly, leaning heavily on the handrail. Hair shining silver in the lamplight. She limps to one of the men singing and clasps his hand, and he nods at her, and they trade places so she can stand with her back to the cave wall, and it doesn't seem like they miss a note before she lifts her face up to the lamps hanging from the cavern ceiling and takes her place in the song. The tone changes with her higher voice but it's still the same hymn and then there's—low bells, chiming, from somewhere else in the inn. Midnight.

Barret grips Cloud's shoulder. Deep breath, and then Cloud nods, and stands all in one smooth motion. Show-off. Barret heaves upright and follows the kid up the stairs—down a different corridor entirely to the one Barret would've picked—out to the north side of the cave system, a room tucked a little away, with a narrower cave-mouth entrance and a queen-sized bed and a reclining loveseat by the open window. The painting on the rock walls more subdued sigils, green and black and rust; stars shining in, and a lamp by the bedside glowing amber. When Barret drops the heavy quilt over the door it's quiet, the music far away and muffled. And, look at that: another minibar.

"Guess following planetology doesn't mean you can't make some gil, huh," Barret says. Cloud huffs. He leans his sword against the wall by the bed, close enough he can roll out and grab it one motion if need be. Barret investigates the bar and finds something in another ceramic bottle, with a discreet price tag on the little menu that's so ridiculous he'd be crying foul any other day, but again: medicine. He suspects Cloud needs it as much as he does.

Confirmed when Cloud takes the cup without blinking, and knocks it back without a flinch. He holds out the cup for a refill and Barret obliges but says, "Remember we gotta climb out of this place to get to Nibel in the morning." Cloud's jaw flexes. Barret pauses, and then pours another inch of whatever dark liquor this is into the ceramic cup. All right, so sometimes he's a dumbass. Like there was any chance that wasn't getting remembered. Like Tifa didn't go up to their room withdrawn and weird after a subdued dinner, with Aerith's hand soft and supportive on the small of her back.

He sits on the loveseat with his own cup, props a boot on the rock ledge below the window. Sips at the liquor—barrel-aged gin, maybe? Sweet, but with a strong herbal edge that does somehow call to mind the red rock outside, the soft sage-like plants growing in the shadows of the canyon. Different to Corel but also not—rock, and desert, and the night coming in through the window just as cold. No wonder Red's fur is so thick.

It was cold down there, too, in the caves, even with the fires burning all over. Ghosts and smoke. He shakes his head. "Gonna be glad to get out of here," he says. Cloud grunts, somewhere off behind him. "Wasn't what I thought we'd find." All that daydreaming with Avalanche feels like a hundred years ago. He sets the cup on his thigh and rubs his hand over his face, trying to shake it off. Weird memories. "Guess it ain't all bad. Red got to find out that his father weren't no coward. Plus, hell of a homecoming. He's like the town mascot. Must be nice."

"Must be," Cloud says, quietly, and appears again—his gloves stripped, his hands very white in the starlight when he tops off Barret's cup. He leans against the curved edge of the open window. A breeze comes in, soft and cold, ruffling his bangs back from his face. He looks like some carved marble thing, all white sharp lines against the rough edges here. Barret wants to touch the line of his jaw, feel if it's as cold as it looks.

"What was Corel like?" Cloud says, abruptly. Cuts off Barret's thoughts slipping into what he'd do if he had two hands. Like an ice bucket dumped over his head. Cloud glances at him and frowns, little head-shake. "I mean—I meant, before. When you were a kid."

"Oh, we talking ancient history?" Barret says. Cloud doesn't smile and Barret takes a deep breath, trying to throw away the first reaction that kinda wants to punch the kid and the second that wants to go back into bitter recrimination. "I wasn't no town mascot, that's for sure. But it was all right. Small town and pretty well everyone worked in the mine. Hard work, and it made the folks hard too, but they was all—decent. I guess that's the word. Helped each other out when they needed help, left each other well enough alone when things were fine." He sits back in the loveseat, dust and heat in his head. Snorts, remembering. "My mama said the coal made everyone the same amount of dirty and there weren't no call to pretend one set of hands was cleaner than another. We was all in the dust together."

While he was talking Cloud sat in the open well of the window, his back to the rock and his knee drawn up, his elbow hooked around it. "She worked in the mine too?" Speaking to his cup but paying attention, seems like.

"Sure, everyone did, one way or another. My dad ran the carts most of the time but he took his turns digging. Mama said he should've stuck with the carts, with the back-assward way he went about the heavy machinery."

That does get a smile, small though it is. That old, familiar weight of missing them settles in Barret's chest but it's balanced against how it feels… all right, sort of, to remember those old days. Before the bloody cough came. Before it all went wrong.

"Hard to imagine you as a kid," Cloud says. His other heel comes up, so he sits hunched in the window. Looking like a kid himself. More than usual, anyway.

"That's just 'cuz you're so blinded by my manly good looks," Barret says, and earns that sidelong skepticism. He grins and gets a brief eyeroll instead. "Trust, I was cute as hell. Had the old ladies in town wrapped my finger. Could get a hard candy from Missus Hobbs just by smiling real sweet."

"Uh-huh," Cloud says. More relaxed, seems like. His shoulders not up by his ears at least. "That where Marlene gets it?"

Barret points. "Marlene is a whole special class to herself, merc. Ain't no one cuter than my little angel." Cloud holds up a hand, surrender. "Betcha you weren't cute at all. Just brooding in the corner at people. No candy for you."

In fact he bets the opposite, because he can imagine a tiny serious blond kid with enormous blue eyes and it's about the second cutest thing he can possibly imagine (behind, obviously, Marlene). Should be obvious, too, but Cloud's tiny smile fades and he frowns back down at his knees. "Yeah," Cloud says, soft, and goddamn, that wasn't at all how that was meant to go.

Lot of miles north to Nibelheim, or whatever ashes are left of it. Tifa never mentioned the fire over the years before; she and Cloud looked at each other like folks about to go to a funeral when they were told it was their next stop. Another homecoming and it won't be a good one, no matter what they find there. Barret drains his cup and sets it down with a clink in the window well, and then closes his hand fully around Cloud's ankle. Even in the combat boots he can wrap up the whole thing. "Least you grew up cute," Barret says. "Positively adorable."

"Shut up."

"Naw, I'm serious. Like a chocochick or something. Or a little stuffed mooglet you wanna squeeze."

"Man, what?" Cloud says, baffled, and the thing is Barret wasn't exactly lying then but at least Cloud's looking at him, and he isn't somewhere inside a burning house fire. He goes along with it, mostly, when Barret pulls his ankle, and swivels on his seat so Barret's hand slides up the inside of his calf over the bloused uniform trousers and to the inside of his knee, cupping under his thigh, thumb riding higher up the inseam. Cloud's still giving him the skeptical look but Barret's got a good idea of how to bust him out of it. He squeezes there at the back of Cloud's thigh and gets raised eyebrows. "Thought we had to leave early in the morning."

"Better way to fall asleep than drinking that whole bottle," Barret says. "Plus, no hangover."

"I don't get hangovers," Cloud says—Barret rolls his eyes—but he slides his hand down to cover the back of Barret's. Small and warm, through Barret's glove. His mouth pressed thin, eyes low. "I feel…"

Like shit, is what Barret assumes, but Cloud doesn't finish it. Whatever's been going on with him seems to be getting worse and whatever he saw down there in the caves has been sitting strange behind his eyes, over and beyond the fretting over their journey north. Barret firms his grip and tugs, and Cloud's dragged bodily a few inches forward, his ass on the edge of the window well and his knees spread around Barret's leg and his eyes big, dark blue in the lamplight.

"Feel different," Barret says.

Something courses strange across Cloud's face. He swallows hard. Nods, once. Goes with it when Barret pulls, again, and lets himself be dragged down to sit on Barret's knee, and lets Barret cup his hand around the back of his neck and pull him forward and lets himself get kissed. Soft, at first. All the bruising Barret's seen him take and he just wants to let the kid be—soft press of lips, soft breath against Barret's skin. His hair silky at the back of his neck for Barret to card his fingers through. Not even hot. Medicine, too. Of another kind.

Barret kisses the corner of Cloud's mouth, lets Cloud breathe out slow and warm against his beard. "You want it quick?" he says. Lifts his head and watches Cloud close his eyes, his face turned away from the lamp. A head-shake. One battle plan changed for another, then, and Barret's gut warms, realizing. All right.

He slides his hand under Cloud's ass and stands up. Shocked double-handed grip of his vest and knees clutching his waist. "Ain't gonna drop you," Barret says. He's had some experience carrying the kid around. At least he ain't comatose or seeing visions or having a panic attack, this time.

Cloud wraps an arm around the back of his neck, shifts his weight. Like this they're about the same height, Cloud even an inch or so higher. "I can walk," he says.

His cheeks are flushing that telltale pink, though, and Barret notes he's not demanding to be put down. "World-champ walker, no doubt," Barret says, and Cloud rolls his eyes but also lifts his chin when Barret ducks in to kiss under his jaw, at his white throat just above the line of the turtleneck. Keeps him distracted enough while Barret walks them to the ensuite bathroom, tucked behind a heavy bead curtain that rattles around Cloud's shoulders when they push through—one strand catching on the iron bolts on Cloud's pauldron—and Barret wasn't sure what'd be there but this is a fancy-ass establishment under all the trappings of mysticism and serenity and, sure enough, there's a gleaming bathroom with brass pipes and a shiny mirror and a huge waterfall-style shower cut into the rock. That'll do.

He sits Cloud on the red-rock counter, kissing him still—under his ear, using his finally-free hand to tug down the soft turtleneck and bite mostly-gentle at his throat, Cloud's nails dragging bluntly over the back of his neck, his breath coming in weird little stutters. Barret hums and stands up straight to find Cloud pink all over his face, blushing and beard-burn both, and—yeah, he was right. Like a chocochick. His fingers drag down Barret's chest and Barret catches them, kisses his knuckles quick. "Hold that thought, baby," Barret says. Expects a bitchy counter but Cloud only sits there, back very straight and lips wetly parted, and Barret does have to duck back down for a quick hard kiss before he disengages, goes to the shower.

The water comes on steady and warm from turning a single smooth valve, pouring down in a column straight overhead. Barret turns around to find Cloud watching him, eyes big and dark in the gold light. His eyes jump from Barret's face to his chest to his crotch and then he closes them, and Barret gets that deep wave of heat in his gut, this smooth smug thing. Knowing what's wanted; knowing he can give it.

Cloud's jaw flexes when Barret drags his fingers along it. Not cold, not even a little. His eyes open again when Barret pushes one of the straps off over his shoulder, the leather dangling lazily over his bare arm. Barret jerks his head at the shower, raising his eyebrows, and Cloud licks his lips and ducks his head. He starts unbuckling the leather brace. Barret's gut pulses, again.

Feels weirdly comfortable. Not racing to the obvious conclusion. He unbuckles his own chest piece, shrugs out of his vest and pulls his tank off over his head, dog tags rattling. Cloud bracing one heel on the counter to unlace his boot, kick it away, repeating with the other. Barret's own boots unzip and he shucks them and his trousers all in one go and gets to see Cloud pause, eyes fixed, midway through pulling his turtleneck over his head. Barret grins and Cloud catches him grinning and then frowns, face flaming, but hey. It's nice to be acknowledged.

They're going nowhere, tonight. Barret spins the bolts on his gun and unhooks it from the socket, laying it on the other side of the sink from where Cloud's perched, still only half-naked. The buckle on the covering's harder to undo with one hand and he screws with it for a few seconds before Cloud knocks his hand away, takes over. Businesslike, frowning still, releasing the leather from the buckle and letting the canvas cloth pull away from Barret's upper arm. The metal prosthesis secures with a tension latch inside Barret's elbow; he turns his arm over and Cloud traces the mechanism for just a moment before he figures it out, releases the latch, and slides the whole piece off into his hands.

Long, long time since the whole thing's come off. Barret cups the stump with his remaining hand and it feels—same as it always does. Alien and familiar at once. Cloud lays the socket neatly next to the gun and looks, and Barret watches him look. Then he meets Barret's eyes and—Barret steps in between his spread knees, tips his chin up, kisses him. His mouth opening wetly soft under Barret's and his hands spreading over Barret's bare belly, dragging in the hair. Barret pulls away from his mouth—dumbass idea, he could've spent an hour doing just that—and looks down past the pink cheekbone and the flushing chest to how he's already hard, standing up stiff in his trousers. Turned on as anything, even with…

Even sweeter, to urge the kid down off the counter, to back up to the shower. Barret tips his head back into the waterfall and drags the wet down his chest to his belly. Good pressure, solid heat. Tastes fresh. Coming up from some deep spring beneath the canyon, no doubt. Cloud joins him after a rustling fumble and Barret catches the small of his back, pulls him into the stream. Sleek wet gleaming thing. He shakes his head under the water and then drags his hair back from his forehead. Wet chocochick. Barret hides a smile ducked into the smooth curve of Cloud's throat but not well enough, maybe, because he gets a short solid punch to his pec. "Oof," he says, obliging.

Still—this ain't the endgame. In a slot tucked into the rock there's—a ceramic bottle whose content smells like herbs, a bottle of something thick that smells like spice, a cake of cream-colored soap that smells like honey. He picks the soap, lathers up. Cloud watches, his shoulders moving heavily under the water, before he picks up the herb bottle, pours the contents into his palm, starts washing his hair. Efficient, this time. Barret watches the suds stream down his back when he rinses, gleaming over the pretty muscle. Favor returned when Barret washes his dick, not showing off but just making sure he's presentable for company, and Cloud stands with his hands hooked behind his neck, looking very much like he'd like to help but doesn't know how to ask. Barret hands over the soap, smiling, and Cloud licks his lips, clutches it to his chest, watching still while Barret sluices water over, cupping his nuts and dragging clean wet up the underside of his dick, rolling back his foreskin to make sure. Not hard really with no attention but thinking about it, plump in his hand. Cloud, on the other hand—

Pink cheeked and pink across his collarbones and his pretty pink cock, standing straight out from his hips, his sack already pulled up neat and tight. Barret steps in closer, cups the back of his neck. "Need my help, do you?" he says, and Cloud shudders under the water, lets his head drop. "C'mon, now."

He drags the soap over his chest, perfunctory. Little pink nipples pebbled, stiff when Barret smears his thumb over, clearing the soap bubbles away. Down his tight belly to his smooth crotch, and Barret follows that too, dragging slick over the wet skin and then closing his hand over the sweet little package, pulling clean water over his dick. Damn, he's hard. His hips stutter forward but Barret wants to keep him there for a while—"Slow down, baby," he says, and Cloud says, "Or what," defiant on some contrary instinct he clearly doesn't really have, because he turns his head, lets Barret handle him. Holds very still while Barret reaches back with two fingers, scrubs behind his nuts, feels the ridge of his asshole, pushes there. Shudders again, drops the soap and grabs Barret's biceps, clinging as much as he can. His forehead against Barret's pec, his dick a hot bar against the inside of Barret's wrist.

But then—he's young. Barret takes pity. "Help me out," he says, and Cloud lifts his head, blinks at him with damp-dark eyelashes. Gets it when Barret reaches for that thick stuff in the bottle—maybe for hair but it'll do for this, too—and Cloud's face is bright red from ear to ear but he helps pour it out onto Barret's hand, some smell like cloves rising up thick in the humid air between them—and it is thick, oily cream, making his fingers slide when he reaches around behind Cloud's back and rubs in heavy coaxing drags against his asshole. Has to change his stance, spreading his feet so he can reach easier, and Cloud stares up at him open-mouthed and breathing heavy and strange and then, when he presses—in—just one finger but it's tight and clinging-hot even with the slick—Cloud lets out this deep grunt, like he got punched, and Barret'd worry he was hurt except his dick's still stiff against Barret's thigh. Cloud grabs his shoulders instead, huddles in close against Barret's chest, and—goddamn, yeah—it's easy to fuck that first finger in and out, sliding on the cream, his knuckle bumping in past the tightness.

His dick's been pretty neglected but his nuts throb, feeling that. Imagining how that'd feel—shit, how it will—and he's been careful, being real sweet to be honest, but Cloud ain't a porcelain cup and he doesn't have to go as slow as he's gone with other people. He pulls that first finger out and pushes back in with two—tighter, harder to corkscrew in, but with the slick he gets inside, deep, twisting, and Cloud's lips part against his chest and there's panting hot air and damn, damn. "How's that, baby," he says, knowing the answer, and Cloud shakes his head but clearly doesn't mean it for how he reaches up, hooks his arm around the back of Barret's neck, drags his other hand down Barret's chest through the wet hair to his stomach, blunt nails nevertheless leaving bright lines of sensation on his skin. His dick leaps and cries, practically, and he nudges Cloud that half-step back so the shower's only coursing down their shoulders, making sure the slick stays slick as he shoves his fingers in, and in, and in again, fucking him sweet, breaking him open, his knuckles still breaking in past resistance but less and less with every push. Cloud's hips tilt into it, his dick smearing hot over the inside of Barret's thigh. "I'm—" Cloud bursts out—gasps—and he's sensitive, Barret's learned that, but he can't—already—

"Take it," Barret says, his head dragged down close to Cloud's wet temple, all that strength coiled up and shivering against him. "Go on, take it—" he says, stupid, his dick eager and pressed against Cloud's belly, burying his fingers up deep and dragging, his thumb braced up against the knob of bone and his free fingers pressing as best he can into the kid's hairless taint. Cloud's hips jerk, his dick sliding hot against Barret's thigh—again—and Barret fucks his fingers in hard, punching in, lips dragging against the bolt of Cloud's jaw, and Cloud lifts up on his toes and makes this terrible high little sound and spurts, heat against Barret's skin dissolving into the rest of the wet, his asshole clamping down hard over his fingers, this rhythmic sweet clench that's so, so good. God, he wants to fuck this kid.

He's going to. Cloud squirms and fucks his hips in against Barret's thigh and he grabs the bicep of the bad arm and Barret breathes deep against his jaw, noses under his ear, pulls hard with his two fingers hooked deep and gets Cloud up on his toes again, spreading him wide. A thin hiss, audible under the water streaming down. He lifts his head and Cloud lets him, his arm unlocking and his hand sliding down Barret's chest instead, his eyes opening murky blue with his pupils so blasted-wide Barret can't even see that telltale mako green, his face wiped clear of all the misery he'd carried up out of the caves. His tongue at the corner of his mouth. Barret ducks in and kisses him, once. Soft, sweet. Then he tugs his fingers out and grips Cloud's hip and flips him around, crowding forward, so Cloud has to catch himself with both hands on the red rock.

He wanted to take Cloud back to the bed, do this right, but he ain't got the patience for that anymore. He tugs Cloud's hips back and he's obeyed, the kid spreading his feet on the wet floor and bracing, looking over his shoulder, his hair plastered back from his forehead, curling behind his pink ear. Barret could ask, could reassure. He finds that bottle of hair crap instead and pours it thick over his straining dick, drops it—the ceramic doesn't break on the rock, though he wouldn't have cared at this point if it did—and fists himself, spreading the slick root to tip, grips and lines up with where Cloud's rose-red and open enough, he hopes, but to be honest if he isn't—

God, god—tight, shocking-tight, heat and slick and grip. His hand finds the low flat of Cloud's belly and he pulls, slides in, brain shrinking down to the crazy of it. Cloud's fists against the rock. His lower back curving. Swallowed, in and in, the thick fat dark of his dick disappearing up inside like a magic trick, Cloud's ass split wide, the rim smooth red and just letting him—god!—in. Stopped, and he settles there for a second, caught. The shower cascading over his back hot, the hot around him—hotter. He tugs back a few inches and Cloud makes this weird noise and his back dips further, those little sweet dimples appearing, his belly clenching when Barret pushes deep, deeper, until his hips are pressed up tight to Cloud's, his nuts throbbing, every part of him swallowed in the close dark. He resets his stance, grinding in, and Cloud goes to one elbow on the rock wall, his right hand flying back, finding Barret's side, his hip. His spine this long smooth curve, his hips—oh, pressing back, his plush little ass squirming against where Barret's got him hooked. Goddamn.

He hasn't been this deep in—years. Testing rock, just an inch or so in and out, and oh it pulls, sweet, and Cloud whines and flinches and then grinds right back into place. "Tell me how it feels," Barret says, the words arriving like from some other planet, and Cloud hiccups, body clenching, flushed, says: "Full—it feels—man, just move—"

Barret moves. Leans in, shoves. Cloud half-shouts and then buries his face in his folded arm against the rock. The best—truly, best he's had in so long, clinging tight where it counts and this incredible soft heat to bury inside. The shock of it doesn't quite recede but his brain does rearrive in his skull finally, his eyes able to pull away from the pretty drag of him busting open that pink, the magic of his separate self burying inside sweet conquered country—he finds a rhythm, looks up. Heaving shoulders, the triceps rigid as steel where he's reaching back. This deep staggering breath that sounds like he's—he's not—but no, Barret moves his hand and finds, oh, the little dick all stiff again, leaking wet. He curls his fingers down, gathers up the sweet package of nuts and dick and holds it all tight against Cloud's belly, angling his hips so he's driving right there, cockhead dragging all over the inside wall and making Cloud whine, making him drag his nails into Barret's hip, making him—not just whine but yelp when Barret drives in harder, snapping his hips now that Cloud's loose enough, busted open and letting him really move. Barret shushes but he doesn't really mean it and he's not sure Cloud even hears him, over the water and over the blood rushing in his ears—in Barret's ears—'cuz fuck does it feel good and who cares if they wake the whole inn, the whole canyon. He pulls out—shock of cooler air even in the humid fog of the shower, Cloud so loose now that there's a space of dark held open in the shape of where he was—and Cloud's head lifts, he looks over his shoulder in offended shock—so that when Barret shoves back in he glides like over silk and Cloud's jaw drops and he groans, his dick flexing under the cage of Barret's fingers. He's perfect at this like he is anything else and Barret doesn't know why they haven't been doing this all along—why he didn't drag the kid back to his room over Seventh Heaven on that first day, throw him down to his belly and crawl up over him and get inside and really make him earn every single gil of that two grand.

His gut lurches. His hand clenches over Cloud's belly and his nuts draw tight. He slams in hard and their hips together sound like a thunderclap and he says, "Damn—damn, kid—" and who knows how much experience Cloud really has but he understands that, at least, and unfolds, braces both hands back against the rock, works his hips back like a fuckin' pro. Panting, letting out these high whining noises every time he breathes out. Barret's coiling, this heat drawing tight at the low of his back and deep in his gut, but he's got a sliver of brain left—he lets go of Cloud's belly and hooks two fingers into his open mouth instead, gives him something to focus on. Cloud sucks immediately, grabs the back of Barret's hand and groans deep, licking the split between his two fingers. Barret pulls—oh, and Cloud's obedient when it matters, he lifts right up and puts his back to Barret's chest and that sinks his ass down so goddamn deep—and over Cloud's shoulder he can see the little dick red and neglecting and straining and he wants to help him but he's only got the one hand and can't—but—"Touch yourself, baby," he says, working his hips in these short jerking jolts, right up into the sweet willing body—"Let me see, c'mon, show me," he says, and Cloud reaches right down and fists his own dick, his ass clenching as he does, his lips tight around Barret's knuckles and up on his toes, making the room for Barret to get in there where it counts, and Barret squeezes his eyes closed and sinks his teeth into Cloud's shoulder and even so he shouts, can't help it, every part of him dragged to one point and punching out and pulsing, ass clenching hard and driving up and in, unloading, dissolving.

Handful of seconds, a year. Either way. He breathes out against wet skin and feels muscles that've been clenched about as long as he can remember unclench. He curls his hips in and it's—wet, squishing. This little deep noise down in his chest except—no, not his chest. Opens his eyes and—

Cloud pulls off of Barret's two fingers, slow. Kisses his knuckles, plushly sweet, and then drops his head back against Barret's shoulder. Barret holds him across the chest instead. Looks down but—ah. "Left you hanging," Barret says. Sort of sorry. Mostly so relaxed down to his marrow that he don't care all that much.

Clearly it ain't a problem, though: a little, skeptical sidelong look. "Not exactly," Cloud says. Rough-voiced like someone was using his throat. Barret slides his hand down and gathers up the sweet little thing, pink and flushed and spent. Wishes he'd seen the second go but Cloud can handle himself. Next time. Or the time after, since Barret's starting to think, in the softly satisfied haze, that maybe this could be—that they could—as long as they've both got blood in their bodies and a half hour to spare—that they might…

"Barret," Cloud says.

His fingertips resting lightly on Barret's wrist, his face pink still when Barret blinks and remembers where they are. His dick still deep up inside, even soft. "Yeah," Barret says, and coughs. "Yeah—all right. Hang on."

Cloud takes him literally and grips his wrist hard. Barret's careful, tugging out, but Cloud still makes a tiny hurt sound—Barret feels blood rush to his own face but he's not sure if he feels bad or sorry or just—entirely smug. A small hand darts down and Cloud blinks at the wall in front of them, his chest rising on a deep breath. "That's…" he starts, and Barret's only done it that way around once but he remembers. How strangely open, wet. The gush.

His face really is hot now and he knows it's all that third option and is glad that Cloud can't tell, even if he looks. Careful, he urges them backwards a step and the rushing water flows down over his shoulder and then Cloud's, sluicing between them, washing away the evidence. He slides his hand up Cloud's side and Cloud turns right up against him, pressed close enough that he has to tip his head all the way back to meet Barret's eyes. His face soft, his eyelashes wet. He lays a hand over Barret's chest and opens his mouth, then closes it. His teeth in his lip. Barret sweeps his thumb over Cloud's ribs and dips down, kisses his bitten mouth. Tastes the water.

There are towels, in another recess in the rock. Soft, deep mossy green. Barret dries enough that it won't be horrible to pull on his fatigues. When he steps out into the main room Cloud's got the towel looped around his waist and he's piling his clothes neatly on the table next to his sword.

"You want help with your arm?" Cloud says.

Quiet. No fuck you at all. "It ain't going nowhere," Barret says.

Cloud nods. He pushes his wet hair back from his forehead—it's already starting to dry, fluffy little spikes standing up all over—and sits on the edge of the bed, his elbows on his knees. Barret could offer him another drink but that's not what either of them need. He sits down next to Cloud, instead. Looks out at the dark canyon.

"If I go to sleep it'll be morning," Cloud says.

The climb down out of the canyon, to the airfield, to the plane, and then to the strange and terrible north. Barret rubs his stump, the scar tissue lumpy but smooth after all these years, and thinks of all those other mornings. Expectations, and all that had to be done to meet them. A real shitshow, sure enough. Still: "It'll still be morning even if you're tired," Barret says.

Cloud snorts. "Yeah," he says, barely audible, and after a second he drags his hand over his face, and then rolls back onto the bed. He curls close to the far side of the mattress, shoulders hunched. In just the towel he looks very small.

Barret gets up, and makes a pile of his own crap on the loveseat. The socket and gun on top, waiting for the problems the morning'll bring. Then he snuffs the lamps, so the only light coming through the opening in the cave wall is moonlight and the lanterns strung along the canyon walkways, and then lays down careful on his right side. The mattress creaks under his weight. He sets his hand on Cloud's hip, over the towel, and there's a quiet breath in the dark before Cloud turns over, a crumple of elbows and his knees knocking into Barret's and then his head tucked down against Barret's bare chest, his body warm in the cooling room.

Barret tips his chin down, soft damp hair tickling his throat. Cloud breathes very softly against his skin and there's otherwise no sound beyond the occasional breeze across the rock, the sound of his own heartbeat. Somewhere, deep in the inn, the singing continues: a gentle and constant plea for the peace that was promised. Barret slides his hand up the smooth plane of Cloud's back, settles in. Thinks, before he sleeps, how strange it was that none of them understood that the only peace that'd ever come wasn't one you begged for, but the one you worked for.

[warbyparker]

Warby Parker x Frank Ceramics Sweepstakes

OFFICIAL RULES

NO PURCHASE NECESSARY TO ENTER OR WIN THIS SWEEPSTAKES

 1. SWEEPSTAKES DATES AND TIMES: The “Warby Parker x Frank Ceramics Sweepstakes” (“Sweepstakes”) begins at 5:00 pm Eastern Time (“ET”) on 8/12/24  and ends at 12:00 pm ET on 8/19/24  (the “Sweepstakes Period”). 

2. ELIGIBILITY: This Sweepstakes is open only to individual legal residents of the fifty (50) United States and the District of Columbia, at least 18 years of age (or the age of majority in his or her state of residence if greater than 18) on date of entry. Employees of Warby Parker Inc. (“Warby Parker” or “Sponsor”) and such employees’ immediate family members (parents, spouses, siblings, children, and grandparents, regardless of where they reside), and members of the same household (whether legally related or not), and their respective affiliates, subsidiaries, parent companies, and advertising and promotion agencies are not eligible to enter or to win. Parties that are under any obligation, contractual or otherwise, that would limit or impair Sponsor’s ability to use the Entry as set forth in these Official Rules, and parties that are under a merchandising or similar agreement that would restrict exploitation of any right related to the Entry, are also not eligible to enter or to win. Sweepstakes void where restricted or prohibited. By entering, you represent that you have read these Official Rules and agree to abide by and be bound by all terms of these Official Rules.

3. HOW TO ENTER: To enter the Sweepstakes, you first need to have the Instagram application downloaded on your mobile device and be a registered user at time of entry until the time that Warby Parker notifies the potential Winner. There is no cost to download the Instagram application or to become an Instagram user. If you do not have an Instagram account, you can get information on how to sign up for one for free at http://instagram.com. By submitting your information and creating an Instagram account, you agree to Instagram’s Terms of Use (http://instagram.com/about/legal/terms) and Privacy Policy (https://www.instagram.com/about/legal/privacy/). If you do not agree to these Terms of Use and Privacy Policy, you cannot create an account, or participate in this Sweepstakes.

During the Sweepstakes Period, like the @warbyparker x @frankceramics post announcing the Sweepstakes, follow both accounts and tag a friend in the comments of the post. Each individual comment with a unique tag shall be considered one (1) entry (each, an “Entry”). 

All Entries must also comply with the Entry Requirements set forth in Rule #4 below in order to be eligible and the Instagram Terms of Use. Entries not submitted in accordance with the instructions provided in these Official Rules are subject to disqualification, in the sole discretion of the Sponsor. For the purposes of these Official Rules, receipt of Entry occurs when the Instagram servers successfully receive the comment. Sponsor shall not bear any responsibility for any late, lost or misdirected Entries. All Entries become the property of Sponsor.

4. ENTRY REQUIREMENTS: By participating in the Sweepstakes, you warrant that your Entry:

(a) does not contain any use of names, likenesses, photographs, or other identifying elements, in whole or in part, of any person, living or dead, without permission (proof of which must be provided to Sponsor upon request in a form satisfactory to Sponsor);

 (c) does not infringe or violate the rights of any third party, including but not limited to copyrights, trademarks, logos, copyrighted material not owned by you (other than Sponsor-related materials), contract and licensing rights, rights of publicity or privacy, moral rights, and any other intellectual property rights;

(d) is not subject to any third party agreements, and that Sponsor will not be required to pay or incur any sums to any person or entity as a result of its ownership, acquisition, use, or exploitation of the Entry or rights therein;

 (e) does not contain hateful content of any kind (including without limitation racism, sexism, etc.), content which promotes violence or harm to another living creature, or any other offensive, obscene, or inappropriate content, the determination of which shall remain in the sole discretion of Sponsor;

(f) does not promote any activity that may appear unsafe or dangerous; and

(g) does not contain reference to any political agenda or party.

You indemnify Sponsor from and against any cause of action, complaints, or other claims arising out of the breach of any of the foregoing warranties.

Each Entry may only be submitted by a single Instagram registered user. Multiple entrants are not allowed to share the same Instagram registered username. By entering the Sweepstakes, you represent and warrant that you have obtained all necessary rights, licenses, and permissions in writing from any person (or parent/legal guardian if person is a minor) or whose name may appear in the Entry. If, in the sole discretion of Sponsor, you have breached a representation or warranty contained herein, the Entry will be subject to disqualification. Sponsor reserves the right to disqualify any Entry if, in Sponsor’s sole discretion, it considers an Entry inappropriate in any way or otherwise not in compliance with these Official Rules. Sponsor reserves the right to not award the Prize in the event it does not receive any eligible Entries. Decisions of Sponsor are final and binding.

5. DRAWING:  Three (3) potential winners (“Winner”) will be selected in a random drawing on or about 8/19/24  from among all eligible Entries received. Odds of winning depend on the number of eligible entries received. Designation as the Winner is subject to the potential Winner’s proof of compliance with these Official Rules, continued compliance with these Official Rules, and approval by Sponsor. The decisions of Sponsor are final and binding in all matters relating to this Sweepstakes, including interpretation and application of these Official Rules.  

6. WINNER NOTIFICATION:  Three (3) Potential Winners will be notified by the Sponsor by Instagram DM on or about  8/19/24.

The potential Winner will be required to follow the instructions provided by Sponsor and respond via DM within the time frame specified. The potential Winner may be required to sign and properly execute an Affidavit of Eligibility and Publicity/Liability Release (where legal) (collectively, the “Release”) and return the Release via email (and subsequently by mail) to Sponsor within the time frame specified. The potential Winner may also be required to perform additional clearance requests at Sponsor’s discretion. Upon receipt and confirmation of documentation, the potential Winner will be named a “Winner”. If the potential Winner fails to properly execute and return all information and/or documents described herein in the time specified by Sponsor, or if the potential Winner declines to accept the Prize, or if the potential Winner is found not to be eligible or not in compliance with these Official Rules, the potential Winner may be disqualified and, at Sponsor’s discretion and time permitting, an alternate winner may be selected (subject to all verification and eligibility requirements of these Official Rules) even if the disqualified potential Winner’s name, Instagram username, or Entry may have already been shown or announced online.

 In addition, you acknowledge and agree that Sponsor reserves the right to disqualify any potential Winner at any time, in its sole discretion, on the basis of anything contained in, or learned or obtained as a result of, the submitted Release or any other forms requested by Sponsor that, in Sponsor’s sole opinion, would constitute a breach of these Official Rules or any such forms, inclusive of any proof of permission that Sponsor may request in its sole discretion.

7. PRIZES: Three (3) Winners will each receive one (1) $120 Frank Ceramic vision tray (“Prize”). Prize is non-transferable; no substitutions allowed, except at the discretion of Sponsor. All details of Prize shall be determined solely by Sponsor. Allow 6-8 weeks for delivery of Prize, pending winner verification. Approximate retail value (ARV) of Prizes is $360. 

8. LIMITATION OF LIABILITY: Neither Sponsor nor any of its parents, subsidiaries, and affiliates, nor any of their respective officers, directors, shareholders, agents, and employees, nor Instagram, Facebook, Twitter, or any Internet access providers (collectively “Releasees”) are responsible for: incorrect or inaccurate entry of Entry information; human error; technical malfunction; lost/delayed data transmission; omission; interruption; deletion; defect; failure of any telephone, computer, or other network or of any computer equipment, software, or any combination thereof; inability to access Instagram; late, lost, damaged, misdirected, incorrect or incomplete Entries; or any other problems or errors related to the Sweepstakes. Entries that do not comply with these Official Rules, as determined by Sponsor, will be subject to disqualification from the Sweepstakes.

9. LICENSING OF ENTRY:  By entering this Sweepstakes, and to the extent allowed by law, you grant Sponsor and each of its affiliates, licensees, promotional partners, advertising and promotion agencies, and third party marketing entities a royalty-free, perpetual, irrevocable, non-exclusive, sub-licensable, unconditional, fully paid-up, and transferable license to use, edit, modify, cut, rearrange, add to, delete from, copy, reproduce, translate, adapt, publish, exploit, and use the content of and elements embodied in the Entry in commerce and in any and all media worldwide, without limitation or compensation to you, as well as the absolute right and permission to use your name, Instagram username, biographical data, photograph or other likeness (including your Instagram profile photograph), and prize information. You waive and release Sponsor and Releasees from any and all claims that you may now or hereafter have in any jurisdiction based on “moral rights” or “droit moral” or unfair competition with respect to Sponsor’s exploitation of the Entry without further notification or compensation to you of any kind, and agree not to instigate, support, maintain, or authorize any action, claim, or lawsuit against Sponsor and Releasees, on the grounds that any use of the Entry, or any derivative works thereof, infringes, or violates any of your rights therein.

You hereby acknowledge and agree that the relationship between you and Sponsor is not a confidential, fiduciary, or other special relationship, and that your decision to provide the Entry to Sponsor for purposes of the Sweepstakes does not place Sponsor in a position that is any different from the position held by members of the general public with regard to elements of the Entry, other than as set forth in these Official Rules. By submitting an Entry, you understand and acknowledge that Sponsor has wide access to ideas, photographs, designs, and other literary materials, and that new ideas are constantly being submitted to it or being developed by its own employees. You also acknowledge that many ideas may be competitive with, similar to, or identical to the Entry and/or each other in theme, idea, format, or other respects. You acknowledge and agree that you will not be entitled to any compensation as a result of Sponsor’s use of any such similar or identical material that has or may come to Sponsor from other sources. You acknowledge and agree that Sponsor does not now and shall not have in the future any duty or liability, direct or indirect, vicarious, contributory, or otherwise, with respect to the infringement or protection of your copyright in and to the submission.

10. ADDITIONAL TERMS: Sponsor reserves the right, in its sole discretion, to disqualify any individual found tampering with the entry process or entry materials. If, in Sponsor’s opinion, there is any suspected or actual evidence of electronic or non-electronic tampering with any portion of the Sweepstakes, or if technical difficulties compromise the integrity of the Sweepstakes, Sponsor reserves the right to void suspect Entries and/or terminate the Sweepstakes and award the Prize from among all Eligible Entries received as of the termination date or as otherwise deemed fair and appropriate by Sponsor. Should the Sweepstakes be terminated prior to the stated expiration date, Sponsor will endeavor to post notice of termination on blog.warbyparker.com. YOU ACCEPT THE CONDITIONS STATED IN THESE OFFICIAL RULES, AGREE TO BE BOUND BY THE DECISIONS OF THE SPONSOR, WARRANT THAT YOU ARE ELIGIBLE TO PARTICIPATE IN THIS SWEEPSTAKES AND RELEASE RELEASEES FROM AND AGAINST ALL CLAIMS AND DAMAGES ARISING IN CONNECTION WITH YOUR PARTICIPATION AND/OR ENTRY IN THE SWEEPSTAKES AND/OR AWARDING OR USE OF ANY PRIZE AWARDED IN THIS SWEEPSTAKES. ANY ATTEMPT TO DELIBERATELY DAMAGE ANY WEBSITE OR MOBILE APPLICATION OR UNDERMINE THE LEGITIMATE OPERATION OF THE SWEEPSTAKES IS A VIOLATION OF CRIMINAL AND CIVIL LAWS AND SHOULD SUCH AN ATTEMPT BE MADE, SPONSOR AND ITS DESIGNEES RESERVE THE RIGHT TO SEEK DAMAGES OR OTHER REMEDIES FROM ANY SUCH PERSON(S) RESPONSIBLE FOR ANY SUCH ATTEMPT TO THE FULLEST EXTENT PERMITTED BY LAW. The use of any automated launching or entry software or any other mechanical or electronic means that permits you to automatically enter is prohibited. In the event of a dispute as to who submitted an Entry, the Entry will be deemed submitted by the authorized account holder of the email address associated with the Instagram Account that submitted the Entry the time of entry. “Authorized account holder” is defined as the person assigned to an email address by an Internet access provider, online service provider or other organization responsible for assigning email addresses for the domain associated with the email address in question. Any Entry information collected from the Sweepstakes shall be used only in a manner consistent with the consent given by entrants at the time of Entry, with these Official Rules, and with Sponsor’s Privacy Policy which can be found at http://www.warbyparker.com/privacy-policy. Normal internet access and mobile device usage charges from your carrier will apply.

11. DISPUTES/CHOICE OF LAW: The laws of the United States govern the Sweepstakes. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or the rights and obligations of you and Sponsor in connection with the Sweepstakes, shall be governed by, and construed in accordance with, the laws of the State of New York, without giving effect to any choice of law or conflict of law rules or provisions (whether of the State of New York or any other jurisdiction), that would cause the application of the laws of any jurisdiction other than the State of New York.

You agree that: (a) any and all disputes, claims, and causes of action arising out of or in connection with this Sweepstakes, or any prizes awarded, shall be resolved individually, without resort to any form of class action; (b) if the parties are unable to resolve their dispute amicably, such dispute shall be resolved by arbitration; (c) any and all claims, judgments, and awards shall be limited to actual out-of-pocket costs incurred, including costs associated with entering this Sweepstakes, but in no event and under no circumstances will you be permitted to obtain awards for attorneys’ fees; and (d) you hereby waive all rights to claim punitive, incidental, and consequential damages, and any other damages, other than for actual out-of-pocket expenses, and any and all rights to have damages multiplied or otherwise increased.

12. WHO WON? Winner’s name and  Instagram username may be posted, at Sponsor’s discretion, on one or more of the following websites: Sponsor’s Instagram account (instagram.com/warbyparker); Sponsor’s Facebook page (http://www.facebook.com/warbyparker); Sponsor’s Twitter page (http://www.twitter.com/warbyparker); an Sponsor’s blog (blog.warbyparker.com).

13. SPONSOR: Warby Parker Inc., 233 Spring Street, 6th floor East, New York, NY 10013.

This promotion is in no way sponsored, endorsed, or administered by or in association with Instagram.

[khship910]

User Reviews Glossary

My SakuAtsu cyberpunk sci-fi story User Reviews takes place in the Hub, a Metro run by the Corp, in a future not too far away.

This glossary can help you speak like a true Hub citizen, and fool most securoBots.

adorb: adorable. A cuter version of something.

android: humanistic Bot.

anonyBand: a necklace that scrambles a person's facial features, making them unreadable in both surveillance camera footage and IRL.

art bomb: an illegal street art installation by graf artists.

atomWash: using an atomizer to get clean.

atomizer: A type of shower, that uses a fine mist to clean.

auDisc: Audio discs, similar to CDs.

bagPants: baggy pants.

the Belt: the drivable street encircling the Hub.

bopBots: AI tasked with inventing Popular Music.

bot: robotic laborer.

candEcube: Corp-produced candy, small cubes made of artificial flavors and sweeteners.

closed-loop: non-networked system.

cof: coffee.

cleanBot: a general use Bot, similar to a housekeeper.

the Collective: an illegal underground artists colony.

Cons: the right-of-center groups who are pro-Corps and run most of the Metros with an iron fist.

the Continental Amalgamation: the equivalent to the US, with a lot less cities and states.

Corp: the corporation in charge of the Hub.

CorpsCorps: the Corps' private army.

Creem: cof whitener.

critThink: critical thinking. Outlawed in the Hub.

cyclo-drive: getting excited.

daffy: dumb.

denary: group of ten.

dFunct: not working. Used as an expletive.

DivZero: short for "dividing by zero," this is a term used to identify an idiot. Used as an expletive.

DnD: do not disturb. An iNet setting that makes you unavailable to others.

E-skl: school.

eco: okay.

eco mode: chill.

error: something gone wrong, used as an expletive.

face2: party.

Fact™: a Corp truth. Registered trademark.

fitPants: pants that are tighter around the leg.

floorSweep: the most common consumer Bot. Functions as a vacuum cleaner.

flux: irregular electricity. Used as an expletive.

foodOp: restaurants. Also known as FOs.

foodPrep: yet another amazing Corp invention, the foodPrep is the only appliance you'll ever need. Designed to cook Readys ready in under two minutes! The Corp foodPrep. Get yours today!

foodPrep area: new name for "Kitchen."

fritzed: something is messed up.

fritz up: to mess something up.

furnsTop: a place that sells furniture and other household items.

ganked: yanked or grabbed.

gantry: hoisting machine.

ghostBoard: an interface for planning and programming on the iNet. Can be set to public or private mode.

graf: graffitti.

greyfiber: a recycled material used for fabric-type purposes.

holoProj: holographic projector, plays simCasts.

hoverCar: individual vehicles. They travel along synthment within the Hub and on smoovPaths between Metros.

Hub: the Hub is one of many Metros that make up the cityStates of the Continental Amalgamation.It is the nation's premier post-creativity society.

iDent: identity file.

iNet: what we would call the internet. Most use it in the form of contact lenses. A few old-timers still use glasses. All normal Hub citizens rely on it for day-to-day tasks.

IRL: in real life, not on the iNet.

iTap: How users of the iNet "click" on various screens within the program, by looking at them.

K: currency used by the Hub.

K-count: how much money a person has.

kak: excrement. Used as an expletive.

lastGen: digital location device, password and key. Used to mark secure areas and also to let people in those secure areas.

Libs: the left-of-center groups that have absconded to the subUrbs. They fight wars of attrition with the Cons who run the Metros.

mBandit: Metro bandits; people who invade Metros for personal gain.

med: hospital.

medBot: robot doctor.

Meeting: illegal spiritual gathering.

Metros: city-states of the Continental Amalgamation.

mono: monorail that circles the Hub.

netFile: every human's digital record. Their identification, online footprint, records and messages, all in one!

netMances: the premier iNet dating app. 90% of successful relationships start on netMances.

nCurrNc: untraceable currency. Best used for illegal income and payments.

nGupLink: clean energy source, what the citizens of the Hub rely on for their power.

Night Market: the illegal event thrown by the Collective, to purchase non-Corp-produced goods.

nMessage: encrypted messaging system. Only for sale illegally.

off prog: going off program can mean a variety of things: getting sick, mental instability, engaging in unauthorized behavior.

offline: someone staring, or even completely unconscious.

on prog: acting in a way that is expected.

outSide: the area beyond the Peri of the Hub.

paPocks: pants pockets. In most bagPants and fitPants.

peri: the perimeter of the Hub, a wall designed to keep the citizens safe.

plasti-gel: plastic gel that conforms to a variety of shapes and sizes. Used for bespoke products.

plasticine: the most used building material in the Hub. It is made out of recycled plastics and can be recycled itself, in perpetuity.

rRoom: restroom.

Readys: Corp-manufactured instant dinners, coming in five whole flavors, not including soupCups! Cooked in a foodPrep in two minutes and nutritionally balanced, Readys are all the food you need!

reEducation: the Corps' most common method of punishing illegal behavior.

reFrige: refrigerator.

roze: when someone is feeling good.

roze-pozy: when someone is feeling really good.

securoBot: security guard robot.

sensaRig: used in conjunction with the simSuit and the articulating simSkin scales, a sensaRig is a full virtual reality pod in which a person can experience another person's vidStream completely. Attachments are available to enjoy taste, smell, and all tactile sensations.

sexClub: a Corp-run sexual activity center to keep Hub citizens satisfied.

simCast: a three-dimensional version of the simScreen.

simScreen: a screen that can run a simulation visible to its audience.

simSkin: the tiles that transmit feeling when a person uses their sensaRig.

simSuit: a thin, nearly transparent fabric, worn under the simSkin tiles of a sensaRig.

skeek: creep

smartMug: a cof cup that can keep your beverage at your desired temp.

smoovPaths: interMetro highways. In disrepair.

socFeeds: iNet social media.

spark off: to make someone angry.

spizzy: cool.

spizzy as zizzy: really cool.

spline: a smooth motion.

streamedy: iNet comedy.

streetClean: these Bots keep the streets clear of any chunks that have been worn away, as well as cleaning up any recycling or illegal street art.

subUrbs: the living areas outSide the Hub. The domain of the Libs.

Sucra™: artificial sweetener.

swiggled: covered.

synthment: what the streets of the Hub are made of.

sys online: systems online. A question meaning, "are you okay?" or an answer meaning, "I'm okay."

T: t-shirt.

Toothy: a toothbrush Bot.

UBI: universal basic income, a way to guarantee all Hub citizens the K they need to buy the products the Corp sells.

upLink: a transmission to or from the iNet.

unders: underwear.

uvBlock: sunscreen.

valet: a general use Bot, similar to a butler.

vidChat: video chat. Audio-only upLinks are also available.

vidScreen: a screen that can project video.

vidStream: programming on the iNet.

wayFrees: freeways.

zero: idiot

[setindiabizipr]

A Step-by-Step Guide to Copyright Registration in India: Online Copyright Registration Made Easy

In today's digital age, protecting your original works is more important than ever. Copyright registration is the best way to safeguard your creations and prevent others from using them without your permission.

In India, the Copyright Act, 1957, governs copyright laws, and the Copyright Office handles the registration process. In this step-by-step guide, we will take you through the copyright registration procedure in India, with a focus on online copyright registration.

Step 1: Determine the Eligibility of Your Work

Before you apply for copyright registration, you need to ensure that your work is eligible for protection. Under the Copyright Act, original literary, artistic, musical, and dramatic works, as well as films and sound recordings, are eligible for copyright protection. The work must be original and created by the author or with the author's permission.

Read also: Types of Copyright

Step 2: Prepare the Copyright Application

Once you have determined the eligibility of your work, the next step is to prepare the copyright application. The application form can be downloaded from the Copyright Office website or obtained in person from the office. You need to fill in the required details, including the title of the work, the name of the author, and the date of creation.

Step 3: Submit the Copyright Application Online

The Copyright Office has made it easy to apply for copyright registration online. You can submit your copyright application through the Copyright Office website using the e-filing facility. This option saves time and eliminates the need to visit the Copyright Office in person.

Step 4: Pay the Required Fees

After submitting the copyright application, you need to pay the required fees. The fees vary depending on the type of work and the mode of application. You can pay the fees online through the Copyright Office website using a credit or debit card, or through a challan in a designated bank.

Step 5: Track the Copyright Application

After submitting the copyright application, you can track the status of your application online. The Copyright Office provides an online tracking system that allows you to check the progress of your application. This feature enables you to know the status of your application, such as whether it has been received, processed, or approved.

Step 6: Receive Your Copyright Registration Certificate

If your copyright application is approved, the Copyright Office will issue a copyright registration certificate. This certificate is a legal proof of ownership of the copyright and can be used as evidence in case of any copyright infringement. You can download the copyright registration certificate online from the Copyright Office website.

Conclusion:

Online copyright registration is a fast and convenient way to protect your original works in India. By following the above steps, you can ensure that your work is registered and protected under the law. 

We hope this step-by-step guide has helped you understand the copyright registration process in India. If you have any questions or require further assistance, please feel free to contact us.

Also check-

Trademark Registration in India

Patent Search Services in India

[jacksondeanchase]

Great-Grandfather Clause

Here, I present the first work of Jackson Dean Chase published under the OGL Version 1.01a. ​Bane Against Evil Wizards

(Feat)

Whenever a greedy corporation of backstabbing evil wizards makes an attack roll against you, you add a +4 bonus to your armor class and gain advantage on your next attack roll, skill check, or saving throw.

​Published by: Jackson Dean Chase

Published on: 01/12/2023​

THIS LICENSE IS APPROVED FOR GENERAL USE. PERMISSION TO DISTRIBUTE THIS LICENSE IS MADE BY WIZARDS OF THE COAST!​OPEN GAME LICENSE Version 1.0a

The following text is the property of Wizards of the Coast, Inc. and is Copyright 2000 Wizards of the Coast, Inc ("Wizards"). All Rights Reserved.1. Definitions: (a)"Contributors" means the copyright and/or trademark owners who have contributed Open Game Content; (b)"Derivative Material" means copyrighted material including derivative works and translations (including into other computer languages), potation, modification, correction, addition, extension, upgrade, improvement, compilation, abridgment or other form in which an existing work may be recast, transformed or adapted; (c) "Distribute" means to reproduce, license, rent, lease, sell, broadcast, publicly display, transmit or otherwise distribute; (d)"Open Game Content" means the game mechanic and includes the methods, procedures, processes and routines to the extent such content does not embody the Product Identity and is an enhancement over the prior art and any additional content clearly identified as Open Game Content by the Contributor, and means any work covered by this License, including translations and derivative works under copyright law, but specifically excludes Product Identity. (e) "Product Identity" means product and product line names, logos and identifying marks including trade dress; artifacts; creatures characters; stories, storylines, plots, thematic elements, dialogue, incidents, language, artwork, symbols, designs, depictions, likenesses, formats, poses, concepts, themes and graphic, photographic and other visual or audio representations; names and descriptions of characters, spells, enchantments, personalities, teams, personas, likenesses and special abilities; places, locations, environments, creatures, equipment, magical or supernatural abilities or effects, logos, symbols, or graphic designs; and any other trademark or registered trademark clearly identified as Product identity by the owner of the Product Identity, and which specifically excludes the Open Game Content; (f) "Trademark" means the logos, names, mark, sign, motto, designs that are used by a Contributor to identify itself or its products or the associated products contributed to the Open Game License by the Contributor (g) "Use", "Used" or "Using" means to use, Distribute, copy, edit, format, modify, translate and otherwise create Derivative Material of Open Game Content. (h) "You" or "Your" means the licensee in terms of this agreement.

2. The License: This License applies to any Open Game Content that contains a notice indicating that the Open Game Content may only be Used under and in terms of this License. You must affix such a notice to any Open Game Content that you Use. No terms may be added to or subtracted from this License except as described by the License itself. No other terms or conditions may be applied to any Open Game Content distributed using this License.

3. Offer and Acceptance: By Using the Open Game Content You indicate Your acceptance of the terms of this License.

4. Grant and Consideration: In consideration for agreeing to use this License, the Contributors grant You a perpetual, worldwide, royalty-free, non-exclusive license with the exact terms of this License to Use, the Open Game Content.

5.Representation of Authority to Contribute: If You are contributing original material as Open Game Content, You represent that Your Contributions are Your original creation and/or You have sufficient rights to grant the rights conveyed by this License.

6.Notice of License Copyright: You must update the COPYRIGHT NOTICE portion of this License to include the exact text of the COPYRIGHT NOTICE of any Open Game Content You are copying, modifying or distributing, and You must add the title, the copyright date, and the copyright holder's name to the COPYRIGHT NOTICE of any original Open Game Content you Distribute.

7. Use of Product Identity: You agree not to Use any Product Identity, including as an indication as to compatibility, except as expressly licensed in another, independent Agreement with the owner of each element of that Product Identity. You agree not to indicate compatibility or co-adaptability with any Trademark or Registered Trademark in conjunction with a work containing Open Game Content except as expressly licensed in another, independent Agreement with the owner of such Trademark or Registered Trademark. The use of any Product Identity in Open Game Content does not constitute a challenge to the ownership of that Product Identity. The owner of any Product Identity used in Open Game Content shall retain all rights, title and interest in and to that Product Identity.

8. Identification: If you distribute Open Game Content You must clearly indicate which portions of the work that you are distributing are Open Game Content.

9. Updating the License: Wizards or its designated Agents may publish updated versions of this License. You may use any authorized version of this License to copy, modify and distribute any Open Game Content originally distributed under any version of this License.

10. Copy of this License: You MUST include a copy of this License with every copy of the Open Game Content You Distribute.

11. Use of Contributor Credits: You may not market or advertise the Open Game Content using the name of any Contributor unless You have written permission from the Contributor to do so.

12. Inability to Comply: If it is impossible for You to comply with any of the terms of this License with respect to some or all of the Open Game Content due to statute, judicial order, or governmental regulation then You may not Use any Open Game Material so affected.

13. Termination: This License will terminate automatically if You fail to comply with all terms herein and fail to cure such breach within 30 days of becoming aware of the breach. All sublicenses shall survive the termination of this License.

14. Reformation: If any provision of this License is held to be unenforceable, such provision shall be reformed only to the extent necessary to make it enforceable.

15. COPYRIGHT NOTICE Open Game License v 1.0a Copyright 2000, Wizards of the Coast, Inc.System Reference Document Copyright 2000-2003, Wizards of the Coast, Inc.; Authors Jonathan Tweet, Monte Cook, Skip Williams, Rich Baker, Andy Collins, David Noonan, Rich Redman, Bruce R. Cordell, John D. Rateliff, Thomas Reid, James Wyatt, based on original material by E. Gary Gygax and Dave Arneson.

Great-Grandfather Clause, Copyright 2023 by Jackson Dean Chase; Author: Jackson Dean Chase.

END OF LICENSE

[fearsmagazine]

Legendary Fantasy Artist Frank Frazetta’s Epic Work “The Berserker” Available Worldwide on Epiphone.com

For 150 years, Epiphone has been a leading innovator in instrument design. By leveraging its iconic past and leaning into the future, Epiphone has now set the stage for the next era of sound for present and future generations. Epiphone is proud announce the long-awaited Adam Jones and Epiphone partnership has now arrived with the release of the Epiphone Adam Jones Les Paul Custom Art Collection. This unprecedented, limited-edition collection blends Adam’s love of fine art and music, resulting in seven, iconic and unique Les Paul Custom Silverburst masterpieces which feature the artwork of five distinguished visual artists curated by Adam Jones of TOOL. The Epiphone Adam Jones Les Paul Custom Art Collection is now available worldwide at authorized Epiphone dealers and on www.epiphone.com.

The second model to debut in the Adam Jones Les Paul Custom Art Collection is Frank Frazetta’s “The Berserker.” Known as the Godfather of fantasy art, acclaimed artist Frank Frazetta was an illustrator of comic books, movie posters and paperback book covers whose visions helped define fantasy heroes like Conan, Tarzan, John Carter of Mars, and more. This guitar displays Frank Frazetta’s masterpiece, “Berserker” on the back of the guitar, artwork on the rear headstock is designed by world-renowned artist Korin Faught. The artwork “Berserker,” also known as “Conan The Conqueror,” was painted by Frazetta in 1968, for the cover of the Conan The Conqueror paperback novel by author Robert E. Howard. The original artwork is currently owned by Kirk Hammett of Metallica and Conan® is a registered trademark of Conan Properties International LLC.

Frank Frazetta was born in Brooklyn on February 9, 1928, and as a boy studied art at the Brooklyn Academy of Fine Arts. He began drawing for comic books of all stripes--westerns, mysteries, fantasies--when he was still a teenager. He was also a good enough baseball player to try out for the New York Giants. Frazetta was a versatile and prolific comic book artist who, in the 1940s and ’50s, drew for comic strips like Al Capp’s “Lil’ Abner” and comic books like “Famous Funnies,” for which he contributed a series of covers depicting the futuristic adventurer, Buck Rogers. Explore the artwork of Frank Frazetta, HERE.

"My exposure to Frank Frazetta began early in my life. There’s something about his artwork that has spoken to me for as long as I can remember,” says Adam Jones. “When I was very young, I would save money to buy his adult comic art and pulp novel covers without my parents’ knowledge, sneaking them into the house undetected. To this day, as I work on my own projects, I’m transported back to those moments of discovery and influence. Frank’s technical prowess is unmatched in his genre (I’m such a proud nerd…) and he continues to be one of my heroes.

When Cesar at Gibson and I discussed a line of fine art-enhanced guitars, I hoped we would get permission to use one of Frank’s images, and I am so grateful to his estate for allowing us to use ‘Berserker’ on this Epiphone Les Paul."

“I was 13 years old when I first heard the TOOL song ‘Schism,’ it immediately resonated with me on a spiritual level and I’ve been a fan ever since,” adds Sara Frazetta, Granddaughter of Frank Frazetta. “To collaborate with Adam Jones and my Grandfather’s artwork on this gorgeous new Epiphone Art Collection of guitars has been amazing and seeing the guitars, it’s clear Frazetta’s art was destined for guitars.”

Watch the video for the Epiphone Adam Jones Les Paul Custom Art Collection, HERE, and explore the collection HERE.

The Adam Jones Les Paul Custom Art Collection: Frank Frazetta’s “The Berserker” isn’t just an art piece to hang on the wall; it’s an exceptional instrument for players to craft their own masterpiece. The Epiphone Adam Jones Les Paul Custom Art Collection has a bound mahogany body with a maple cap, a three-piece bound maple neck with an Adam Jones Custom profile, and an ebony fretboard. It is equipped with a reverse-mounted Epiphone ProBucker™ Custom humbucker™ in the neck position and a Seymour Duncan® Distortion in the bridge; both are wired to CTS® potentiometers and Orange Drop® capacitors. A Marquee Back Plate with Frank Frazetta’s name and the title of the artwork, “The Berserker” is also included. The guitar is finished in Antique Silverburst as an homage to Adam’s beloved original Silverbust 1979 Gibson® Les Paul Custom, a Protector hardshell case is also included.

The Epiphone Adam Jones Art Collection consists of seven, Silverburst Les Paul™ Custom models, each featuring reproductions of different works of fine art on the back. Adam curated all of the featured artwork, and selected five distinguished artists Mark Ryden, Frank Frazetta, Julie Heffernan, Korin Faught, and Ernst Fuchs for the collection; additional artwork designed by world-renowned artist Korin Faught, adorns the back of the headstock of each model. Only 800 guitars of each model from this unprecedented, extremely limited edition run will be produced.

One of the rock’s most talented and sonically innovative guitarists, Adam Jones is renowned as the guitarist for the band TOOL, as well as his work as a visual artist, sculptor, videographer, producer, and special effects designer (Jurassic Park, Terminator 2, Edward Scissorhands, Ghostbusters II, Batman Returns, A Nightmare on Elm Street 3, 4 and 5, Dances with Wolves, Bride of the Re-Animator, Pet Sematary, Shocker, and License To Kill).

[thothxv]

A lot of this is true and useful and great. Most notably, the discussion of the copyrightability of mechanics, the things copyright might extend to, the ways you give up rights with the OGL that may be bad, and ways you can avoid the OGL and still publish D&D content. It makes some really good points.

But a lot of it is also wrong. It is ignorant of what Hasbro is actually trying to do with the OGL to destroy it, it is ignorant of the actual terms of the OGL itself, and it is ignorant of the RPG space and why the OGL is important to the people in it.

What the OGL actually licenses

The OGL makes a distinction between Product Identity, which is not licensed, and Open Game Content, which is. Cory claims that OGC is only mechanical, ie, not copyrightable, and that everything else is product identity. That's not really true, but it may not matter.

Let us first look at Open Game Content as defined by the OGL:

"Open Game Content" means the game mechanic and includes the methods, procedures, processes and routines to the extent such content does not embody the Product Identity and is an enhancement over the prior art and any additional content clearly identified as Open Game Content by the Contributor, and means any work covered by this License, including translations and derivative works under copyright law, but specifically excludes Product Identity.

This explicitly cites game mechanics, but clearly states that it also includes "any additional content clearly identified as Open Game Content by the Contributor" (emphasis mine). The SRD5 therefore states:

All of the rest of the SRD5 is Open Game Content as described in Section 1(d) of the License.

"the rest", in context, referring to everything that isn't product identity. And product identity is defined as follows:

"Product Identity" means product and product line names, logos and identifying marks including trade dress; artifacts; creatures characters; stories, storylines, plots, thematic elements, dialogue, incidents, language, artwork, symbols, designs, depictions, likenesses, formats, poses, concepts, themes and graphic, photographic and other visual or audio representations; names and descriptions of characters, spells, enchantments, personalities, teams, personas, likenesses and special abilities; places, locations, environments, creatures, equipment, magical or supernatural abilities or effects, logos, symbols, or graphic designs; and any other trademark or registered trademark clearly identified as Product identity by the owner of the Product Identity, and which specifically excludes the Open Game Content;

Cory claims that the OGL excludes anything copyrightable, but that's just not what this does. The term "clearly identified" is the key here: you have to provide a list of things deemed Product Identity, and if it's not on that list, it's not Product Identity. The SRD5 does exactly this:

The following items are designated Product Identity, as defined in Section 1(e) of the Open Game License Version 1.0a, and are subject to the conditions set forth in Section 7 of the OGL, and are not Open Content: Dungeons & Dragons, D&D, Player’s Handbook, Dungeon Master, Monster Manual, d20 System, Wizards of the Coast, d20 (when used as a trademark), Forgotten Realms, Faerûn, proper names (including those used in the names of spells or items), places, Underdark, Red Wizard of Thay, the City of Union, Heroic Domains of Ysgard, Ever-­‐‑ Changing Chaos of Limbo, Windswept Depths of Pandemonium, Infinite Layers of the Abyss, Tarterian Depths of Carceri, Gray Waste of Hades, Bleak Eternity of Gehenna, Nine Hells of Baator, Infernal Battlefield of Acheron, Clockwork Nirvana of Mechanus, Peaceable Kingdoms of Arcadia, Seven Mounting Heavens of Celestia, Twin Paradises of Bytopia, Blessed Fields of Elysium, Wilderness of the Beastlands, Olympian Glades of Arborea, Concordant Domain of the Outlands, Sigil, Lady of Pain, Book of Exalted Deeds, Book of Vile Darkness, beholder, gauth, carrion crawler, tanar’ri, baatezu, displacer beast, githyanki, githzerai, mind flayer, illithid, umber hulk, yuan-­‐‑ti.

...Now, how much is left that can be copyrighted (beyond the rules text itself) is another issue, but that seems like a pretty cut and dry distinction.

Rob Bodine, who is a real lawyer, claims in the article Cory links that the OGL doesn't actually license anything, but that claim seems to be partly based in the idea that 1) the SRD is not actually licensed under the OGL, but rather a set of the content that wizards considers usable under it and 2) that product identity is maximal under the OGL, encompassing everything possible under that definition, not simply what is enumerated. In fact, the SRD is the only thing licensed under the OGL, and, as stated above, it seems that what is product identity must be stated. He makes some other arguments that might be more valid about issues that might make the OGL invalid or legally fraught (like the OGL claiming to license game mechanics... which it can't, the use constitutes agreement issue—which, despite some claims, doesn't apply to anything other then the SRD: the PHB/DMG/etc aren't actually OGLed—and some unsettled legal issues around shrinkwrap licensing, as well as concerns about the distributability of the SRD itself), which might be valid, but it's hard to say without going to court.

Killing the OGL: It's got nothing to do with the word "irrevocable"

Cory makes a big deal out of the lack of the word "irrevocable" in the OGL. This is not good, but it doesn't matter right now. Bluntly, the lack of the word "irrevocable" isn't a trap, it's just that nobody in the year 2000 thought that it was necessary. And I mean nobody: Creative Commons was born a few years later and didn't include the word "irrevocable". The GPLv2, near as I can tell, also does not use the term. Neither does the MPL or the CDDL (the MPLv2 still doesn't...), Apache didn't have it until Apache-2.0 in 2004, MIT and BSD don't have it, and neither does the Artistic License.

Walsh's article, which Cory links, notes in an update that if Wizards attempted this, anyone currently using the OGL has a strong argument that they can still use the content under its terms, but new people wouldn't be able to (the terms of the OGL 1.0a grant the right to distribute the SRD, so it could be argued you could use this to get around this somehow, but the OGL doesn't explicitly grant you the right to sublicense, nor does it have a GPL-esque automatic license grant clause, so that seems shakey. Kit Walsh is a lawyer and I'm not, and she works in this area of the law specifically, so I'll take her word for it when she says this won't fly—for my money, this is actually the biggest problem with the OGL, and the word "irrevocable" may fix it, but it would be better to also have a proper GPL-esque automatic license grant clause. It's possible that Hasbro's lawyers don't agree with Kit, because it certainly seems like they'd love to revoke the OGL but feel they can't... but there could be social reasons there, ie they think revoking the OGL would make them look even more like assholes).

It also doesn't matter in this case because Wizards isn't trying to revoke the OGL. They are trying to force people to use the OGL 1.1 by making the OGL 1.0 unauthorized. Kit goes on go say that this has serious legal issues, but I'm not getting into that, I already talked about that.

Why would anyone use the OGL?

As Cory and Kit point out, you give up rights to use copyrighted content you otherwise could under fair use by using the OGL. So why would you ever use it?

Kit says this:

the only benefit that OGL offers, legally, is that you can copy verbatim some descriptions of some elements that otherwise might arguably rise to the level of copyrightability.

The thing is, as well-known tumblr user prokopetz (who actually designs RPGs, so I'm trusting him) has stated, having this ability is tremendously useful in the context of a system as complicated as D&D. The fact of the matter is that fair use and avoiding copyrighted material when publishing a D&D compatible supplement is actually really hard. There are terms you can and can't use, and distinctions are murky and only decided through litigation. As Kit also points out:

The primary benefit is that you know under what terms Wizards of the Coast will choose not to sue you, so you can avoid having to prove your fair use rights or engage in an expensive legal battle over copyrightability in court.

And that is the real benefit of an explicit license to content when some but not all of it is covered under fair use or isn't copyrightable. It gives you a legal grounds to do what you want without worrying about having to get a copyright lawyer to check every single sentence you right and then pray you don't get sued.

Because 1) there are things in RPGs, specific verbiage and descriptions, names for different parts of the rules, and so forth that can be copyrighted, and 2) you can be sued out of existence if you don't have some kind of insurance, something Wizards knows all too well because they almost did get sued out of existence for this very reason. And a good, properly written open license is fairly ironclad in protecting you, ideally even in cases where the entity holding the license is actively hostile.

So, assuming that there is copyrightable content in the SRD (which I am fairly certain there is), and that that copyrightable content is covered as OGC under the OGL (which I and many others do believe, but there has been some contention), the OGL does make sense, and it does grant rights you may not have by fair use or public domain. Since fair use is found in court, you might not want to take the chance.

So I don't think the OGL is crazy, and I don't think it's malicious. I do think that it's flawed, and that it has a number of real problems. I think part of the reason might be Wizards' legal department trying to lay claim to as much as they can, and also just the state of the world when the OGL was drafted. Remember: The OGL predates Creative Commons. It was one of the earliest attempts I know of to write a license based on the ideas of open source for something other than software. That doesn't make it exempt from accusations of malice... I just don't think they hold up to inspection.

And if you want to put out an SRD that people can freely use to create a derived work nowadays? Just put it under Creative Commons...

Good riddance to the Open Gaming License

Last week, Gizmodo’s Linda Codega caught a fantastic scoop — a leaked report of Hasbro’s plan to revoke the decades-old Open Gaming License, which subsidiary Wizards Of the Coast promulgated as an allegedly open sandbox for people seeking to extend, remix or improve Dungeons and Dragons:

https://gizmodo.com/dnd-wizards-of-the-coast-ogl-1-1-open-gaming-license-1849950634

The report set off a shitstorm among D&D fans and the broader TTRPG community — not just because it was evidence of yet more enshittification of D&D by a faceless corporate monopolist, but because Hasbro was seemingly poised to take back the commons that RPG players and designers had built over decades, having taken WOTC and the OGL at their word.

Gamers were right to be worried. Giant companies love to rugpull their fans, tempting them into a commons with lofty promises of a system that we will all have a stake in, using the fans for unpaid creative labor, then enclosing the fans’ work and selling it back to them. It’s a tale as old as CDDB and Disgracenote:

https://en.wikipedia.org/wiki/CDDB#History

(Disclosure: I am a long-serving volunteer board-member for MetaBrainz, which maintains MusicBrainz, a free, open, community-managed and transparent alternative to Gracenote, explicitly designed to resist the kind of commons-stealing enclosure that led to the CDDB debacle.)

https://musicbrainz.org/

Free/open licenses were invented specifically to prevent this kind of fuckery. First there was the GPL and its successor software licenses, then Creative Commons and its own successors. One important factor in these licenses: they contain the word “irrevocable.” That means that if you build on licensed content, you don’t have to worry about having the license yanked out from under you later. It’s rugproof.

Now, the OGL does not contain the word “irrevocable.” Rather, the OGL is “perpetual.” To a layperson, these two terms may seem interchangeable, but this is one of those fine lawerly distinctions that trip up normies all the time. In lawyerspeak, a “perpetual” license is one whose revocation doesn’t come automatically after a certain time (unlike, say, a one-year car-lease, which automatically terminates at the end of the year). Unless a license is “irrevocable,” the licensor can terminate it whenever they want to.

This is exactly the kind of thing that trips up people who roll their own licenses, and people who trust those licenses. The OGL predates the Creative Commons licenses, but it neatly illustrates the problem with letting corporate lawyers — rather than public-interest nonprofits — unleash “open” licenses on an unsuspecting, legally unsophisticated audience.

The perpetual/irrevocable switcheroo is the least of the problems with the OGL. As Rob Bodine— an actual lawyer, as well as a dice lawyer — wrote back in 2019, the OGL is a grossly defective instrument that is significantly worse than useless.

https://gsllcblog.com/2019/08/26/part3ogl/

The issue lies with what the OGL actually licenses. Decades of copyright maximalism has convinced millions of people that anything you can imagine is “intellectual property,” and that this is indistinguishable from real property, which means that no one can use it without your permission.

The copyrightpilling of the world sets people up for all kinds of scams, because copyright just doesn’t work like that. This wholly erroneous view of copyright grooms normies to be suckers for every sharp grifter who comes along promising that everything imaginable is property-in-waiting (remember SpiceDAO?):

https://onezero.medium.com/crypto-copyright-bdf24f48bf99

Copyright is a lot more complex than “anything you can imagine is your property and that means no one else can use it.” For starters, copyright draws a fundamental distinction between ideas and expression. Copyright does not apply to ideas — the idea, say, of elves and dwarves and such running around a dungeon, killing monsters. That is emphatically not copyrightable.

Copyright also doesn’t cover abstract systems or methods — like, say, a game whose dice-tables follow well-established mathematical formulae to create a “balanced” system for combat and adventuring. Anyone can make one of these, including by copying, improving or modifying an existing one that someone else made. That’s what “uncopyrightable” means.

Finally, there are the exceptions and limitations to copyright — things that you are allowed to do with copyrighted work, without first seeking permission from the creator or copyright’s proprietor. The best-known exception is US law is fair use, a complex doctrine that is often incorrectly characterized as turning on “four factors” that determine whether a use is fair or not.

In reality, the four factors are a starting point that courts are allowed and encouraged to consider when determining the fairness of a use, but some of the most consequential fair use cases in Supreme Court history flunk one, several, or even all of the four factors (for example, the Betamax decision that legalized VCRs in 1984, which fails all four).

Beyond fair use, there are other exceptions and limitations, like the di minimis exemption that allows for incidental uses of tiny fragments of copyrighted work without permission, even if those uses are not fair use. Copyright, in other words, is “fact-intensive,” and there are many ways you can legally use a copyrighted work without a license.

Which brings me back to the OGL, and what, specifically, it licenses. The OGL is a license that only grants you permission to use the things that WOTC can’t copyright — “the game mechanic [including] the methods, procedures, processes and routines.” In other words, the OGL gives you permission to use things you don’t need permission to use.

But maybe the OGL grants you permission to use more things, beyond those things you’re allowed to use anyway? Nope. The OGL specifically exempts:

Product and product line names, logos and identifying marks including trade dress; artifacts; creatures characters; stories, storylines, plots, thematic elements, dialogue, incidents, language, artwork, symbols, designs, depictions, likenesses, formats, poses, concepts, themes and graphic, photographic and other visual or audio representations; names and descriptions of characters, spells, enchantments, personalities, teams, personas, likenesses and special abilities; places, locations, environments, creatures, equipment, magical or supernatural abilities or effects, logos, symbols, or graphic designs; and any other trademark or registered trademark…

Now, there are places where the uncopyrightable parts of D&D mingle with the copyrightable parts, and there’s a legal term for this: merger. Merger came up for gamers in 2018, when the provocateur Robert Hovden got the US Copyright Office to certify copyright in a Magic: The Gathering deck:

https://pluralistic.net/2021/08/14/angels-and-demons/#owning-culture

If you want to learn more about merger, you need to study up on Kregos and Eckes, which are beautifully explained in the “Open Intellectual Property Casebook,” a free resource created by Jennifer Jenkins and James Boyle:

https://web.law.duke.edu/cspd/openip/#q01

Jenkins and Boyle explicitly created their open casebook as an answer to another act of enclosure: a greedy textbook publisher cornered the market on IP textbook and charged every law student — and everyone curious about the law — $200 to learn about merger and other doctrines.

As EFF Senior Staff Attorney Kit Walsh writes in her must-read analysis of the OGL, this means “the only benefit that OGL offers, legally, is that you can copy verbatim some descriptions of some elements that otherwise might arguably rise to the level of copyrightability.”

https://www.eff.org/deeplinks/2023/01/beware-gifts-dragons-how-dds-open-gaming-license-may-have-become-trap-creators

But like I said, it’s not just that the OGL fails to give you rights — it actually takes away rights you already have to D&D. That’s because — as Walsh points out — fair use and the other copyright limitations and exceptions give you rights to use D&D content, but the OGL is a contract whereby you surrender those rights, promising only to use D&D stuff according to WOTC’s explicit wishes.

“For example, absent this agreement, you have a legal right to create a work using noncopyrightable elements of D&D or making fair use of copyrightable elements and to say that that work is compatible with Dungeons and Dragons. In many contexts you also have the right to use the logo to name the game (something called “nominative fair use” in trademark law). You can certainly use some of the language, concepts, themes, descriptions, and so forth. Accepting this license almost certainly means signing away rights to use these elements. Like Sauron’s rings of power, the gift of the OGL came with strings attached.”

And here’s where it starts to get interesting. Since the OGL launched in 2000, a huge proportion of game designers have agreed to its terms, tricked into signing away their rights. If Hasbro does go through with canceling the OGL, it will release those game designers from the shitty, deceptive OGL.

According to the leaks, the new OGL is even worse than the original versions — but you don’t have to take those terms! Notwithstanding the fact that the OGL says that “using…Open Game Content” means that you accede to the license terms, that is just not how contracts work.

Walsh: “Contracts require an offer, acceptance, and some kind of value in exchange, called ‘consideration.’ If you sell a game, you are inviting the reader to play it, full stop. Any additional obligations require more than a rote assertion.”

“For someone who wants to make a game that is similar mechanically to Dungeons and Dragons, and even announce that the game is compatible with Dungeons and Dragons, it has always been more advantageous as a matter of law to ignore the OGL.”

Walsh finishes her analysis by pointing to some good licenses, like the GPL and Creative Commons, “written to serve the interests of creative communities, rather than a corporation.” Many open communities — like the programmers who created GNU/Linux, or the music fans who created Musicbrainz, were formed after outrageous acts of enclosure by greedy corporations.

If you’re a game designer who was pissed off because the OGL was getting ganked — and if you’re even more pissed off now that you’ve discovered that the OGL was a piece of shit all along — there’s a lesson there. The OGL tricked a generation of designers into thinking they were building on a commons. They weren’t — but they could.

This is a great moment to start — or contribute to — real open gaming content, licensed under standard, universal licenses like Creative Commons. Rolling your own license has always been a bad idea, comparable to rolling your own encryption in the annals of ways-to-fuck-up-your-own-life-and-the-lives-of-many-others. There is an opportunity here — Hasbro unintentionally proved that gamers want to collaborate on shared gaming systems.

That’s the true lesson here: if you want a commons, you’re not alone. You’ve got company, like Kit Walsh herself, who happens to be a brilliant game-designer who won a Nebula Award for her game “Thirsty Sword Lesbians”:

https://evilhat.com/product/thirsty-sword-lesbians/

[Image ID: A remixed version of David Trampier’s ‘Eye of Moloch,’ the cover of the first edition of the AD&D Player’s Handbook. It has been altered so the title reads ‘Advanced Copyright Fuckery. Unclear on the Concept. That’s Just Not How Licenses Work. No, Seriously.’ The eyes of the idol have been replaced by D20s displaying a critical fail '1.’ Its chest bears another D20 whose showing face is a copyright symbol.]

[ayoneeza]

Brand Protection consultancy in Patna | Ayoneeza

In today’s highly competitive market, safeguarding a brand’s identity and reputation is critical for long-term success. With the rise of counterfeit products, unauthorized use of trademarks, and online brand abuse, businesses face significant risks that can affect their growth and trustworthiness. Ayoneeza, a trusted consultancy firm in Patna, offers brand protection services designed to protect businesses from infringements and ensure brand integrity.

Why is Brand Protection Important?

A brand is more than just a name or logo; it represents the values, quality, and trust that a business builds with its customers. Here are key reasons why brand protection is essential:

Prevents Counterfeiting: Unauthorized products can damage consumer trust and hurt revenue.

Preserves Reputation: Protecting brand identity ensures that customers associate only authentic products and services with the business.

Ensures Legal Compliance: Proper brand protection safeguards intellectual property from misuse and aligns businesses with trademark laws.

Safeguards Market Position: Monitoring and controlling brand usage prevents competitors from taking unfair advantage of a business’s goodwill.

Given the challenges posed by digital platforms and global markets, businesses need a robust strategy to secure their brand. Ayoneeza provides comprehensive brand protection solutions tailored to meet these needs.

Ayoneeza’s Brand Protection Services

Ayoneeza offers end-to-end consultancy in brand protection to help businesses in Patna maintain their market presence and credibility. Here are the key services provided:

1. Trademark Registration and Management

A registered trademark provides legal ownership of a brand’s name, logo, tagline, or symbol. Ayoneeza assists clients with the trademark registration process, ensuring compliance with national laws and preventing delays. The firm also offers trademark portfolio management, including renewal and monitoring services, to keep brands protected over time.

2. Anti-Counterfeiting Solutions

Counterfeit goods can damage a brand’s reputation and lead to revenue loss. Ayoneeza implements anti-counterfeiting strategies by monitoring markets and supply chains for unauthorized products. The consultancy collaborates with legal authorities to help clients take enforcement actions such as seizing counterfeit goods.

3. Online Brand Monitoring and Enforcement

With the rapid growth of e-commerce and social media, brand misuse online is a growing concern. Ayoneeza offers online brand monitoring services to track unauthorized use of logos, product images, and brand names on websites, social media, and marketplaces. The firm helps businesses enforce their rights through takedown requests and other legal measures.

4. Domain Name Protection

Ayoneeza assists businesses in protecting their brand by securing relevant domain names and monitoring for cybersquatting—the unauthorized registration of similar domain names to mislead customers. In case of disputes, Ayoneeza provides legal support for domain recovery.

5. IP Infringement Detection and Litigation Support

Ayoneeza’s legal experts help detect and resolve trademark or copyright infringements through proactive monitoring. If a business’s brand assets are used without permission, Ayoneeza provides litigation support to enforce rights and obtain compensation.

6. Brand Licensing and Agreements

For businesses looking to expand through collaborations or licensing, Ayoneeza helps structure brand licensing agreements. The firm ensures that partners use the brand in accordance with agreed terms, maintaining quality and consistency.

7. Market Surveillance and Investigations

Ayoneeza’s brand protection team conducts market surveillance to detect counterfeit goods and unauthorized brand use in physical and online marketplaces. This service helps businesses identify risks and take swift corrective actions.

Benefits of Choosing Ayoneeza for Brand Protection

Ayoneeza has become a trusted name in brand protection consultancy in Patna by offering:

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Comprehensive Monitoring: From online platforms to physical markets, Ayoneeza’s monitoring services cover all possible points of brand misuse.

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Brand protection is no longer optional—it is essential for businesses to thrive in a competitive environment. With threats like counterfeiting, trademark infringement, and online misuse, companies must adopt proactive strategies to secure their brand identity. Secure your brand with Ayoneeza—your trusted brand protection partner! Get in touch today to protect your most valuable asset.

[drivemoviewatchreplicay926x]

Are Replica Watches Illegal in Canada? A Comprehensive Guide

In the world of luxury timepieces, replica watches have gained significant popularity among consumers looking for stylish alternatives without the hefty price tag. However, a common question arises: are replica watches illegal in Canada? In this article, we will explore the legal landscape surrounding replica watches in Canada, the implications of purchasing them, and how to navigate this complex topic.

Understanding Replica Watches

Replica watches are designed to mimic the appearance of high-end luxury brands but are typically sold at a fraction of the original price. While some consumers appreciate the craftsmanship and aesthetics of these timepieces, it is crucial to understand the legal implications of purchasing and owning such items.

The Legal Status of Replica Watches in Canada

In Canada, the legality of replica watches primarily hinges on trademark law. The Canadian Intellectual Property Office (CIPO) protects registered trademarks, which means that producing, distributing, or selling items that infringe on these trademarks can lead to legal consequences.

When it comes to replica watches, if a product directly imitates a trademarked design or logo without permission, it can be deemed illegal. This means that selling watches that closely resemble brands like Rolex, Omega, or Cartier, especially with their logos, can result in significant penalties. However, if a watch is simply inspired by a luxury design without infringing on trademarked elements, it may fall into a legal gray area.

Buying Replica Watches: What You Should Know

As a consumer, the decision to buy a replica watch involves weighing both personal taste and legal risk. While many e-commerce websites offer replica watches at appealing prices, it is crucial to consider the legal ramifications of your purchase.

When browsing sites like Luxe Replica Watche, it’s essential to verify the authenticity of the products. Luxe Replica Watche prides itself on providing high-quality replicas that respect the legal boundaries while offering consumers stylish options.

Potential Consequences of Purchasing Illegal Replicas

Purchasing illegal replicas can have several consequences, including:

Legal Action: If you are found to be in possession of counterfeit goods, you could face legal action from the trademark holders.

Seizure of Goods: Customs authorities may seize counterfeit items, which could lead to a loss of your investment.

Loss of Reputation: Buying and wearing counterfeit items can damage your reputation, particularly if you are associated with luxury brands.

Alternatives to Replica Watches

If you admire the aesthetics of luxury watches but are concerned about the legal implications of purchasing replica models, consider exploring alternative options:

Authorized Dealers: Look for authorized dealers that sell discounted or pre-owned luxury watches.

Watch Brands with Similar Aesthetics: Many brands offer styles inspired by luxury timepieces without infringing on trademarks.

Custom-Made Options: Some companies allow you to design your own watch, providing a unique piece without the legal concerns.

Final Thoughts

In conclusion, while the allure of replica watches is undeniable, navigating the legal landscape in Canada is essential for consumers. Always consider the potential risks associated with purchasing replica or counterfeit items. For those who appreciate quality and legality, Luxe Replica Watche offers a selection of stylish alternatives that respect intellectual property laws.

Ultimately, being informed about the implications of your purchases can help ensure that you enjoy your watch while staying within the bounds of the law. Whether you choose to invest in a replica, a pre-owned luxury watch, or an alternative brand, knowledge is your best accessory.

[bidzprofessional]

In-depth Guide to Brand Registration on GeM: Procedure, Costs, and Required Documents

Introduction to Brand Registration on GeM

The Government e-Marketplace (GeM) is a vital initiative by the Government of India, providing an online procurement platform for government agencies and departments to purchase goods and services. As more companies strive to serve government clients, registering a brand on GeM has become an essential step for businesses to enter and compete in this market. GeM registration ensures credibility, facilitates procurement, and opens doors to business opportunities. In this article, we provide an exhaustive guide to the GeM registration procedure, costs, documents required, and insights into the benefits.

What is GeM Brand Registration?

GeM Brand Registration is the process by which companies register their brand on the Government e-Marketplace, enabling them to list products and services that government bodies can procure directly. Registering a brand on GeM brings numerous advantages, including increased visibility, credibility, and simplified access to government tenders.

Step-by-Step Guide to the Brand Registration Procedure on GeM

Create a GeM Seller Account

Begin by visiting the GeM portal and clicking on the "Sign Up" option.

Select the "Seller" category to initiate the registration process.

Complete the seller profile by entering all required details, including organization name, address, and authorized person’s details.

Verify the contact number and email address to activate your account.

Complete Profile and Upload Documents

Fill in the company's details, business category, and profile information.

Upload the essential documents, including PAN Card, Aadhaar, Udyog Aadhaar (if applicable), and business certifications.

It’s crucial to ensure that all information entered aligns with official records.

Submit Brand Approval Request

Once the basic profile setup is completed, apply for Brand Approval.

The application will require you to provide details about your brand, product categories, and descriptions.

GeM may request additional documents to verify your brand's authenticity.

Brand Approval and Listing Products

Upon successful submission, GeM officials will review the brand registration request.

Once approved, your brand will be live on the portal, and you can proceed to list products or services.

Ensure that each product listing adheres to GeM’s guidelines and specifications for faster approval.

Maintain Regular Compliance and Reviews

Maintain regular updates to ensure compliance with GeM's policies.

Regularly review product listings to match evolving government needs and procurement patterns.

Documents Required for Brand Registration on GeM

To complete the brand registration on GeM, specific documents are required. Here is a detailed list of essential documents:

Company’s PAN Card - A mandatory document to verify the business entity’s identity.

Aadhaar Card of the authorized signatory - Essential for identity verification of the person representing the brand.

Udyog Aadhaar or MSME Registration Certificate - Applicable if the business is registered under the MSME (Micro, Small & Medium Enterprises) category.

Certificate of Incorporation - Required for companies to verify their legal existence.

Product Certification - This could include quality certifications, test reports, or compliance certificates relevant to the product.

Trademark Registration Certificate (optional but recommended) - Provides authenticity and credibility to the brand.

Financial Statements or Tax Filings - Proof of financial stability may sometimes be requested.

Ensure all documents are authentic, up-to-date, and legible to avoid unnecessary delays.

GeM Registration Fees

GeM registration fees are generally structured to accommodate a wide range of businesses. Here’s an outline:

Basic Registration Fee - Signing up as a seller on GeM is typically free of cost, covering account setup and profile creation.

Brand Registration Charges - Certain brands may need to pay nominal fees based on the category, volume of products, or company size.

Transaction Fees - GeM may levy a minimal fee per transaction or sale on the platform.

Vendor Assessment Fees - For brands requiring third-party assessments (especially for technical products), additional fees are charged. The vendor assessment fee typically ranges depending on the complexity of the assessment.

Benefits of Registering a Brand on GeM

Registering a brand on GeM offers considerable benefits, especially for businesses aiming to secure government clients. Some of the key benefits include:

Direct Access to Government Clients - GeM provides a seamless channel to offer products and services directly to government bodies, reducing dependency on intermediaries.

Enhanced Credibility - Being listed on GeM adds a layer of credibility, as only verified and legitimate businesses can participate on the platform.

Transparent Procurement Process - GeM ensures transparency through a well-defined procurement process, minimizing risks of malpractices.

Increased Market Reach - Brands gain visibility across a wide network of government agencies, thereby increasing market reach and enhancing sales potential.

Efficient Payment Process - GeM's payment system is structured to streamline transactions, ensuring timely payments and reducing the risk of payment delays.

Opportunity for Small and Medium Enterprises (SMEs) - SMEs can participate on GeM and compete on an even playing field, with various schemes and supportive measures in place.

How to Maintain and Update Brand Registration on GeM

To maintain a compliant and updated brand profile on GeM, consider the following practices:

Regularly Update Product Listings: Ensure product details, prices, and availability are up-to-date to avoid issues with orders.

Monitor Feedback and Reviews: Actively engage with customer feedback to maintain a positive rating.

Stay Informed on GeM Policy Changes: GeM policies and procurement guidelines may evolve, so stay updated to ensure continued compliance.

Update Certifications and Licenses: Renew and upload updated certifications, as expired documents can lead to listing suspension or removal.

Conclusion

In conclusion, registering your brand on GeM is an invaluable step for companies looking to enter the government procurement market in India. This comprehensive guide has covered essential steps, required documents, fees, and benefits associated with GeM brand registration. Following the process diligently can help your business gain visibility, credibility, and access to lucrative government contracts. Make the most of this opportunity to expand your market reach and contribute to government projects.