- Joined
- Jan 23, 2019
>Region locking blocks VPNs
Wow, didn't know that was even possible. How long until they tard rage and ddos them out of spite?
Lolicon/Shotacon Defense Force - The people who jerk off to cartoon children and won't ever shut up about it
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Wow, didn't know that was even possible. How long until they tard rage and ddos them out of spite?
- Joined
- May 1, 2025
Companies have been doing this for a while now, which is why any company that sells itself on being able to let you watch content from a different region is mostly lying as people have been complaining about being locked out of using their account while using a vpn for years now. I remember Youtube doing this to me personally where they changed the country my account was connected to because of my vpn & refused to change it back until I threatened to cancel my premium account.
- Joined
- Jan 8, 2023
Cope, seethe, dilate, etc etc.
SUFFER, PEDOS! SUFFER MORE!!!!
That's interesting, I didn't know that as well. Honestly, seeing how lolitrannies act so much like troons and hate to lose, they will either do their own pommu with blackjack and hookers (baraag) or will do something about it.
Fag Alert Major Fag Alert
kiwifarms.net
- Joined
- Mar 12, 2023
Martin Serious
kiwifarms.net
- Joined
- Sep 14, 2024
Consider who her "biggest fan" is currently dating.
Coincidence? I think not
- Joined
- Oct 6, 2024
His face:
Name: Karl Andersson
Education: PhD student at the University of Manchester
He was investigated by Greater Manchester Police after publishing this "research paper" (L) (A)
Previous article by animenewsnetwork on this: (L) (A)
Funny quote from this article:
The paper provoked widespread outrage after it was circulated on Twitter in August. For example, the Conservative MP Neil O'Brien asked, "Why should hard-working taxpayers in my constituency have to pay for an academic to write about his experiences masturbating to Japanese porn?”
Karl's previous history with pedophilic behavior:
The University of Manchester further adds that Andersson's paper was not part of his supervised PhD programme, and that the University had not been aware of Andersson's past publications. In reports on the controversy, it emerged that Andersson had previously edited a Swedish self-published magazine called Destroyer and ran a website called breakingboynews which both foregrounded photos of young boys.
His research paper:
RETRACTED: “I am not alone – we are all alone: Using masturbation as an ethnographic method in research on shota subculture in Japan”
(L) (A)This is an archive of the retraction page, looking at the archived link I found his orcid account and school email
Orcid: https://orcid.org/0000-0003-0069-8683 (A)
Email: karl.andersson@postgrad.manchester.ac.uk
Manchester research page: (A) (A)
Finding an archive of his research paper, is was first published August 22, 2022. A wikisource page on this (A), which thankfully has an archive of what he said as most other sites just have the retraction notice reposted. It seems like he has a Wikisource account (L) (A) but it is most likely an automated page meant to repost research papers from Qualitative Research and had snagged his paper before it was redacted.
Local archive of his research paper:
I am not alone – we are all alone: Using masturbation as an ethnographic method in research on shota subculture in Japan
Karl Andersson
School of Arts, Languages and Cultures, University of Manchester, Manchester, UK
Abstract
I wanted to understand how my research participants experience sexual pleasure when reading shota, a Japanese genre of self-published erotic comics that features young boy characters. I therefore started reading the comics in the same way as my research participants had told me that they did it: while masturbating. In this research note, I will recount how I set up an experimental method of masturbating to shota comics, and how this participant observation of my own desire not only gave me a more embodied understanding of the topic for my research but also made me think about loneliness and ways to combat it as driving forces of the culture of self-published erotic comics.
Keywords
Sensory ethnography, sexuality, masturbation, comics, queer studies, shota, experimental methods, manga
Introduction
I had hit a wall in my research. Semi-structured interviews (Bernard, 2006) can only take you so far, especially when the topic is sensitive (Lee, 1993), which mine is. A short introduction is called for before we move on.
Shota, or shotacon, is a Japanese genre of comics and illustrations that feature young boy characters in a cute or, most often, sexually explicit way. The genre emerged in the amateur culture of self-published comics – dōjinshi – in Japan in the 1980s, which is centred around huge conventions that have come to attract hundreds of thousands of participants (Kinsella 1998: 295–96). Shota was first an offspring of the male homoerotic genre yaoi, which is read and produced mainly by women. Male readers discovered shota through lolicon, a genre that features young girl characters in a sexually explicit way. Yet other male readers positioned themselves against the lolicon reading shota fans (Watanabe, 1998). This ‘complicated mix of male and female producers and consumers’ (Saitō, 2007: 236) of shota is reflected in its many subgenres, differing in style, themes, the age of the characters and the explicitness of the sex, as well as in the readers’ views on whether or how sexual desire for fictional boys is connected to sexual attraction to actual children. Untangling this largely unresearched knot of desires for fictional boy characters will give us a better understanding of human sexuality and provide a more solid basis for policymaking.
In my current research, I am asking how fans of shota comics in Japan think about desire and identity. My methods have included web surveys, participant observation at dōjinshi conventions and the above-mentioned semi-structured interviews, both recurring and one-off ones. In these interviews, my research participants have talked about various aspects of their relation to shota comics: what kind of shota they like, how they see themselves in relation to the story, how they engage with shota concretely (how they read or draw it), what shota gives them and so on. While the answers are sprawling, a few themes have emerged. My main finding, which I explored through filmmaking, is that some readers use shota as a way to relive an alternative version of their own pasts, which had sometimes been traumatic or uneventful.
So far everything makes sense. Semi-structured interviews had been transcribed, coded and funnelled into neat findings. A bit too neat, maybe. I had a persistent feeling of only having traced the surface of my topic, and of wanting to go deeper. Filmmaking had added a ‘knowledge of being’ to the ‘knowledge as meaning’ (MacDougall, 2006: 6) that words convey, but my understanding of my research participants’ experience remained largely intellectual. What I needed was a method that could remove the ‘separation of mind and body’ (Stoller, 1997: xv), and so give me an embodied understanding of my topic.
The solution had been there all along, printed in plain language in the interviews – I had just not seen it so clearly. Because no matter how my research participants’ takes on shota differed in terms of favourite theme, preferred age and style of characters, how they related their own selves to the story, and so on, they had one thing in common: almost all of them said that they masturbated to shota material. I tried to inquire about the details of these masturbation sessions, but it was hard to know what to ask, and the conversation sometimes stalled. In addition, it would have been impossible for me to grasp how the intellectual reasoning, for example, of entering an alternative past, was connected to the bodily sensation of masturbation without me ‘doing it’ myself. Audre Lorde (1997: 282) has written: ‘The erotic cannot be felt secondhand.’ Indeed. And so I realized that my body was equipped with a research tool of its own that could give me, quite literally, a first-hand understanding of shota.
Erotic confessions
The erotic in research ranges from recognizing it as a benevolent influence in education (Pensoneau-Conway, 2009: 176) to anthropologists having sex with research participants in order to understand a certain practice, such as anonymous sex (Langarita Adiego, 2019: 1256). While there is plenty of literature on masturbation as such, few researchers write about their own masturbation habits. The glaring exception is Kristen C. Blinne (2012), who attempted to ‘break taboos and stigmas surrounding self-pleasuring’, but whose poetic style ironically reinforces the idea that masturbation is a sensitive enough subject to warrant special linguistic treatment. Forestalling the criticism of her culture (North America), Blinne goes into confessional mode: ‘Before I continue, I must confess: I masturbate.’ (ibid.: 955; emphasis in original)
Despite the importance of understanding all aspects of being human, research on sexuality is often seen as ‘dirty work’ (Irvine, 2014: 633), and researchers, not least of sexually explicit comics, are vulnerable to accusations of having a ‘prurient’ interest in their research topic (Madill, 2018: 270); studying lolicon made Patrick W. Galbraith (2017) ‘the lolicon guy’, publishing a seminal book on pornographic films turned Linda Williams (1999: ix) into ‘a professor of “porn”’, and Eve Kosofsky Sedgwick (2008: 59) felt the need to justify why she, as a woman, wrote about gay men. Why are you interested in this? seems to be the lurking question that researchers want to beat critics to. Williams did so by abandoning her initial ‘objective, distanced stance’ for a confession similar to that of Blinne: ‘I thus hereby admit … to a genuinely “prurient interest” in the genre of pornography’ (Williams, 1999: xi). As commendable as I find such bold admissions of prurience, I can’t shake off the feeling that they reflect and reproduce the historical Christian belief in a ‘truth’ or ‘individual secret’ that can and must be expressed through confession, as detailed by Michel Foucault (1978: 61). I will therefore make a point of writing this research note in a rather casual and hands-on way, without any ceremoniously delivered confession: I simply want to explore a method that my research question seems to call for.
Let us briefly consider why, in a society that prides itself on being sexually liberal, masturbation is still controversial. One reason may be that we’re living under the yoke of a Christianity that for centuries ruled that reproduction was ‘the only justification of sexual relations’ (Weeks, 2009: 22; emphasis in original), and masturbation certainly doesn’t produce any babies. But plenty of sexual acts don’t, and yet they are not as stigmatized as masturbation. Foucault argues that the ‘crusade against masturbation’ in the 18th century was connected to the nuclear family as a new unit of knowledge-power, which was responsible for surveilling and quenching anything deemed ‘abnormal’ in the emerging medical discourse of the time (Foucault, 2003: 327). These abnormalities were rounded up and juxtaposed with their sanctioned counterparts in Gayle Rubin’s ‘hierarchical system of sexual value’, in which coupled relations are ‘good’ and solitary practices ‘bad’; masturbation is thus seen as ‘an inferior substitute for partnered encounters’ (Rubin, 2007: 151). While other ‘bad’ sexual acts have climbed in the hierarchy since Rubin’s essay was first published in 1984 – homosexual sex, non-procreative sex and casual sex, for example – the monstrous figure of ‘the masturbator’ (Sedgwick, 2008: 9) is still invoked in discussions. A recent article on the ‘foul’ practice of masturbating to someone’s Facebook photos can serve as example. The author uses the terms ‘perpetrators and victims’ and describes the masturbators as ‘very awful people’ (Zia, 2017). In a time when sex discourse flourishes and companies routinely paint their logotypes in rainbow colours to profit on a sexually liberal image, it seems that the worst sin is to simply be alone.
But are we alone? Blinne drags the reader into her masturbation sessions, addresses the reader ‘you’: ‘I long to know that this is mutual, yet you offer only silence.’ (Blinne, 2012: 95
. Is this inclusion of an invisible reader a desperate attempt to overcome the shame of being alone? I thought so at first, but that was before I started to think self-reflexively about my own masturbation, to which we will now turn.Masturbation as a method
This is how I set out to use masturbation as a method:
For a period of 3 months, I would masturbate only to shota comics. For this purpose, I would use dōjinshi and commercial volumes that I have bought or been given during fieldwork in Japan. In short: I would masturbate in the same way that my research participants did it. After each masturbation session I would write down my thoughts and feelings – a kind of critical self-reflection – in a notebook, as well as details about which material I had used, where I had done it, at what time, and for how long. I would not be allowed to have any other sexual relief during this ‘fieldwork’ in my own sexuality: no regular porn, no sex with another person, no fantasies or memories – it had to be shota every time. I happened to live alone during this experiment, and I had newly become single after a long relationship – these factors probably contributed to my willingness and eagerness to explore this method.
Among fans of shota and other subcultural comic genres in Japan, the fictional world is often referred to as two-dimensional, as in the lines on paper that a character in a comic is made of, whereas actual human beings are called three-dimensional, even when they appear in a photo or a video (Galbraith, 2019: 65). In other words, pornographic films are 3D, and erotic comics are 2D. Since my previous masturbation material had been almost exclusively 3D, immersing myself in the 2D world can be seen as a version of participant observation, the classic ethnographic method that Bronislaw Malinowski pioneered during his fieldwork on the Trobriand Islands of New Guinea in the beginning of the 20th century (Spradley 1980: 3). Malinowski’s radical quest to ‘grasp the native’s point of view’ (Malinowski 2002 [1922]: 19) by participating and observing started an ‘ethnographic revolution’ which came to define anthropology (Spradley 1980: V). It is this ongoing revolution that I want to contribute to by doing participant observation in the field within myself, while masturbating in the same way that my research participants do it. The ‘sensory ethnographer’ aims for ‘experience-based empathetic understandings of what others might be experiencing and knowing’ (Pink, 2015: 9
, and so my task is to understand with my body what it may be like to read shota comics.Why the long period and the strict rules of masturbating to only 2D material? Because ethnographic fieldwork demands such consistency in order to yield results in the form of a ‘thick description’ (Geertz, 1973) of the field. It was therefore imperative that I kept living within my own 2D world during this sexual fieldwork, without resorting to my usual 3D material, which I sometimes longed for. In that sense, I felt like I was in the physical field of another culture. I could relate to Malinowski, who during his time among the Trobrianders often felt a ‘longing for civilization’ (Malinowski, 1989: 14
, or for his own culture as we would say today. 3D is my culture, just like milk and muesli is my breakfast, and not fish and miso soup, which you might be served for breakfast at a traditional ryokan in Japan. I can enjoy both, but I think I will never overcome my preference – I wonder if any of us truly can. And so, it was necessary to be diligent enough to abstain from the ‘milk and muesli’ of porn during this experiment, in order to see what happened to my body on a long diet of ‘fish and miso soup’.Brief findings
The three months of masturbation to shota comics resulted in 30 entries in my notebook. Since this essay focuses on the method as such, I will only recount the main findings briefly and in regards to whether they helped me get closer to understanding the experience of my research participants.
Excerpt from my field diary after reading a dōjinshi by Shigeru from the ‘circle’, or dōjinshi group, Shōnen Zoom:
This masturbation session let me experience one of the core aspects of shota that some of my research participants had mentioned: its power to provide an alternative past. The story was realistic enough to make me relate it to my own growing up. I didn’t grow up in Japan and I never lived with a boy my age in the house of my relatives. But I did come to think of a male friend I had, and I do remember being alone in his room once, opening a small cupboard by his bedside, and finding a porn magazine there. Like the boy in Shigeru’s story, I felt excited when realizing that my friend (too) masturbated. My story stopped there, but Shigeru’s continued. And as I stroked myself to orgasm, Shigeru’s story mixed with my own, tweaking my past and providing me ‘a happier version’, as one of my research participants had put it. This is not to say that things like those in the dōjinshi necessarily should have happened when I grew up. But to enjoy this alternative version for half an hour in the comfort of my bed felt good.
Several of my research participants had used the word ‘nostalgia’ to describe the allure of shota. This too looks back at the past and the period of puberty that is captured by the term ‘growth’, which is a common theme in shota. A few sessions after Shigeru, I chose a dōjinshi by Tanaka Tarō/Jail Black, in which there is a new boy in class, Haru, who befriends a boy in that class, Ken. An excerpt from my fieldnotes:
In another entry, I note that ‘it felt good to have shared a person’s fantasy’ (15 September 2021). This sharing of other people’s imaginations is a key aspect of dōjinshi culture that finds its most evident expression at the recurring dōjinshi conventions, where fans of shota or other genres meet and buy each other’s publications. I have been to plenty of these events, but it was not until now, when I started masturbating to the dōjinshi I had bought there, that I felt that I had been truly let in. By coming to a particular story, I have shared a fantasy with both the other readers and with the creator of that fantasy. This gave me a feeling of intimacy, and made me understand why every dōjinshi ends with an atogaki, an afterword, where the author writes a bit about the work and thanks the readers for their support, because this little greeting signalled that we were in this together. The whole structure surrounding the shared imaginations of shota and other genres creates a ‘feeling of oneness’ or ittaikan (Galbraith, 2011: 224), which I would not have become part of without reading the works the way they were intended to be read: while masturbating.
So far I had deepened my understanding of what my research participants had talked to me about or I had encountered in the literature, but masturbating to shota also gave me findings that I don’t know if are unique to me or shared by my research participants, and so I will bring them up in our conversations as my research progresses. In short, these findings included:
Self-care
I experienced a sense of self-care, which I also call the ‘spa effect’, since I often felt so relaxed after these sessions that it reminded of going to a spa, or why not an onsen, a Japanese hot spring. While my previous masturbation habits had been rather routine, masturbating to shota became more of a ritual: carefully choosing a dōjinshi (what am I in the mood for today?), creating a comfortable position in the bed, dozing off a bit afterwards – it was all part of the ritual. The feeling was one of care: care of myself. This feeling was enhanced at the times when I chose a previously unopened dōjinshi: unwrapping the shiny cellophane created a crackling sound that signalled luxury and investment in myself. Other paraphernalia of the ritual, such as buying a special lamp that made reading while masturbating easier, showed that I respected myself and that masturbating to shota was something to feel proud and not ashamed of. But knowing how elaborate the process was also became a hindrance to getting started. Masturbating became a thing, almost something I planned for, and something I knew would take at least half an hour (partly because I took notes afterwards), whereas previously it had always been improvised. And so my masturbation frequency went down from daily to two or three times a week. In a way, quality replaced quantity. It may not be a coincidence that I kept up a healthy lifestyle in general during this period. For example, I stopped eating sugar, which in a way is the porn of food as it creates a dopamine rush of instant satisfaction.
Dōjinshi are diverse
It was not until I started reading dōjinshi actively while masturbating that I realized how different they were, not only in terms of drawings and story, which of course range from very amateurish to very professional, or in terms of characters and themes, which are a matter of taste, but more in how believable the story was. The examples above, with stories from a past childhood, were believable to me, as in ‘that could have happened’, and that made those dōjinshi good. But more often, very young boy characters would greedily jump over the first cock that presented itself. That too worked for me, but it was different. If the boyhood stories enhanced a sexual curiosity that was there from the start in the typical pubescent boy that the characters were modelled on, these other stories pasted an overly virile sexuality onto characters that would not be sexual to start with (or at least not that sexual, or in that way). Maybe one of the thrills of creating your own dōjinshi is that you can mend reality in such unbelievable ways? This relates to ‘the thrill of customizing someone else’s characters as one likes’ (Nagayama, 2020: 79), that is, creating erotic ‘parodies’ of famous comics, which is a defining feature of dōjinshi culture, instead of inventing one’s own original characters. In any case, discovering the cultural diversity of my masturbation material made me want to discuss in more detail how my research participants think about different dōjinshi.
Desire by proxy
My desire did not only emanate from the content of the dōjinshi, but from the fact that other people too were excited by this often extreme content and masturbated to it. Safely separated in time and space, we were sharing a sexual moment and maybe coming on the same pages, to the same frames. I did not want to see these people (at least not while I was masturbating), but just knowing that we were, in a way, doing it together added something to my pleasure. This feeling was enhanced when I read a secondhand dōjinshi, which I assumed had been used for masturbation by its previous owner, and thus been ‘charged’, like a magic charm that would continue to bring happiness to new owners.
Conclusion
What I learned from this experiment was to attach greater meaning and value to the act of masturbation, and especially of doing it to two-dimensional material in the form of comics. By that I don’t mean that I had belittled it before, but in a way I think that we all belittle, unconsciously, practices that we don’t understand. Masturbating made me understand.
Thinking more critically about my own masturbation also made me wonder if all sex is masturbation, in the sense that people are focused on their own pleasure and use other people as ‘masturbation material’. This is most evident in various forms of cybersex, which has been described as ‘a novel masturbatory innovation’ (Waskul et al., 2000: 38
, since the partners are physically separated. But the autoerotic aspect of sex is there even when we are physically together, and certain sexual practices enhance this aspect, as Pat Califia (2004) notes: ‘Some forms of masochism and fetishism are actually very sophisticated and complex forms of masturbation.’ Similarly, constructions like darkrooms, where people have sex without seeing each other, or glory holes, which conceal everything but the penis or a body orifice, let us build up the other as a fantasy in our heads from a minimal piece of actual flesh. To a varying extent, that’s what we always do when we have sex with someone. We’re all alone, no matter if we are physically alone or not.And at the same time, we are not alone. When we masturbate, someone else is always there. During this fieldwork, others were there with me, both in the form of the characters that populated the dōjinshi, but also in the form of the invisible creator of these characters and the other readers who were enjoying them. In addition, my head was visited by people from my past, people I had seen on the street, my ex-partner. It’s impossible for your brain to be blank during masturbation, which is why Blinne (2012) invited ‘you’ to hers. It may very well be that masturbation is the activity during which we are least alone. That, in turn, may explain what drives dōjinshi culture: a yearning for being less alone in a society permeated by loneliness on a large scale (Kato et al., 2017).
Acknowledgements
I would like to thank Elisabeth Lund Engebretsen for commenting on an early version of this article, the two anonymous reviewers for providing useful feedback, and my PhD supervisor Sharon Kinsella for always encouraging me to go where my research takes me.
Declaration of conflicting interests
The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author(s) received no financial support for the research, authorship, and/or publication of this article.
ORCID iD
Karl Andersson
https://orcid.org/0000-0003-0069-8683References
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Author biography
Karl Andersson is a PhD student at the School of Arts, Languages and Cultures, University of Manchester (UK). He has a master’s degree in Visual and Media Anthropology from the Free University of Berlin (Germany). Karl’s graduation film about shota culture in Japan, Unreal Boys, won the award for Best Student Film at the Society for Visual Anthropology Film and Media Festival 2021 (USA). His PhD research is funded by the School of Arts, Languages and Cultures.
Looking into his website: https://karlandersson.se/
"I started my fieldwork in Japan, the birthplace of shota, but have expanded it to shota fans globally."
- Karl Andersson
Works:
Director of the documentary Unreal Boys: A Film about Shota (2020)
Author of the book-length ethnography Impossibly Cute Boys: The Healing Power of Shota Comics in Japan (2024)
Published the gay magazine Destroyer between 2006 and 2010
Author of the book Gay Man’s Worst Friend: The Story of Destroyer Magazine in 2011
In 2025, he released the book Real Journalism, which contains articles from Destroyer and its sequel The Lover.
Quote on the front page about his "scandal"
Original Shota Research:
He has a fucking discord account........
Socials:
Website: https://karlandersson.se/ (A) (Wayback)
- IP Address: 109.235.174.5
- IP Range: 109.235.174.0-109.235.175.25
- Host name: ing.r101.websupport.se
- ISP: Loopia AB
Other website: https://shotaology.com/ (A) (Wayback)
- IP Address: 109.235.174.5
- IP Range: 109.235.174.0-109.235.175.25
- Host name: ing.r101.websupport.se
- ISP: Loopia AB
Both websites are hosted in Stockholm, Sweden.
Shotaology page: (L) (A)
Orcid: https://orcid.org/0000-0003-0069-8683 (A)
Manchester research page: (A) (A) - Now deleted
Stackhub: (L) (A)
Stubstack account: (L) (A)
Defuncted Stubstack: (L) (A)
Youtube: (L) (A) (P) [84 videos]
- Channel ID: UCAryzdCtU_8ulcvbuYdRXrQ
Discord Server: (L) (A)
Discord Account: @karl.andersson
Amazon: (L) (A)
Emails:
karl.andersson@postgrad.manchester.ac.uk
info@karlandersson.se
Digging around on this pedo-faggot and I think I could write a thread on his pedo-spergery.
- Joined
- Jan 8, 2023
Has a homo physiognomy.His face:
SWEDEN, YES!
Of course he has a trannycord...He has a fucking discord account........
Good digging. I wonder what will be uncovered.
- Joined
- Jul 8, 2022
Some more coping and seething on Twitter because of this!
>It was sharty retards doing it. All they had to do was region block central and South America and parts of SEA
>I'm saying slurs now because the hoodweebs deserves it
>Total Shartyfags Death
>there goes any hope for us gaijin lolicons to join our Japanese brethren on Pommu
They are still retorting the propaganda that there was a coordinated campaign from the Sharty to spam CSAM on there.
>Anytime we seek refuge away from them, they invade and pollute our spaces, aiming to harm or destroy it.
That sounds more like how lolicons act. N/A / N/A / N/A
Here is a woke lolicon from SEA calling the event "literal colonizer behavior"
>They are a hate group known as the Soyjak Party that WILL doxx people and send actual gore of children to their DMs!
>they're basically antis with admin privileges and with hitler's brain
>Tbh it was those people on 4chan spamming nazi shit on the site
They are at it again with blaming these imaginary "antis" for posting CSAM. When it was most likely a single person who was against the Sharty and wanted to ruin the raid.
>We need to start lighting a fire under the politicans to take down networked harassment sites like the Sh@rty.
>Those Antis were spamming actual CSAM and images of dead kids. You can't hate Western fucks enough for their double takes of thinking its fine to use real victims for a moment on internet spats.
>Their ideology means they are unable to leave anyone alone to have thoughts or feelings or appearance or anything at all in any way different from themselves. Their ideology has to be crushed, there is no peace wherever it thrives.
>Antis don't want us gone, they want to fight us constantly. Nothing would make them more miserable than not having anyone to fight.
>You cannot reason with these people, much less coexist. You either need a way to fight back, ideally causing as much harm if not more to them,
>The only solution is to legalize lolisho everywhere and quite literally make it a felony to call crap like lolisho, feral, guro, and pornographic artwork and acting depicting things like rape and necrophilia csam type materials and/ or evidence of sexually predatory behavior. (This retard
)>Groypers are criminals.
>They're jewish puppets
>They don't think. They're feral little animals acting on emotion. We should all post more gooner shit as a to them.
>Wasn't it the works of Sharty and Kiwifarms? I don't think that most antis on this site even knew of Pommu's existence.
>Ironic when they accuse Lolicons of being Pedophiles and then they somehow have those fucked up images of children being tortured and abused on their hard drives too.
>The segregation of JP from the US is intentional btw ... The Chinese are trying to force JP away from the international stage so they can take it over instead. See: Recent Taiwan drama. The USA's people suck the CCP's cocks on a daily basis.
And guess who is back! CEOofLinie and Master Nemesis / MasterNemesis69 are back at it again with the retarded smear that the Kiwi Farms was behind the raid and CSAM!
>It's not good, it rewards Kiwi Farms and Soyjack party and teaches them how they can shut down and segregate websites ran by a race of people they hate.
To which someone replied with that it was just the Sharty. Nemesis replies back with, "They worked together." (This retard has not provided any evidence for his claims BTW.)
>if you keep it Geoblocked you've proven that Kiwi Farms can shut down any Japanese site they want to and taught them exactly how to do it.
To which someone corrects him once again and Nemesis gives the same reply.
>This is how you know Kiwi Farms and Soyjack have deal with the government for Internet destabilization because they're able to just do that without their sites seized and owners going to prison forever.
Here is a basic summary of what has happened.
>Pommu an Otaku friendly Twitter clone gets announced.
>People like Chibi Reviews spreads the news of this.
>The news gets to Soyjak Party.
>They plan a raid once the website is live.
>Pommu comes online and is open to all.
>The raid by the Sharty starts. Soyjaks are spammed galore.
>Pommu and Twitter lolicons start to seethe and cry about the soyjaks.
>Someone from the Sharty or someone against it then starts to spam DNB (Dead Nigger Baby).
>This causes a massive reaction by those on Pommu and Twitter.
>The news of the raid starts to go around.
>The Kiwi Farms start to discuss the raid and laugh at the reactions.
>Eventually, probably a single person or a small group allegedly spams CSAM content.
>This person/s were most likely a third party and not related to the Sharty.
>Pommu shuts down and blocks all traffic, ending the raid.
>News of this start to become viral on Twitter.
>The mention of DNB and CSAM being posted on Pommu is brought up on Twitter.
>They start to blame the "antis" for this. Despite the most likely answer that it was a third party retard that wanted to ruin the raid.
>The Sharty gets blamed for the raid and some people claim that they were behind the CSAM and DNB spam. No evidence for this serious accusation is provided.
>A small amount of them then start to blame the Kiwi Farms alongside the Sharty for raiding and the CSAM spam. They call for the arrest of its users and owners. Again, no evidence is provided for this serious accusation.
>The seething continues and Kiwi Farms laughs at the reactions.
>Pommu remains closed for awhile and then reopens but it becomes region locked.
>People on Twitter are still blaming the "antis" and the Sharty for spam of CSAM and DNB.
>With a small amount of retards still thinking the Kiwi Farms were involved in the raid. Though some other people do correct the retards.
Due to the actions of a single or a few cybercriminals posting illegal content. Lolicons and dishonest individuals are attributing this to the "antis" as a single collective. They are framing a false narrative that there was a coordinated plan to spam CSAM. And according to them, the perpetrators of this crime are "antis." Has there been any evidence to prove the motive of the person/s behind the posting of the illegal content? No, of course not, it's all a "dude trust me, it's antis bro!" moment. All of it is dishonest framing to smear their opposition based on the actions of a person/persons who are most likely not even a part of the group being accused. Fuck these bad-faith lying assholes.
- Joined
- Aug 20, 2025
Oh I watched this years ago after he got flack for it and hid it away. One of the interviewees is a very autistic nigger living in Japan who acts like he'd crumble into dust if you glanced in his direction. They also interview famous shotacon artist Tsukumo Gou in a fox mask.
I didn't see a link to it in the post but here's one if anyone wants to try and archive it. It's only about 30min long, so not a huge waste of time to watch. It really feels like this pervert got his school to fund his doujin collecting trip and they filmed this as an afterthought.
- Joined
- Oct 6, 2024
Thank you for sending that, gonna download it in case it gets taken down. Ill reupload it in his thread soon
- Joined
- Jul 16, 2025
TL;DW
woke = age of consent laws
fent addict
kiwifarms.net
- Joined
- May 13, 2025
Is that retard really trying to say that a private company broke the Geneva convention for not allowing him to access their pedophile site?
- Joined
- Jan 8, 2023
I thought you these people loved acting smug?!? What's wrong, does it hurt when YOU are the one taking the brunt? Learn to take a fucking clue next time.Here is a woke lolicon from SEA calling the event "literal colonizer behavior"
Truly the trannies of the "other spectrum". They have too much free time, and can think of "tactics" all day long. Good thing people don't care about all this gay drama.
Pretty much, it's a good way to see it. Thanks for reminded me.
These people are sociopaths of the highest calibre, and I look forward for when they are gone.
- Joined
- May 1, 2025
Edit: She made a video talking about lolicon in general earlier as well. Archive
Edit 2: Phase Connect (the vtuber agency) seems to be putting out a game soon. Archive
Nov 23, 2025
COMING SOON.
A daughter raising visual novel project inspired by titles like Princess Maker and Tamagotchi where you play as an unnamed protagonist to raise a member of Phase Invaders Wish.
Illustration: Roozuchanhttps://x.com/roozuka
MV: Dexhttps://x.com/mdxtr24
BGM: Xeliospherehttps://x.com/liosphe
& Special Thank you to Phase Connect for making this project possible.
The comments are about what you'd expect though not the worst I've seen from vtubers posted here.
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- Joined
- Jan 8, 2023
Good dive in. If she's not doing this for clout, I can salute her.
Adding a local copy as well just in case:
- Joined
- Oct 22, 2020
Princess Maker 2 was one the first games I played on a DOS rom. I fuckin loved old school Japanese DOS artwork, along with the rpg elements and music. The way artwork could just be translated into pixels and dithering was amazing. Hell I even bought the artbook from the creator off Ebay since I loved the art so much.
Unfortunately there is nude code you can type in to see your daughter naked. (There's no nipple or vaginal slip but it's still fuckin weird to include it) AND there's an ending where you can make your daughter marry YOU.
CAN'T BE A PROPER JAPANESE GAME WITHOUT FAMILY INCEST.
AlfredHitchdick
kiwifarms.net
- Joined
- Oct 8, 2025
- Joined
- Aug 26, 2023
Never forget our own @anliteralidiot is an unabashed loli
- Joined
- Jan 8, 2023
Assuming Japaniggers find their humour so low brow that it is pretty much toilet humour-level and veiled pornography/horny references... how is this a thing? "Le sex because funny". This isn't fucking funny.
But of course "no fucking foreigners on MY DEGENERATE country!". Priorities.
Sadly, we lowered ourselves even more beyond them. I see no reason why some look up to Japan. Truly, the soft power of tranime was a one hit wonder.