Thread:Magma Dragoon/@comment-31412168-20170922174744/@comment-34097347-20170924143443

'''My Userpages Mr. Megadust (main page) | Mr. Megadust 2 | Source Test'''

'''Some Random Villains that I Like... Some of them are Brazilians''' = Sonic.EXE =
 * -| Sonic.EXE=

"I AM GOD!"

- Sonic.EXE's most famous quote.

Sonic.EXE (real name X) is the titular main antagonist of the creepypasta game Sonic.EXE and it's sequel Sonic.EXE/Round 2 (also known as Round2.EXE). It is a demonic entity that possesses a CD-ROM of the original Sonic the Hedgehog, taking on the form of the main character. Then, it proceeds to kill the in-game characters before attacking and removing the soul/killing the person playing his game.

According to the author, this entity is actually a being created at the beginning of the universe in his own dimension, not God or Satan.

Sonic.exe
The original Sonic.exe story centers on Tom, a young man who was a big fan of Sonic the Hedgehog, especially the older games. He claimed that he had not played any glitchy or hacked games before, though he admitted that he didn't want to after an experience he had. He then proceeded to recount his experience, saying how he received a CD and an accompanying letter from his friend Kyle, begging him to destroy the disc "before it's too late" and not to never play the game.

Ignoring his friend's warnings, Tom played the game and began to encounter odd, somewhat disturbing phenomena, from a title card featuring an evil-looking Sonic with bloody eyes and glowing pupils with a wide smile to the presence of a file select screen similar to that of the one in Sonic the Hedgehog 3, with a red background and chilling music playing. As he picked the only available character, Tails and began the first stage, titled "HILL ACT 1", Tom continued to find more evidence that there was something wrong with the game, namely the copious amounts of dead animals, all murdered in gruesome ways and eventually encountering Sonic at the end of the level, standing completely still and with his eyes closed. When Tails attempted to get his attention during a cutscene by tapping him on the shoulder, Sonic's eyes opened, identical to the Sonic on the title screen before cutting to black, with the message "Hello. Do you want to play with me?" In the next level, "HIDE AND SEEK", Tom witnessed Sonic chasing Tails, the latter flying despite an inability to do so without a Super form, before disappearing, teleporting in front of the distraught fox and killing him and cutting to black. Shocked, Tom reads the next message, "YOU'RE TOO SLOW. WANT TO TRY AGAIN?". After playing as Knuckles and losing a supposed "boss battle" with Sonic, Tom decided to take a break from the game.

However, his rest was plagued by nightmares featuring the corrupted Tails and Knuckles, and the demonic Sonic, with him waking in a cold sweat. Returning to the game, Tom picked Robotnik from the file select screen and continued with the game. At the end of the level, Sonic teleported in front of Robotnik, before the screen cut to red static. Then, a "hyper-realistic" image of Sonic appeared on the screen, with the words "I AM GOD!". After the game ended, Tom turned around to find, to his utter horror, a bloodied Sonic plushie on his bed. Tom's fate is ambiguous (though the official sequel reveals that Tom committed suicide to escape from the entity using Sonic's likeness).

Sonic.EXE (game)
Sonic.EXE plays a secondary role in the PC/computer/indie game adaption. First you play as Tails, and then he will go to the destroyed Green Hill Zone alias "HILL", and there's a lot of dead animals there with their intestines tied to the palm trees. Eventually, Sonic.EXE can be seen hiding in one of the trees along with Tails running. And then, out of nowhere, X can be seen just standing there as Tails wonders. When Tails gets close to him, static/buzzing sounds can be heard/seen. The scene later cuts to a level named "HIDE AND SEEK", where we can see that Tails is crying while running in a hellish level. And then suddenly X appears and the fox tries to run but cries when he gets caught and then Sonic.EXE appears and kills him with just one claw. Right after Tails became X's victim, Knuckles takes the place as a player and runs into an underground entitled "YOU CANT RUN". Again a static effect will appear and there is blood under the ground and he gets sucked by X via his own mouth (as a vacuum cleaner). Knuckles cries after he gets almost absorbed and Sonic.EXE kills him like he did the same with Tails. And last there is Dr. Eggman (alias Dr. Robotnik) in the level "..." and he runs down the stairs and the background changes erratically and X kills him. Suddenly a screen will appear with a creepy-looking Sonic with text that says "I AM GOD" and it will show a screen of Japanese text mentioning demons and devils other evil things

Related Phenomena

 * Slender Man (a legendary being often found in creepypasta lore)
 * Tails Doll (another Sonic based urban legend surrounding a demonic force inhabiting the Tails Doll character)
 * .Exe Creepypastas (stories made in a similar vein, and often involving the Sonic the Hedgehog franchise)

Personality
Unlike the real Sonic, who is a heroic saviour and enemy of evil, Sonic.exe is the exact opposite. Being a demon who has merely taken on the form of Sonic in the game, he is twisted, cruel, callous and sadistic, preferring to mentally torture his opponents before killing them. He is also highly arrogant, believing himself to a be a god, which isn't too far-fetched a statement as within his own realm, he is omnipotent.

Before his origins were revealed in Sonic.exe/Round 2, there was quite a lot of speculation as to whom Sonic.exe was, with common suggestions being a demon possessing Sonic's body, a computer virus that can become tangible in the real world for a short amount of time, or a demonic impersonator of Sonic (the latter of which was his backstory in the official sequel, where he was referred to as "X"). X is a master manipulator, as he was able to manipulate both Kyle and Tom into playing the game, as well as being the leader of the Cult of X, possibly pointing to him being quite charismatic as well.

He however can use Sonic's real form whenever he feels like this such an the sequel of sally (coming up) with however he manipulate And fool Amy as luring her in the Rings While impersonating Sonic which lead Amy to her death.

Sonic.exe's true origins are revealed here, in this story, Sonic.exe is a nameless blob of pure dark matter that seeks to have humanity all to himself, he soon finds out about Sonic the Hedgehog and idolizes him to the point of him creating a new body that resembles the hedgehog. He then discovered his powers (Mainly reality manipulation), and created his own dimension where he created his Seven Guardians, along with the game disk. It is also revealed that he doesn't kill people for the fun of it, but to steal their souls and have them serve him as his slaves for eternity.

Trivia
= Makes No Sense =
 * Though initially well received by the Creepypasta community, the story (along with Sonic.exe himself) have recently met a more negative critical reception. YouTube channel MichaelLeroi read both the original and the sequel, giving both very bad reviews, in addition to both stories being removed from Creepypasta Wiki for "failing to meet quality standards", which resulted in a slightly controversial reaction from J.C. The Hyena, the author of the stories, which was also met with high criticism.
 * Sonic.exe is somewhat similar to the Super Sonic of Fleetway's Sonic the Comic series, being a more powerful but evil, possibly demonic version of the character, though that Super Sonic was still Sonic, whereas Sonic.exe is a demon taking Sonic's likeness.
 * Sonic.exe's eyes have been taken from the Kakugans, ghoul's eyes originating from the anime Tokyo Ghoul and that the iris turns red, and the sclera black with red veins across the eye and into the skin around the eye, but just with the blood tear under them.
 * -| Makes No Sense=

"Everybody's fucked up."

- Makes No Sense's catchphrase "I can't understand WHAT THE FUCK is going on to this world!"

- Makes No Sense's second catchphrase "GOODBYYEEE, YOU SONS OF BITCHES! And look, you got a little problem."

- Makes No Sense's last words while leaving Felipe's channel forever.

The Makes No Sense (originally in brazilian portuguese Não Faz Sentido) is one of the most famous brazilians YouTubers: Felipe Neto Rodrigues Vieira's Alter-Ego and the titular main antagonist of Felipe's YouTube blog serie with the same name, in his YouTube channel Felipe Neto. Makes No Sense has been hated and at the same time liked and even loved by many people due his blogs talking bad of many things.

Overall
The Makes No Sense was Felipe Neto's Alter-Ego created by himself, and where he begun his career in YouTube in 2010, always wearing sunglasses and talking angrily about anything he considers that "Makes No Sense" for him, exposing his opinions in a rage way and great speech. Makes No Sense generated more negative looking and flaks about Felipe than positive ones, at the time, whe the name "Felipe Neto" was heard, people has been reacting directly in a negative way, thinkin' about what he talked bad about lot of things in his videos. Things such as Carnival; Shopping Malls; Late Adolescence; A great brazilian MC funker: MC Biel; Twilight Movie Saga; 50 Shades of Grey; Movie's translations to other languages; Football players; First Experiences; ETC. The Makes No Sense lived for apparently 6 years, from April 22nd of 2010 to October 13rd of 2016. But, in his video of March 24th of 2017, Felipe Neto ended once and for all, figuratively, killing his Alter-Ego, Makes No Sense.

Book
Felipe also wrote a book titled  Não Faz Sentido! - Por Trás da Câmera  (Makes No Sense! - Behind the Camera) where he tells everything about Makes No Sense.

Information
Felipe Neto with his second personality, Makes No Sense, made a lot of theater shows named "Minha Vida Não Faz Sentido!" (My Life Makes No Sense), and the last one was recorded and published on Netflix. Felipe and Makes No Sense changes their stands "minute by minute", they says lots of bad words, telling public how everything happened along their lives and how Makes No Sense was created. Somethings for be funny, and others serious.

Appearance
Felipe Neto's Makes No Sense is known by his gray or black sunglasses he always wears, with black or darkblue T-shirts. In the first Makes No Sense videos, when he was younger, his face was clean, but, after a time, it started appearing beard and mustache in his face.

Personality
The "man who wears sunglasses" seems to be a nice, funny and friendly talkative if you look at him at first, but, his true nature is arrogant, angrily talkative, with an ability of great explanatory speech and arguments, always with an explanation to prove that you're wrong in thinking the opposite of what he belives being true, this is well explicit and remarkable in his video [https://www.youtube.com/watch?v=99ZcpR0UBkY Astrologia & Signos - Não Faz Sentido! ] (Astrology And Signs - Makes No Sense!).

Trivia
Hair colors = Toninho "T. T." Tubarão =
 * Makes No Sense was the first work of Felipe Neto to his YouTube channel
 * The Makes No Sense caused many "revolutions", discussions and attacks around Felipe, many people started to turn against him by some of their disagreements.
 * Today, with Makes No Sense completely erased from existence, Felipe Neto is the third bigger brazilian youtuber in terms of numbers of subscribers. Now, with each million subscribers reached, he colors his hair. Each million with it's own color.
 * 6.000.000 Subscribers = Black (his main and default hair color)
 * <font color="#e2d301">7.000.000 Subscribers = Platinum
 * 8.000.000 Subscribers = Blue
 * 9.000.000 Subscribers = Pink
 *  10.000.000  Subscribers  =  All  Four  Together  
 * 11.000.000 Subscribers = Green
 * <font color="#e10101">12.000.000 Subscribers = Little-Darked Red (current color)
 * 15.000.000 Subscribers (future) = Neon (color undefined yet)
 * -| T. Tubarão=

"Misunderstanding? Misunderstanding? I'll explain you what's the "misunderstanding", the misunderstanding is that the person who betrayed is gonna die!"

- Toninho explains his goal in episode 39. Antônio Ricardo, also known as Toninho Tubarão (in english Li'l Tony Shark), is a minor villain from the brazilian Milti Show TV channel comedy theater serie Vai Que Cola. Tubarão is a criminal who works together with Maltoso, who is his informator for whatever happens around them. He is portrayed by Fábio Porchat, who also has his own TV show that is also in YouTube called Programa do Porchat.

Toninho Tubarão's Theme
= <p style="text-align:center">Mrs. of the Absurds =
 * -| Mrs. of the Absurds=

"Dear, God doesn't bring no one to Méier. Ok? By the way, if it is it, God musn't even know where the fuck is this fucking Méier!"

- Lady of the Absurds' famous quote in Vai Que Cola.

The Mrs./Lady of the Absurds is a racist lady and the main antagonist of the brazilian comedian Paulo Gustavo's Multi Show TV channel comedy theater show 220 Volts, and of the 6th episode from the Season 2 of the comedy theater serie, also from Multi Show TV channel, Vai Que Cola. She is portrayed by the own Paulo Gustasvo. Every time she is about to appear for the first time in some episode, an emergency-looking alarm plays. In 220 Volts, she always gives her opinions about anything, and her opinions are always negative and racist. In Vai Que Cola, she arrives with the purpose of buying and illegally destroy Mrs. Maria Joana's pension and build a new residence there without lettin' she and her pension's guests know.

Lady's Theme (Alert Alarm)
= <p style="text-align:center">Copyright =
 * -| Copyright=

"All rights reserved"

- Copyright's main slogan The Copyright Ownership Right (for short, Copyright) is an illegal law considered a right law, but, as the YouTubers know, this "human right" is nothing more than a big and complete threat to everybody. Why? Because, when someone wants to use LEGALLY a content, some of them gets blocked suddenly unfair, what harms the regular users' works, causing so much trouble. The question is: Will this virtual torture be forever? Only time has the answer.

Copyright
Copyright, in the politic eyes, is a legal right (besides being not) created by the law of a country that grants the creator of an original work exclusive rights for its use and distribution. This is usually only for a limited time. The exclusive rights are not absolute but limited by limitations and exceptions to copyright law, including fair use. A major limitation on copyright is that copyright protects only the original expression of ideas, and not the underlying ideas themselves.

Copyright is a form of intellectual property, applicable to certain forms of creative work. Some, but not all jurisdictions require "fixing" copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders. These rights frequently include reproduction, control over derivative works, distribution, public performance, and "moral rights" such as attribution.

Copyrights are considered territorial rights, which means that they do not extend beyond the territory of a specific jurisdiction. While many aspects of national copyright laws have been standardized through international copyright agreements, copyright laws vary by country.

Typically, the duration of a copyright spans the author's life plus 50 to 100 years (that is, copyright typically expires 50 to 100 years after the author dies, depending on the jurisdiction). Some countries require certain copyright formalities to establishing copyright, but most recognize copyright in any completed work, without formal registration. Generally, copyright is enforced as a civil law (common law)|civil matter, though some jurisdictions do apply criminal sanctions.

Most jurisdictions recognize copyright limitations, allowing "fair" exceptions to the creator's exclusivity of copyright and giving users certain rights. The development of digital media and computer network technologies have prompted reinterpretation of these exceptions, introduced new difficulties in enforcing copyright, and inspired additional challenges to copyright law's philosophic basis. Simultaneously, businesses with great economic dependence upon copyright, such as those in the music business, have advocated the extension and expansion of copyright and sought additional legal and technological enforcement.

Background
Copyright came about with the invention of the printing press and with wider literacy. As a legal concept, its origins in Britain were from a reaction to printers' monopolies at the beginning of the 18th century. The English Parliament was concerned about the unregulated copying of books and passed the Licensing of the Press Act 1662, which established a register of licensed books and required a copy to be deposited with the Stationers' Company, essentially continuing the licensing of material that had long been in effect.

Copyright laws allow products of creative human activities, such as literary and artistic production, to be preferentially exploited and thus incentivized. Different cultural attitudes, social organizations, economic models and legal frameworks are seen to account for why copyright emerged in Europe and not, for example, in Asia. In the Middle Ages in Europe, there was generally a lack of any concept of literary property due to the general relations of production, the specific organization of literary production and the role of culture in society. The latter refers to the tendency of oral societies, such as that of Europe in the medieval period, to view knowledge as the product and expression of the collective, rather than to see it as individual property. However, with copyright laws, intellectual production comes to be seen as a product of an individual, with attendant rights. The most significant point is that patent and copyright laws support the expansion of the range of creative human activities that can be commodified. This parallels the ways in which capitalism led to the commodification of many aspects of social life that earlier had no monetary or economic value per se.

Copyright has grown from a legal concept regulating copying rights in the publishing of books and maps to one with a significant effect on nearly every modern industry, covering such items as sound recordings, films, photographs, software, and architectural works.

National copyrights
Often seen as the first real copyright law, the 1709 British Statue of Anne gave the publishers rights for a fixed period, after which the copyright expired.

The act also alluded to individual rights of the artist. It began, "Whereas Printers, Booksellers, and other Persons, have of late frequently taken the Liberty of Printing ... Books, and other Writings, without the Consent of the Authors ... to their very great Detriment, and too often to the Ruin of them and their Families:". A right to benefit financially from the work is articulated, and court rulings and legislation have recognized a right to control the work, such as ensuring that the integrity of it is preserved. An irrevocable right to be recognized as the work's creator appears in some countries' copyright laws.

The Copyright Clause of the United States Constitution (1787) authorized copyright legislation: "To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries." That is, by guaranteeing them a period of time in which they alone could profit from their works, they would be enabled and encouraged to invest the time required to create them, and this would be good for society as a whole. A right to profit from the work has been the philosophical underpinning for much legislation extending the duration of copyright, to the life of the creator and beyond, to their heirs.

The original length of copyright in the United States was 14 years, and it had to be explicitly applied for. If the author wished, they could apply for a second 14‑year monopoly grant, but after that the work entered the public domain, so it could be used and built upon by others.

Copyright law was enacted rather late in German states, and the historian Eckhard Höffner argues that the absence of copyright laws in the early 19th century encouraged publishing, was profitable for authors, led to a proliferation of books, enhanced knowledge, and was ultimately an important factor in the ascendency of Germany as a power during that century.

International copyright treaties
The 1886 Berne Convention first established recognition of copyrights among sovereign nations, rather than merely bilaterally. Under the Berne Convention, copyrights for creative works do not have to be asserted or declared, as they are automatically in force at creation: an author need not "register" or "apply for" a copyright in countries adhering to the Berne Convention. As soon as a work is "fixed", that is, written or recorded on some physical medium, its author is automatically entitled to all copyrights in the work, and to any derivative works unless and until the author explicitly disclaims them, or until the copyright expires. The Berne Convention also resulted in foreign authors being treated equivalently to domestic authors, in any country signed onto the Convention. The UK signed the Berne Convention in 1887 but did not implement large parts of it until 100 years later with the passage of the Copyright, Designs and Patents Act of 1988. Specially, for educational and scientific research purposes, the Berne Convention provides the developing countries issue compulsory licenses for the translation or reproduction of copyrighted works within the limits prescribed by the Convention. This was a special provision that had been added at the time of 1971 revision of the Convention, because of the strong demands of the developing countries.The United States did not sign the Berne Convention until 1989.

The United States and most Latin American countries instead entered into the Buenos Aires Convention in 1910, which required a copyright notice on the work (such as all rights reserved), and permitted signatory nations to limit the duration of copyrights to shorter and renewable terms. The Universal Copyright Convention was drafted in 1952 as another less demanding alternative to the Berne Convention, and ratified by nations such as the Soviet Union and developing nations.

The regulations of the Berne Convention for the Protection of Literary and Artistic Works|Berne Convention are incorporated into the World Trade Organization's TRIPS agreement (1995), thus giving the Berne Convention effectively near-global application.

In 1961, the United International Bureaux for the Protection of Intellectual Property signed the Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations. In 1996, this organization was succeeded by the founding of the World Intellectual Property Organization, which launched the 1996 WIPO Performances and Phonograms Treaty and the 2002 WIPO Copyright Treaty, which enacted greater restrictions on the use of technology to copy works in the nations that ratified it. The Trans-Pacific Partnership includes intellectual Property Provisions relating to copyright.

Copyright laws are standardized somewhat through these international conventions such as the Berne Convention and Universal Copyright Convention. These multilateral treaties have been ratified by nearly all countries, and international organizations]] such as the European Union or World Trade Organization require their member states to comply with them.

Ownership
The original holder of the copyright may be the employer of the author rather than the author himself if the work is a "work for hire]]". For example, in English law the Copyright, Designs and Patents Act 1988 provides that if a copyrighted work is made by an employee in the course of that employment, the copyright is automatically owned by the employer which would be a "Work for Hire". Typically, the first owner of a copyright is the person who created the work i.e. the author. But when more than one person creates the work, then a case of joint authorship can be made provided some criteria are met.

Eligible works
Copyright may apply to a wide range of creative, intellectual, or artistic forms, or "works". Specifics vary by jurisdiction, but these can include poems, theses, fictional characters plays and other literary works, motion pictures, choreography, musical compositions, sound recordings, paintings, drawings, sculptures, photographs, computer software, radio and television broadcasts, and industrial designs. Graphic designs and industrial designs may have separate or overlapping laws applied to them in some jurisdictions.

Copyright does not cover ideas and information themselves, only the form or manner in which they are expressed. For example, the copyright to a Mickey Mouse cartoon restricts others from making copies of the cartoon or creating derivative works based on Disney's particular anthropomorphic mouse, but does not prohibit the creation of other works about anthropomorphic mice in general, so long as they are different enough to not be judged copies of Disney's. Note additionally that Mickey Mouse is not copyrighted because characters cannot be copyrighted; rather, Steamboat Willie is copyrighted and Mickey Mouse, as a character in that copyrighted work, is afforded protection.

Originality
Typically, a work must meet minimal standards of originality in order to qualify for copyright, and the copyright expires after a set period of time (some jurisdictions may allow this to be extended). Different countries impose different tests, although generally the requirements are low; in the United Kingdom there has to be some "skill, labour, and judgment" that has gone into it. In Australia and the United Kingdom it has been held that a single word is insufficient to comprise a copyright work. However, single words or a short string of words can sometimes be registered as a trademark instead.

Copyright law recognizes the right of an author based on whether the work actually is an original creation, rather than based on whether it is unique; two authors may own copyright on two substantially identical works, if it is determined that the duplication was coincidental, and neither was copied from the other.

Registration
In all countries where the Berne Convention standards apply, copyright is automatic, and need not be obtained through official registration with any government office. Once an idea has been reduced to tangible form, for example by securing it in a fixed medium (such as a drawing, sheet music, photograph, a videotape, or a computer file), the copyright holder is entitled to enforce his or her exclusive rights. However, while registration isn't needed to exercise copyright, in jurisdictions where the laws provide for registration, it serves as prima facie evidence of a valid copyright and enables the copyright holder to seek statutory damages and attorney's fees. (In the USA, registering after an infringement only enables one to receive actual damages and lost profits.)

A widely circulated strategy to avoid the cost of copyright registration is referred to as the poor man's copyright. It proposes that the creator send the work to himself in a sealed envelope by registered mail, using the postmark to establish the date. This technique has not been recognized in any published opinions of the United States courts. The United States Copyright Office says the technique is not a substitute for actual registration. The United Kingdom Intellectual Property Office discusses the technique and notes that the technique (as well as commercial registries) does not constitute dispositive proof that the work is original nor who the creator of the work is.

Fixing
The Berne Convention allows member countries to decide whether creative works must be "fixed" to enjoy copyright. Article 2, Section 2 of the Berne Convention states: "It shall be a matter for legislation in the countries of the Union to prescribe that works in general or any specified categories of works shall not be protected unless they have been fixed in some material form." Some countries do not require that a work be produced in a particular form to obtain copyright protection. For instance, Spain, France, and Australia do not require fixation for copyright protection. The United States and Canada, on the other hand, require that most works must be "fixed in a tangible medium of expression" to obtain copyright protection. U.S. law requires that the fixation be stable and permanent enough to be "perceived, reproduced or communicated for a period of more than transitory duration." Similarly, Canadian courts consider fixation to require that the work be "expressed to some extent at least in some material form, capable of identification and having a more or less permanent endurance.

Copyright notice
Before 1989, United States law required the use of a copyright notice, consisting of the copyright symbol (©, the letter C inside a circle), the abbreviation "Copr.", or the word "Copyright", followed by the year of the first publication of the work and the name of the copyright holder. Several years may be noted if the work has gone through substantial revisions. The proper copyright notice for sound recordings of musical or other audio works is a sound recording copyright symbol (℗, the letter P inside a circle), which indicates a sound recording copyright, with the letter P indicating a "phonorecord". In addition, the slogan phrase All rights reserved was once required to assert copyright, but that phrase is now legally obsolete. Almost everything on the Internet has some sort of copyright attached to it. Whether these things are watermarked, signed, or have any other sort of indication of the copyright is a different story however.

In 1989 the United States enacted the Berne Convention Implementation Act, amending the 1976 Copyright Act to conform to most of the provisions of the Berne Convention. As a result, the use of copyright notices has become optional to claim copyright, because the Berne Convention makes copyright automatic. However, the lack of notice of copyright using these marks may have consequences in terms of reduced damages in an infringement lawsuit – using notices of this form may reduce the likelihood of a defense of "innocent infringement" being successful.

Enforcement
Copyrights are generally enforced by the holder in a civil law court, but there are also criminal infringement statutes in some jurisdictions. While central registries are kept in some countries which aid in proving claims of ownership, registering does not necessarily prove ownership, nor does the fact of copying (even without permission) necessarily prove that copyright was infringed. Criminal sanctions are generally aimed at serious counterfeiting activity, but are now becoming more commonplace as copyright collectives such as the RIAA are increasingly targeting the file sharing home Internet user. Thus far, however, most such cases against file sharers have been settled out of court. (See: Legal aspects of file sharing)

In most jurisdictions the copyright holder must bear the cost of enforcing copyright. This will usually involve engaging legal representation, administrative or court costs. In light of this, many copyright disputes are settled by a direct approach to the infringing party in order to settle the dispute out of court.

"...by 1978, the scope was expanded to apply to any 'expression' that has been 'fixed' in any medium, this protection granted automatically whether the maker wants it or not, no registration required."

Copyright infringement
For a work to be considered to infringe upon copyright, its use must have occurred in a nation that has domestic copyright laws or adheres to a bilateral treaty or established international convention such as the Berne Convention or WIPO Copyright Treaty. Improper use of materials outside of legislation is deemed "unauthorized edition", not copyright infringement.

Copyright infringement most often occurs to software, film and music. However, infringement upon books and other text works remains common, especially for educational reasons. Statistics regarding the effects of copyright infringement are difficult to determine. Studies have attempted to determine whether there is a monetary loss for industries affected by copyright infringement by predicting what portion of pirated works would have been formally purchased if they had not been freely available. Other reports indicate that copyright infringement does not have an adverse effect on the entertainment industry, and can have a positive effect. In particular, a 2014 university study concluded that free music content, accessed on YouTube, does not necessarily hurt sales, instead has the potential to increase sales.

Exclusive rights
Several exclusive rights typically attach to the holder of a copyright:
 * to produce copies or reproductions of the work and to sell those copies (including, typically, electronic copies)
 * to import or export the work
 * to create derivative works (works that adapt the original work)
 * to perform or display the work publicly
 * to sell or cede these rights to others
 * to transmit or display by radio or video

The phrase "exclusive right" means that only the copyright holder is free to exercise those rights, and others are prohibited from using the work without the holder's permission. Copyright is sometimes called a "negative right", as it serves to prohibit certain people (e.g., readers, viewers, or listeners, and primarily publishers and would be publishers) from doing something they would otherwise be able to do, rather than permitting people (e.g., authors) to do something they would otherwise be unable to do. In this way it is similar to the unregistered design right in English law and European law. The rights of the copyright holder also permit him/her to not use or exploit their copyright, for some or all of the term. There is, however, a critique which rejects this assertion as being based on a philosophical interpretation of copyright law that is not universally shared. There is also debate on whether copyright should be considered a property right or a moral right.

If a pictorial, graphic or sculptural work is a useful article, it is copyrighted only if its aesthetic features are separable from its utilitarian features. A useful article is an article having an intrinsic utilitarian function that is not merely to portray the appearance of the article or to convey information. They must be separable from the functional aspect to be copyrighted.

Duration
Copyright subsists for a variety of lengths in different jurisdictions. The length of the term can depend on several factors, including the type of work (e.g. musical composition, novel), whether the work has been published]], and whether the work was created by an individual or a corporation. In most of the world, the default length of copyright is the life of the author plus either 50 or 70 years. In the United States, the term for most existing works is a fixed number of years after the date of creation or publication. Under most countries' laws (for example, the United States and the United Kingdom), copyrights expire at the end of the calendar year in question.

The length and requirements for copyright duration are subject to change by legislation, and since the early 20th century there have been a number of adjustments made in various countries, which can make determining the duration of a given copyright somewhat difficult. For example, the United States used to require copyrights to be renewed after 28 years to stay in force, and formerly required a copyright notice upon first publication to gain coverage. In Italy and France, there were post-wartime extensions that could increase the term by approximately 6 years in Italy and up to about 14 in France. Many countries have extended the length of their copyright terms (sometimes retroactively). International treaties establish minimum terms for copyrights, but individual countries may enforce longer terms than those.

In the United States, all books and other works published before 1923 have expired copyrights and are in the public domain. In addition, works published before 1964 that did not have their copyrights renewed 28 years after first publication year also are in the public domain. Hirtle points out that the great majority of these works (including 93% of the books) were not renewed after 28 years and are in the public domain. Books originally published outside the US by non-Americans are exempt from this renewal requirement, if they are still under copyright in their home country.

But if the intended exploitation of the work includes publication (or distribution of derivative work, such as a film based on a book protected by copyright) outside the U.S., the terms of copyright around the world must be considered. If the author has been dead more than 70 years, the work is in the public domain in most, but not all, countries.

In 1998, the length of a copyright in the United States was increased by 20 years under the Copyright Term Extension Act. This legislation was strongly promoted by corporations which had valuable copyrights which otherwise would have expired, and has been the subject of substantial criticism on this point.

Limitations and exceptions
In many jurisdictions, copyright law makes exceptions to these restrictions when the work is copied for the purpose of commentary or other related uses. It should be noted that US copyright does NOT cover names, title, short phrases or Listings (such as ingredients, recipes, labels, or formulas). However, there are protections available for those areas copyright does not cover – such as trademarks and patents.

There are some exceptions to what copyright will protect. Copyright will not protect:
 * Names of products
 * Names of businesses, organizations, or groups
 * Pseudonyms of individuals
 * Titles of works
 * Catchwords, catchphrases, mottoes, slogans, or short advertising expressions
 * Listings of ingredients in recipes, labels, and formulas, though the directions can be copyrighted

Idea–expression dichotomy and the merger doctrine
The idea–expression divide differentiates between ideas and expression, and states that copyright protects only the original expression of ideas, and not the ideas themselves. This principle, first clarified in the 1879 case of Baker v. Selden, has since been codified by the Copyright Act of 1976 at 17 U.S.C. § 102(b).

The first-sale doctrine and exhaustion of rights
Copyright law does not restrict the owner of a copy from reselling legitimately obtained copies of copyrighted works, provided that those copies were originally produced by or with the permission of the copyright holder. It is therefore legal, for example, to resell a copyrighted book or CD. In the United States this is known as the first-sale doctrine, and was established by the courts to clarify the legality of reselling books in second-hand bookstores.

Some countries may have parallel importation restrictions that allow the copyright holder to control the aftermarket. This may mean for example that a copy of a book that does not infringe copyright in the country where it was printed does infringe copyright in a country into which it is imported for retailing. The first-sale doctrine is known as exhaustion of rights in other countries and is a principle which also applies, though somewhat differently, to patent and trademark rights. It is important to note that the first-sale doctrine permits the transfer of the particular legitimate copy involved. It does not permit making or distributing additional copies.

In Kirtsaeng v. John Wiley & Sons, Inc., in 2013, the United States Supreme Court held in a 6-3 decision that the first-sale doctrine applies to goods manufactured abroad with the copyright owner's permission and then imported into the US without such permission. The case involved a plaintiff who imported Asian editions of textbooks that had been manufactured abroad with the publisher-plaintiff's permission. The defendant, without permission from the publisher, imported the textbooks and resold on eBay. The Supreme Court's holding severely limits the ability of copyright holders to prevent such importation.

In addition, copyright, in most cases, does not prohibit one from acts such as modifying, defacing, or destroying his or her own legitimately obtained copy of a copyrighted work, so long as duplication is not involved. However, in countries that implement moral rights, a copyright holder can in some cases successfully prevent the mutilation or destruction of a work that is publicly visible.

Fair use and fair dealing
Copyright does not prohibit all copying or replication. In the United States, the fair use doctrine, codified by the Copyright Act of 1976 as 17 U.S.C. Section 107, permits some copying and distribution without permission of the copyright holder or payment to same. The statute does not clearly define fair use, but instead gives four non-exclusive factors to consider in a fair use analysis. Those factors are:
 * 1) the purpose and character of one's use
 * 2) the nature of the copyrighted work
 * 3) what amount and proportion of the whole work was taken, and
 * 4) the effect of the use upon the potential market for or value of the copyrighted work.

In the United Kingdom and many other Commonwealth countries, a similar notion of fair dealing was established by the courts or through legislation. The concept is sometimes not well defined; however in Canada, private copying for personal use has been expressly permitted by statute since 1999. In Alberta (Education) v. Canadian Copyright Licensing Agency (Access Copyright), 2012 SCC 37, the Supreme Court of Canada concluded that limited copying for educational purposes could also be justified under the fair dealing exemption. In Australia, the fair dealing exceptions under the Copyright Act 1968 (Cth) are a limited set of circumstances under which copyrighted material can be legally copied or adapted without the copyright holder's consent. Fair dealing uses are research and study; review and critique; news reportage and the giving of professional advice (i.e. legal advice). Under current Australian law, although it is still a breach of copyright to copy, reproduce or adapt copyright material for personal or private use without permission from the copyright owner, owners of a legitimate copy are permitted to “format shift” that work from one medium to another for personal, private use, or to “time shift” a broadcast work for later, once and only once, viewing or listening. Other technical exemptions from infringement may also apply, such as the temporary reproduction of a work in machine readable form for a computer.

In the United States the AHRA (Audio Home Recording Act codified in Section 10, 1992) prohibits action against consumers making noncommercial recordings of music, in return for royalties on both media and devices plus mandatory copy-control mechanisms on recorders.


 * Section 1008. Prohibition on certain infringement actions


 * No action may be brought under this title alleging infringement of copyright based on the manufacture, importation, or distribution of a digital audio recording device, a digital audio recording medium, an analog recording device, or an analog recording medium, or based on the noncommercial use by a consumer of such a device or medium for making digital musical recordings or analog musical recordings.

Later acts amended US Copyright law so that for certain purposes making 10 copies or more is construed to be commercial, but there is no general rule permitting such copying. Indeed, making one complete copy of a work, or in many cases using a portion of it, for commercial purposes will not be considered fair use. The Digital Millennium Copyright Act prohibits the manufacture, importation, or distribution of devices whose intended use, or only significant commercial use, is to bypass an access or copy control put in place by a copyright owner. An appellate court has held that fair use is not a defense to engaging in such distribution.

The copyright directive allows EU member states to implement a set of exceptions to copyright. Examples of those exceptions are:
 * photographic reproductions on paper or any similar medium of works (excluding sheet music) provided that the rightholders receives fair compensation,
 * reproduction made by libraries, educational establishments, museums or archives, which are non-commercial
 * archival reproductions of broadcasts,
 * uses for the benefit of people with a disability,
 * for demonstration or repair of equipment,
 * for non-commercial research or private study
 * when used in parody

Accessible copies
It is legal in several countries including the United Kingdom and the United States to produce alternative versions (for example, in large print or braille) of a copyrighted work to provide improved access to a work for blind and visually impaired persons without permission from the copyright holder.

Transfer, assignment and licensing
A copyright, or aspects of it (e.g. reproduction alone, all but moral rights), may be assigned or transferred from one party to another. For example, a musician who records an album will often sign an agreement with a record company in which the musician agrees to transfer all copyright in the recordings in exchange for royalties and other considerations. The creator (and original copyright holder) benefits, or expects to, from production and marketing capabilities far beyond those of the author. In the digital age of music, music may be copied and distributed at minimal cost through the Internet; however, the record industry attempts to provide promotion and marketing for the artist and his or her work so it can reach a much larger audience. A copyright holder need not transfer all rights completely, though many publishers will insist. Some of the rights may be transferred, or else the copyright holder may grant another party a non-exclusive license to copy or distribute the work in a particular region or for a specified period of time.

A transfer or licence may have to meet particular formal requirements in order to be effective, for example under the Australian Copyright Act 1968 the copyright itself must be expressly transferred in writing. Under the U.S. Copyright Act, a transfer of ownership in copyright must be memorialized in a writing signed by the transferor. For that purpose, ownership in copyright includes exclusive licenses of rights. Thus exclusive licenses, to be effective, must be granted in a written instrument signed by the grantor. No special form of transfer or grant is required. A simple document that identifies the work involved and the rights being granted is sufficient. Non-exclusive grants (often called non-exclusive licenses) need not be in writing under U.S. law. They can be oral or even implied by the behavior of the parties. Transfers of copyright ownership, including exclusive licenses, may and should be recorded in the U.S. Copyright Office. (Information on recording transfers is available on the Office's web site.) While recording is not required to make the grant effective, it offers important benefits, much like those obtained by recording a deed in a real estate transaction.

Copyright may also be licensed. Some jurisdictions may provide that certain classes of copyrighted works be made available under a prescribed statutory license (e.g. musical works in the United States used for radio broadcast or performance). This is also called a compulsory license, because under this scheme, anyone who wishes to copy a covered work does not need the permission of the copyright holder, but instead merely files the proper notice and pays a set fee established by statute (or by an agency decision under statutory guidance) for every copy made. Failure to follow the proper procedures would place the copier at risk of an infringement suit. Because of the difficulty of following every individual work, copyright collectives or collecting societies and performing rights organizations (such as ASCAP, Broadcast Music Incorporated (BMI), and SESAC) have been formed to collect royalties for hundreds (thousands and more) works at once. Though this market solution bypasses the statutory license, the availability of the statutory fee still helps dictate the price per work collective rights organizations charge, driving it down to what avoidance of procedural hassle would justify.

Free licenses
Copyright licenses known as open or free licenses seek to grant several rights to licensees, either for a fee or not, to an effect inspired by the public domain. Free in this context is not as much of a reference to price as it is to freedom. What constitutes free licensing has been characterised in a number of similar definitions, including by order of longevity the Free Software Definition, the Debian Free Software Guidelines, the Open Source Definition and the Definition of Free Cultural Works. Further refinements to these licenses have resulted in categories such as copyleft and permissive. Common examples of free licences are the GNU General Public License, BSD licenses and some Creative Commons licenses.

Founded in 2001 by James Boyle, Lawrence Lessig, and Hal Abelson, the Creative Commons (CC) is a non-profit organization which aims to facilitate the legal sharing of creative works. To this end, the organization provides a number of generic copyright license options to the public, gratis. These licenses allow copyright holders to define conditions under which others may use a work and to specify what types of use are acceptable.

Terms of use have traditionally been negotiated on an individual basis between copyright holder and potential licensee. Therefore, a general CC license outlining which rights the copyright holder is willing to waive enables the general public to use such works more freely. Six general types of CC licenses are available (although some of them are not properly free per the above definitions and per Creative Commons' own advice). These are based upon copyright-holder stipulations such as whether he or she is willing to allow modifications to the work, whether he or she permits the creation of derivative works and whether he or she is willing to permit commercial use of the work. As of 2009 approximately 130 million individuals had received such licenses.

Criticism
Some sources are critical of particular aspects of the copyright system. This is known as a debate over copynorms. Particularly on the internet, there is discussion about the copyright aspects of downloading and streaming, the copyright aspects of hyperlinking and framing. Such concerns are often couched in the language of digital rights and database rights. Discussions include Free Culture, a 2004 book by Lawrence Lessig. Lessig coined the term permission culture to describe a worst-case system. Good Copy Bad Copy (documentary) and RiP!: A Remix Manifesto, discuss copyright. Some suggest an alternative compensation system.

Some groups reject copyright altogether, taking an anti-copyright stance. The perceived inability to enforce copyright online leads some to advocate ignoring legal statutes when on the web.

Public domain
Copyright, like other intellectual property rights, is subject to a statutorily determined term. Once the term of a copyright has expired, the formerly copyrighted work enters the public domain and may be freely used or exploited by anyone. Courts in common law countries, such as the United States and the United Kingdom, have rejected the doctrine of a common law copyright. Public domain works should not be confused with works that are publicly available. Works posted in the internet, for example, are publicly available, but are not generally in the public domain. Copying such works may therefore violate the author's copyright.