#But also I was just going to copy the one from the article but it basically just explains what it's a graph of w/o summarising the data🙄

[kaiserin-erzsebet]

Do you have any tips on doing accurate research for people without access to formal education

Sure! This can't be one size fits all for every field, but I can give some starting points for history.

If you're reading a book, here's what to consider:

1. Are there footnotes or endnotes? In academia this is our way of being transparent with each other about where you got information. If a book doesn't have them, they're more interested in telling a good story than being accountable to their peers. That's a red flag.

2. Don't trust claims that seem very specific but don't have a source. Broad claims can be the author's analysis. But specific things "so and so said this" "there was a rumor that (x)" should be coming from somewhere and it is the author's job to tell you where.

3. Look out for choppy quoting. Even if someone has a source, they may not be using it well. If someone is paraphrasing a lot and only uses bits and pieces of the text while also using a lot of ellipses, you will want to try to find the whole text to make sure it's being quoted fairly.

4. Look at the publication date. Knowledge changes with time and old books tend to be outdated. You don't have to stick to the academic rule of thumb of "25 years is the threshold for new scholarship" but do be aware that if something is over 50 years old, many many people have likely revisited and revised what it's saying. Not that new books can't also be bad and incorrect, but they tend to be working with better tools generally.

5. Look up the author. I cannot stress this one enough. The author's background and political convictions can matter a lot to how they interpret things. For example, one of the biographies people tend to pick up about my dissertation topic is from the late 1920s by a man who later applied to join the NSDAP. That fact really can't be separated from his interpretations no matter how hard people try.

6. Stop reading if someone is making a lot of moral or personal judgements on a historical figure. I'm talking about the "Elizabeth I was a frigid hag and men found her ugly"-esque takes, not things like calling historical atrocities morally bad. Does it feel like bitchy gossip? That sort of thing is unprofessional, uninformative, and means someone has an axe to grind. Spite can be motivation for research, but axe grinding shouldn't show up clearly in published work.

These are things to keep in mind to make sure you're getting better information. Others are free to add on for their field or if there's something I forgot.

One very important thing to add: professors and academics like people emailing them about their research. You can do that! You can ask for copies of pay walled articles. You just have to go through the mortifying ordeal of expressing interest in an email.

[sophiamcdougall]

You're a reasonably informed person on the internet. You've experienced things like no longer being able to get files off an old storage device, media you've downloaded suddenly going poof, sites and forums with troves full of people's thoughts and ideas vanishing forever. You've heard of cybercrime. You've read articles about lost media. You have at least a basic understanding that digital data is vulnerable, is what I'm saying. I'm guessing that you're also aware that history is, you know... important? And that it's an ongoing study, requiring ... data about how people live? And that it's not just about stanning celebrities that happen to be dead? Congratulations, you are significantly better-informed than the British government! So they're currently like "Oh hai can we destroy all these historical documents pls? To save money? Because we'll digitise them first so it's fine! That'll be easy, cheap and reliable -- right? These wills from the 1850s will totally be fine for another 170 years as a PNG or whatever, yeah? We didn't need to do an impact assesment about this because it's clearly win-win! We'd keep the physical wills of Famous People™ though because Famous People™ actually matter, unlike you plebs. We don't think there are any equalities implications about this, either! Also the only examples of Famous People™ we can think of are all white and rich, only one is a woman and she got famous because of the guy she married. Kisses!"

Yes, this is the same Government that's like "Oh no removing a statue of slave trader is erasing history :(" You have, however, until 23 February 2024 to politely inquire of them what the fuck they are smoking. And they will have to publish a summary of the responses they receive. And it will look kind of bad if the feedback is well-argued, informative and overwhelmingly negative and they go ahead and do it anyway. I currently edit documents including responses to consultations like (but significantly less insane) than this one. Responses do actually matter. I would particularly encourage British people/people based in the UK to do this, but as far as I can see it doesn't say you have to be either. If you are, say, a historian or an archivist, or someone who specialises in digital data do say so and draw on your expertise in your answers. This isn't a question of filling out a form. You have to manually compose an email answering the 12 questions in the consultation paper at the link above. I'll put my own answers under the fold. Note -- I never know if I'm being too rude in these sorts of things. You probably shouldn't be ruder than I have been.

Please do not copy and paste any of this: that would defeat the purpose. This isn't a petition, they need to see a range of individual responses. But it may give you a jumping-off point.

Question 1: Should the current law providing for the inspection of wills be preserved?

Yes. Our ability to understand our shared past is a fundamental aspect of our heritage. It is not possible for any authority to know in advance what future insights they are supporting or impeding by their treatment of material evidence. Safeguarding the historical record for future generations should be considered an extremely important duty.

Question 2: Are there any reforms you would suggest to the current law enabling wills to be inspected?

No.

Question 3: Are there any reasons why the High Court should store original paper will documents on a permanent basis, as opposed to just retaining a digitised copy of that material?

Yes. I am amazed that the recent cyber attack on the British Library, which has effectively paralysed it completely, not been sufficient to answer this question for you.  I also refer you to the fate of the Domesday Project. Digital storage is useful and can help more people access information; however, it is also inherently fragile. Malice, accident, or eventual inevitable obsolescence not merely might occur, but absolutely should be expected. It is ludicrously naive and reflects a truly unpardonable ignorance to assume that information preserved only in digital form is somehow inviolable and safe, or that a physical document once digitised, never need be digitised again..At absolute minimum, it should be understood as certain that at least some of any digital-only archive will eventually be permanently lost. It is not remotely implausible that all of it would be. Preserving the physical documents provides a crucial failsafe. It also allows any errors in reproduction -- also inevitable-- to be, eventually, seen and corrected. Note that maintaining, upgrading and replacing digital infrastructure is not free, easy or reliable. Over the long term, risks to the data concerned can only accumulate.

"Unlike the methods for preserving analog documents that have been honed over millennia, there is no deep precedence to look to regarding the management of digital records. As such, the processing, long-term storage, and distribution potential of archival digital data are highly unresolved issues. [..] the more digital data is migrated, translated, and re-compressed into new formats, the more room there is for information to be lost, be it at the microbit-level of preservation. Any failure to contend with the instability of digital storage mediums, hardware obsolescence, and software obsolescence thus meets a terminal end—the definitive loss of information. The common belief that digital data is safe so long as it is backed up according to the 3-2-1 rule (3 copies on 2 different formats with 1 copy saved off site) belies the fact that it is fundamentally unclear how long digital information can or will remain intact. What is certain is that its unique vulnerabilities do become more pertinent with age."  -- James Boyda, On Loss in the 21st Century: Digital Decay and the Archive, Introduction.

Question 4: Do you agree that after a certain time original paper documents (from 1858 onwards) may be destroyed (other than for famous individuals)? Are there any alternatives, involving the public or private sector, you can suggest to their being destroyed?

Absolutely not. And I would have hoped we were past the "great man" theory of history. Firstly, you do not know which figures will still be considered "famous" in the future and which currently obscure individuals may deserve and eventually receive greater attention. I note that of the three figures you mention here as notable enough to have their wills preserved, all are white, the majority are male (the one woman having achieved fame through marriage) and all were wealthy at the time of their death. Any such approach will certainly cull evidence of the lives of women, people of colour and the poor from the historical record, and send a clear message about whose lives you consider worth remembering.

Secondly, the famous and successsful are only a small part of our history. Understanding the realities that shaped our past and continue to mould our present requires evidence of the lives of so-called "ordinary people"!

Did you even speak to any historians before coming up with this idea?

Entrusting the documents to the private sector would be similarly disastrous. What happens when a private company goes bust or decides that preserving this material is no longer profitable? What reasonable person, confronted with our crumbling privatised water infrastructure, would willingly consign any part of our heritage to a similar fate?

Question 5: Do you agree that there is equivalence between paper and digital copies of wills so that the ECA 2000 can be used?

No. And it raises serious questions about the skill and knowledge base within HMCTS and the government that the very basic concepts of data loss and the digital dark age appear to be unknown to you. I also refer you to the Domesday Project.

Question 6: Are there any other matters directly related to the retention of digital or paper wills that are not covered by the proposed exercise of the powers in the ECA 2000 that you consider are necessary?

Destroying the physical documents will always be an unforgivable dereliction of legal and moral duty.

Question 7: If the Government pursues preserving permanently only a digital copy of a will document, should it seek to reform the primary legislation by introducing a Bill or do so under the ECA 2000?

Destroying the physical documents will always be an unforgivable dereliction of legal and moral duty.

Question 8: If the Government moves to digital only copies of original will documents, what do you think the retention period for the original paper wills should be? Please give reasons and state what you believe the minimum retention period should be and whether you consider the Government’s suggestion of 25 years to be reasonable.

There is no good version of this plan. The physical documents should be preserved.

Question 9: Do you agree with the principle that wills of famous people should be preserved in the original paper form for historic interest?

This question betrays deep ignorance of what "historic interest" actually is. The study of history is not simply glorified celebrity gossip. If anything, the physical wills of currently famous people could be considered more expendable as it is likely that their contents are so widely diffused as to be relatively "safe", whereas the wills of so-called "ordinary people" will, especially in aggregate, provide insights that have not yet been explored.

Question 10: Do you have any initial suggestions on the criteria which should be adopted for identifying famous/historic figures whose original paper will document should be preserved permanently?

Abandon this entire lamentable plan. As previously discussed, you do not and cannot know who will be considered "famous" in the future, and fame is a profoundly flawed criterion of historical significance.

Question 11: Do you agree that the Probate Registries should only permanently retain wills and codicils from the documents submitted in support of a probate application? Please explain, if setting out the case for retention of any other documents.

No, all the documents should be preserved indefinitely.

Question 12: Do you agree that we have correctly identified the range and extent of the equalities impacts under each of these proposals set out in this consultation? Please give reasons and supply evidence of further equalities impacts as appropriate.

No. You appear to have neglected equalities impacts entirely. As discussed, in your drive to prioritise "famous people", your plan will certainly prioritise the white, wealthy and mostly the male, as your "Charles Dickens, Charles Darwin and Princess Diana" examples amply indicate. This plan will create a two-tier system where evidence of the lives of the privileged is carefully preserved while information regarding people of colour, women, the working class and other disadvantaged groups is disproportionately abandoned to digital decay and eventual loss. Current and future historians from, or specialising in the history of minority groups will be especially impoverished by this.  

[makingqueerhistory]

":')))))))) you realise that gen AI is available to everyone though right??? Queer creators can use it just as much as anyone else??? I just don't understand this post... It really feels like a cheap way to get on the 'AI Bad's bandwagon, and coming from such a thoughtful and insightful creator that's incredibly disappointing... It's okay to not comment on subjects you're not an expert in y'know...?"

Y'all know the drill, I am replying to this publicly but that is not an invitation to send any negative messages to the person I am replying to.

Anyways, let me start by saying that the original context of the post you're replying to is discussing an event where a queer org used generative AI to steal an interview with Keri Hulme. So let's start there. To be clear I don't even know if the original interviewer was queer so let's put the identities of stealer and stolen from to the side. I want to explain the harm done in this example specifically and I hope this is illustrative of what harm generative AI can (and does) do.

The original place I saw generative AI was a queer org that explicitly says they are using generative AI "for good", and as a way to bring more queer history to light. So let's take them at their word, and assume they are not out to cause harm. This is the best example of generative AI that I can imagine, so I hope that makes it clear that I am not coming at this issue from bad faith in any way.

Here is the harm they are causing:

Decontextualizing and rephrasing an interview: I am not going to pretend that I am an expert in academic best practices, but I do believe one thing, if a person is speaking on their own identity and lived experience, it is always much better to directly quote than it is to rephrase. As I read this source, I initially didn't know that it was AI, and I was already upset. An interview that is widely available on the internet with no pay wall, was poorly sourced and made more vague than it was in the initial text. By creating one degree of seperation between the original words of A WRITER (whose literal job was largely based in choosing the right words to describe experiences they had) harm is already done. It makes vague what was once clear, and removes Keri Hulme's voice from her own narrative.

The original interviewer is not paid, or given proper recognition: I get it, sometimes just copy pasting an interview doesn't feel transformative enough, but something that one would learn if they worked in the queer history field and weren't a literal robot rehashing what has already been said, is that not everything needs to be transformed. In those cases, we give credit to the person who said the original words (in this case Keri Hulme), and the interviewer who facillitated the conversation (in this case Shelley Bridgeman). This case (again a best case scenario), takes the attention and byline away from the original interviewer and gives it to an AI.

The original publisher of this story is deinsentivised from paying interviewers in the future: The original publisher of this interview has ads on their website. As a person who also has ads on their website, taking an article like this and rephrasing it for no good reason (the orginal word count was not prohibitive and the rephrasing did not make it more readable), takes money from the publisher. It's pennies, but it's also removing numbers could have been used to justify further interviews with asexual people and archiving of asexual stories. The org that stole from this publication does not interview people themselves so the money and numbers that could have gone to continue to preserve asexual stories goes to stealing them instead.

These are just the active harms that I saw in this specific case. As you said, I am not an expert in generative AI, and will not be speaking as if I am. But I will say that asking me not to speak out on active harm that is being caused in queer history spaces, is disrespectful to my many years in this field.

To illustrate this even clearer: if you were a patron, you would know I recently took down an old article. I have been rereading and editing our backlist of articles, and I found one that no longer fit my standards of sourcing. My standards had recently raised due to a video made by HBomberguy about someone in the queer history space who was stealing from other creators. I watched this video not as a work project, but because I watch most of HBomberguys videos, and this one made me think more critically about sourcing. An AI can't do that. All an AI has is what has been inputted, and it is right now impossible to input every available peice of information about ethics into an AI and get a coherent ethical basis on which it will function.

It is a distinctly human trait to absorb information and change in that way. AI can rephrase information that already exists, steal it, recontextualize it even, but it cannot create something altogether new.

Do I believe that there one day might be an ethical use for Generative AI? Maybe. Do I believe that coming into a queer history space, stealing the words of a Maori asexual author, rephrasing them, and giving the original interviewer and publication no form of compensation for their work, is accomplishing that? No.

On a more personal note: I am coming at this issue with a bias. As a queer history creator, I do not want AI in my space, because it is literally damaging to my financial prospects. It has been like pulling teeth to try and get patrons in the current state of the global economy. I don't blame anyone from that, but I feel very disrespected that I am being asked to compete with a machine now. Not only that, but I am being asked to shut up and be fine with it? No, absolutely not. I cannot and will not stay quiet as space that I have fought tooth and nail to create in mainstream discussions is taken and given to AI.

AI was not supporting me when I was sent gore to try and scare me off of discussing queer history. A person did that. AI was not there to tell me I had written too many sad stories, and I needed some happy endings to remind myself of the good in the world. A person did that. AI was not there when I was being harrassed for supporting and including asexual stories on my website. A person did that.

And after all that, I am being asked to lie down and take it when my ability to pay the people who supported me in those ways, is being threatened. Nope. Not going to happen.

An AI doesn't have to make rent. An AI doesn't understand what it feels like to have to stop holding their wife's hand in public. An AI didn't get calls from people needing comfort in reaction to the election. Pay me for my work, and get this AI nonsense out of my face.

[thankskenpenders]

The Lara-Su Chronicles: Beginnings review

The day has finally come. Many, understandably, thought we'd never get here. Maybe we shouldn't have gotten here. We've been through so much. Lawsuits, reboots, redesigns, unreleased NFTs, empty legal threats over the fact that movie Knuckles has a dad, an attempt to license out Scourge the Hedgehog to fans that immediately got canceled (in both meanings of the term), and many, MANY idiotic Twitter controversies. But now, here we are.

Thirteen years after first announcing it in the middle of his legal battles with Archie and Sega that changed the American Sonic comics forever, former writer Ken Penders has released the first part of his new series: The Lara-Su Chronicles.

Yes. I had to buy the book. I had to take one for the team. Look at the fucking URL of this blog, a blog I've been using to talk about the American Sonic comics for nearly a decade while the specter of this book loomed in the distance. The one time I've actually been paid to write an article about anything in any professional capacity, it was an article about the Penders lawsuits. I'm cited on his Wikipedia page. There was no way I was going to skip reviewing this, and there was no guarantee that scans would ever turn up online given the incredibly small audience for this trash. (Only 166 people preordered this, and even that number feels way higher than it should be.) No, I had to preorder it to ensure I could get a copy and cover it for the blog... even if that meant my name would be forever immortalized in the list of "supporters" in the back of the book. These are the sacrifices I must make as a woman who stumbled ass backwards into being an amateur Archie Sonic historian.

So, what exactly is in this book? How much of it is new? How bad is it? How did we even get here in the first place? How can this exist without Sega pursuing legal action? What happens next? And, most importantly... why are there multiple depictions of an Archie Sonic character breastfeeding in this book?

I'm here to answer those questions as best I can, and in agonizing detail.

First, for those just tuning in to this decades-long saga or those who maybe don't know the full story, here's a refresher on the background info.

"What the hell is this?"

The Lara-Su Chronicles is Ken Penders' long-dreaded long-awaited continuation of his 1994-2006 run on Archie Sonic, ignoring everything written after he left by other writers like Ian Flynn. In particular, it picks up from the cliffhanger ending of the 2003-2004 arc "Mobius: 25 Years Later," which was set in what Ken considers the definitive canonical future of the series. It stars Knuckles' daughter from that future era, Lara-Su, among other new and returning characters. The project was first announced near the start of Ken's legal battle with Archie in 2011, and he's been posting WIP previews online for about a decade. Now, after all this time, a Lara-Su Chronicles book finally exists.

We'll get to the actual contents of that book in a bit.

"He can do that without getting in trouble with Sega?"

Believe it or not, yes, he can.

Thanks to the outcome of Archie Comics' woefully mismanaged lawsuits against Ken (yes, they sued him after he started filing for copyrights, not the other way around), he now has full legal ownership of every story he wrote for Archie Sonic and every character he created for the series. This was explicitly granted to him in the terms of the settlement between him and Archie (acting on behalf of Sega). He can even reprint his old Sonic material as-is to his heart's content. The main catch is just that he can't write new stories featuring Sega characters or trademarks, and his new stories also have to be distinct from Sonic at a glance to avoid confusing readers. As such, reprints can't use Sonic iconography on the cover, a few Sega characters (mainly Knuckles) have been renamed and slightly redesigned in the new stories, and the art style has been changed to less closely resemble Sonic. But otherwise, he can do whatever he wants with his own characters.

All of this is because Archie lost the original copy of Ken's work-for-hire contract that signed over the rights to his work. Without that (or any alternative that was considered permissible in court), his comics and characters are the property of their creator by default. Yes, those old comics are full of Sega stuff, but Sega doesn't automatically own the copyright for every drawing of Sonic in existence. And Sega put their stamp of approval all over those comics and let them get sold at retail for decades, even though (in the eyes of the court) there was no legal paperwork granting them ownership of any of it. It's almost like they were unwittingly distributing a fan comic for years and declaring it a fair use of their property, and now there's no takesies backsies. It's a strange and unique copyright situation. Again, they worked all this out in the settlement. And, yes, fans have long speculated that Ken stole and destroyed his own contract to regain the rights to his work, but frankly Archie was so incompetent throughout the lawsuit (it went so bad that they had to fire and replace their lawyers midway through) that I completely buy the idea of them just losing important legal documents.

Also, in case it needs to be spelled out: while Ken's a weirdo, it's ultimately a good thing for creatives everywhere that Archie lost their lawsuit against Ken. We do not want to live in a world where corporations can claim ownership of peoples' work without the contracts to back it up. That would be an incredibly dangerous legal precedent to set. And more comic creators, and artists in general, should own their own work! Corporations are not your friend! They'll delete your work for a tax write-off in a heartbeat! It's just bewildering that this guy, of all people, was the creator who ended up successfully getting his shit back, and that this is what he's doing with it.

"What about his old collaborators? Are they involved? Is he paying them?"

Ken is mostly doing The Lara-Su Chronicles solo, though he has, in fact, talked about compensating the artists involved in any material he's reprinting. The ones who give enough of a shit to get paid for a small scale reprint of something they did 20 years ago, anyway.

On the subject of his collaborators, it's also worth pointing out that Ken's wasn't the only contract that was lost. Most of the early Archie Sonic writers from before Ian Flynn's time seem to be in the same boat as Ken, with the ownership of their stories and characters defaulting back to them. Again, Archie fucked up big time. But like I said, most of them don't really seem to give a shit. For most of them, Sonic was just a random temporary gig they took to pay the bills while Marvel was busy going bankrupt in the '90s, not the thing that defined their entire careers.

The only other Archie Sonic contributor who's tried to do anything on the level of what Ken is doing was writer and editor Scott Fulop. In 2016 he attempted to sue Archie for the unauthorized use of what are now retroactively considered his copyrighted characters and stories, and he even announced a standalone comic about his most famous Sonic character, the recurring villain Mammoth Mogul (sort of a pastiche of DC's Vandal Savage and Marvel's Kingpin, with wizard powers added for spice). However, Fulop lost his lawsuit because he didn't put together a particularly compelling case. Since then he seems to have wiped all traces of his ill-advised Mammoth Mogul comic and his company, Narrative Ark Entertainment, from the internet. For now, this leaves The Lara-Su Chronicles the only project of its kind.

"What about those other Archie Sonic reprints he just announced?"

At the time of writing, Ken is once again claiming that he's trying to get the band back together to reprint all of Archie Sonic, now under the bad new banner "Floating Island Productions: MOBIAN LINE" that I can't imagine he consulted literally anyone else on.

So, like, look. As we've established, Ken can reprint his own stories. And if he can work something out with the other contributors whose contracts were lost, he can print their work, too. But there is no fucking way he's getting his hands on Ian Flynn's run, which Sega undoubtedly holds the copyright for. Even if they don't, Ian needs to maintain a good working relationship with both Sega and IDW if he's to keep his job, so he'd never go for this. Not to mention that Ian and Ken just... don't get along! Ken's whole plan here seems to be predicated on IDW going out of business (a thing he REALLY wants to happen) and freeing up the Sonic comic license, after which he knocks on Sega's door and goes "hey I've still got dirt on you guys," blackmailing them into giving him the Sonic license back so that he can reprint the later comics. Every step of this plan is ludicrous. It's never gonna happen.

He's been saying he wants to reprint the whole series for a few years now, though. This isn't really anything new. And despite his lofty plans that set Sonic Twitter ablaze, he quickly backpedaled. The only specific things in the works right now are a "two-volume omnibus" of all of his Knuckles stories and a collection of artist Scott Shaw's work on the very early Archie Sonic issues, since they're on good terms with each other. I have no idea how Ken plans on packaging these when he can't put any Sega characters or the Freedom Fighters on the covers, but these projects are small enough in scale that there's a decent chance they'll see the light of day. Scott Shaw only did like five issues. But anything beyond that? I'll believe it when I see it.

Or, y'know, this could've all just been a publicity stunt for his new book. I wouldn't put it past him. Let's just focus on the book that actually exists.

"So he finally did it? He made a whole Lara-Su book? It's out? He finished it??"

Yes and no.

The book that's out now is The Lara-Su Chronicles: Beginnings, a prologue for the series of seven graphic novels Ken somehow plans on making, even though it's taken him 13 years to put out literally anything new. I don't know whether or not this counts as book one of seven, because it only features 30 pages of new comics. 30.5 if I'm being generous.

Most of the book is actually just a reprint of his infamous Archie Sonic storyline "Mobius: 25 Years Later", which ran from issue #131 to #144 in 2003-2004. (Again, yes, he can reprint this, he just can't put Sonic on the cover.) Why's it infamous? Well, Ken had been building anticipation for this future era of the series for basically his entire run. We kept seeing King Sonic and Queen Sally from the future. Knuckles' entire backstory hinges on his dad having a vision of this future. Several years before Silver the Hedgehog was created, it was Lara-Su who was Sonic's equivalent to Future Trunks, the cool-looking child of one of the main characters who traveled back in time to try and prevent a dark future. Believe it or not, yes, there was hype for Lara-Su. And then we finally got M25YL, and none of that cool stuff happened. Instead it really ended up being about how unbearably boring the middle aged Sonic, Knuckles, Sally, and co. are in this peaceful future where Robotnik is dead and they're all married with kids, forced into traditional nuclear family gender roles. Lara-Su is present, but she mostly just does generic teen girl stuff and complains about how Knuckles won't let her do anything even though she REALLY wants to be the new Guardian of Angel Island, like, super bad! Come on, dad!!!

In its original printing, this meandering arc ended on an abrupt time travel cliffhanger that Ken was never able to follow up on before he left Archie in 2006. This new printing slightly changes that ending, using the unresolved timey-wimey shenanigans as a convenient excuse to alter the entire timeline. This creates the slightly different world of The Lara-Su Chronicles, where the few relevant Sega-owned characters have been replaced and everyone is ten times uglier.

After this, we finally get two short new stories picking up where M25YL left off: "The Storm," starring Acorn Kingdom super-spy and known creep Geoffrey St. John, and an early release of the first chapter of The Lara-Su Chronicles: Shattered Tomorrows, the first full TLSC graphic novel.

And now that we're all on the same page about what we're looking at, let's actually talk about the book!

The cover

Let's start by beating a dead horse. The cover art: it's still bad! But why is it bad?

The cover is, of course, based on Patrick Spaziante's cover from Archie Sonic #131, the start of the "Mobius: 25 Years Later" arc. (Ken did the layout for that cover, though, so in the eyes of the law he's the original creator who owns that cover.) That cover was, itself, a tribute to the iconic cover of Giant-Size X-Men #1 by Gil Kane and Dave Cockrum, the issue that introduced the version of the team with Wolverine, Storm, Nightcrawler, etc.

Ken seems to have forgotten that the point of both these covers was to hype up the arrival of a new cast of characters. The new guys are supposed to make a dramatic entrance front and center. That's the focal point. Meanwhile, the cover for Beginnings has the old timeline versions of the cast from Archie Sonic dramatically bursting out of a shattered crystal ball, while their new counterparts look on in mild bemusement - if they're even bothering to look at all, since most of the characters here are just copied and pasted from their profile pages. That's just not how you do this particular homage! The point is supposed to be "out with the old, in with the new." And why are they using a crystal ball to view the past? Hell, why are they even using a crystal ball at all? The original arc was presented as a magical vision of the future courtesy of Tails' uncle Merlin (don't ask), but the new story leans all the way into being futuristic sci-fi.

Of course, there is no real artistic intent at play here. The old versions of the characters are placed front and center in the crystal ball simply because Ken traced over Spaziante's original art of Lara-Su and Julie-Su (the only two characters on the Sonic cover he owns) and threw out the rest, ruining the composition in the process. Look at the awkward empty space where Sonic, Sally, and Rotor once were, and the new drawing of The Character Formerly Known As Knuckles who's no longer properly centered between his wife and daughter. Even if Ken can claim ownership of the cover because he did the original layout, this all just feels scummy and lame.

And, yeah, if it needs to be said, the new characters and Ken's new rendering style look like absolute fucking dogshit. Putting new Lara-Su directly next to old Lara-Su does her no favors. The shattered glass effect looks absolutely atrocious. I could go on, but we'll have plenty of time to talk about the art style when we see how bad the stories inside look.

Changes to "Mobius: 25 Years Later"

Overall, 99% of M25YL is presented identically to its original printing. Sonic, Sally, Knuckles, et al. are still present with no changes to their names and no tweaks to the art. Even the original cover for issue #131 is included only a few pages into this book with its Archie, Sonic, and Sega logos still intact and everything. Again, because of the weird copyright situation described above, these preexisting comics can be released without any changes.

There is exactly one bizarre change to the art, though, where a hand drawn shot of Angel Island is replaced with an unfitting photo background and the ugly Floating Island photobash that Ken has been using as his personal logo for decades. I think he only did this as part of a test for his motion comic app that nobody asked for. I don't know why this had to make it into the print version. It's like the book is firing a warning shot for what's to come if you keep reading.

The new content begins on the final page of M25YL. In the original wet fart of a cliffhanger ending, Sonic and co. accidentally alter the timeline with an old time machine of Robotnik's and Lara-Su begins to fade away. Then, after everything goes white, we just cut to the present day heroes going "gee, you ever think about the future?" In this new printing, that last bit has been cut, and the rest of the page has been awkwardly shrunk down so that Ken can fit in a new panel. We now see the hands of an off-screen villain, seemingly named "Override," proclaiming that "the Praetorian" (Knuckles) has messed up the timeline again and that they'll finally get their revenge.

Who is this Override? I have no fucking clue. The new stories in this book make no mention of them. You have to buy the next book to find out.

My confusion over the identity of this villain overlaps with another big problem: name changes. So many names and nouns have been arbitrarily changed in The Lara-Su Chronicles, even ones Ken didn't have to change for copyright reasons, and I only know what half of them are replacing because Ken's been tweeting about this shit for years.

The echidnas are now a totally original alien race called "the Echyd'nya." Even in flashbacks to events from M25YL attempting to mimic the old art style, if it's on a new comic page, they're gonna call themselves "Echyd'nya." Evil echidna faction the Dark Legion is now the "Cyberdark Dominion," hailing from the "Cyberdark Colony." The Brotherhood of Guardians is still the Brotherhood of Guardians, but now the main guardian is called "The Praetorian." Angel Island is still called "The Floating Island," like it was in the older Archie comics, but it's ALSO sometimes called "Avion"? When I read this I wasn't sure if he had randomly renamed Albion, the other echidna city from the Archie comics. But no. Now we have an Albion AND an Avion. Sally is mentioned simply as "Princess Acorn," while Sonic is referenced once as an unnamed "blue-spined Erinaceinae," using the scientific name for hedgehog to make it sound more sci-fi. In an incredibly ballsy move, Ken even mentions Robotnik as "the Insurrectionist Kintobor," retaining his original surname from the Archie comics that's just "Robotnik" backwards. Guess Sega never trademarked that one.

Aside from every name change being a downgrade, this leads to confusion when you're not sure if something is supposed to be new, or if it's just an Archie thing you're supposed to recognize despite having a new name and design. Is "Override" someone I'm supposed to know already? Am I just supposed to have read a fucking tweet from Ken where he said he changed the name of some existing villain to "Override"? The answer is no, but I had to term search his Twitter just to verify this.

Moving on!

New story #1: "The Storm"

If you've been following the WIPs, this is that story about Geoffrey St. John that Ken's been posting previews of for almost a decade. The title page copyright dates it to 2015, and that absurdly long gestation is probably why the art is so inconsistent here. Even the style of speech bubbles and the font change between pages two and three.

This is a problem when there's supposed to be a deliberate and noticeable change in art style here signaling the moment where the time travel stuff alters the timeline, replacing the Archie Sonic world with the Lara-Su Chronicles world. If you don't already know that's what's going on, the idea isn't conveyed clearly at all. It just goes from one hideous art style to a slightly different one with no explanation.

The main problem here is that Ken has hitched his wagon to a franchise about anthropomorphic animals when he can't draw furries to save his life. (Though a bit later in the book we'll also begin to wonder if he can even still draw humans.) He's shifted away from the cartooniness of the original designs and given them more human proportions and facial features, but this just ends up making them look incredibly uncanny and lumpy and gross. With some designs he's trying to lean into more of a Star Trek alien vibe, but then he still insists upon retaining the giant Sonic eyes on most characters even though he has no idea how to make them emote.

The rendering of these godawful designs doesn't do them any favors, either. Ken's going for more of a painterly look now, but it almost seems as though he's shading everything with Photoshop's burn and dodge tools that are designed to darken and lighten select areas of a photo. The result is a muddy, smudgy look that makes it feel like the color layer has been smeared in vaseline. And it only looks worse after coming off of 14 chapters of M25YL that have way more palatable art.

The backgrounds, too, are a complete mess, a jumble of low res jpeg photo elements (sometimes with extremely noticeable pixelation), stock textures, and smooth digital gradients. There's no real sense of place here, and it gives everything a surreal, dreamlike quality when you can't really tell where anything is supposed to take place. This first story is seemingly set in a high-tech stronghold below Castle Acorn called "the Bunker," but it could just as easily be confused for the bridge of a spaceship. This whole story features characters speaking to each other over floating video displays and hologram projectors from three different locations, but without a hologram effect and without a clear sense of where the characters are it often feels like they're just in the same room as each other. Characters will be in one location on one photo background, and then the camera angle changes and they're in a completely different place, because Ken just uses mismatched photos off of the internet. It's been like 25 years since he first tried using photo backgrounds in the Archie comics and he hasn't gotten any better at it.

When I had my boyfriend read the book to see if it made literally any sense to him (it didn't), Anthony said this: "This is the kind of shit I'd see linked on a Second Life world that hasn't been touched since 2004." I think he really hit the nail on the head. Now, there's actually a contrarian part of me that thinks that might theoretically almost be kind of cool, in sort of a messy counterculture way. I love weird indie shit. I was a Homestuck reader! But this isn't a scrappy mixed media zine, or experimental outsider art from someone just messing around with Photoshop, or a loving throwback to weird old internet art, or even something intentionally bizarre and offputting like Xavier: Renegade Angel or a PilotRedSun video or whatever where the fact that it's weird and ugly is part of the humor. This is supposed to be a sincere sci-fi epic drawing on Star Trek and Jack Kirby comics, made by a guy who's been drawing comics professionally since the '80s. This is supposed to look good. This is supposed to compete with mainstream comics that are on sale right now. He thinks any day now IDW's gonna go out of business and Sega will come crawling back to him so that he can stamp the Sonic logo on shit like this. It just doesn't work.

But, okay. It's ugly. We knew it would be ugly. But that ugliness would be much easier to accept if it was in service of an otherwise genuinely good story. So what about the writing? After all this time, how does Ken choose to kick off this new saga? Well, credit where credit's due. "The Storm" feels like a proper continuation of Ken's writing style from M25YL.

Because it's eleven pages of characters standing around and talking while nothing fucking happens.

Here's the synopsis: A dog woman named Brownie, an ensign in the Royal Secret Service fresh out of training and the only character who's almost cute, walks up to Geoffrey to deliver a report. He's immediately suspicious of her, asking who let her in and if she's a spy for Elias (Sally's brother, if you're new here) or Alicia (Sally's mom). The art style suddenly shifts when the timeline is altered, but the scene continues uninterrupted. Geoffrey points a gun at Brownie when she won't say whose spy she is. Geoffrey is distracted by a call and proceeds to have a conversation via a mix of holograms and video screens with Remington (head of Echidnaopolis security), Spectre (Knuckles' great great great great great grandpa, the one with the helmet who always looks evil), and a new scientist character named Dr. Zephyr/Zephur. (The spelling of this character's name changes multiple times throughout the 11-page story, because I guess nine years wasn't enough time to spellcheck this shit.) They say a bunch of made up technobabble nonsense about how it looks like the timeline was just altered and Knuckles and co. seem to be involved. It's complete drivel that I'm not even going to try to make sense of. Everyone decides to investigate further, and the conversation ends. Brownie tells Geoffrey she's his spy, then walks out and implies she's actually Alicia's spy in her inner monologue.

To be continued!!!

Yes, that's it. It's really just a bunch of technobabble where some characters talk about how it seems like the timeline has been fucked with. That's it. The whole time Geoffrey doesn't even get up out of his damn chair, which he's of course sitting in backwards to show how cool he is. It's just 11 pages of Geoffrey sitting in a chair and talking to people and looking uglier than he's ever looked. Nothing happens. Nine years for this.

I'm also struck by how meaningless all of this is to anyone who hasn't read Archie Sonic. The added context from M25YL may help a little, but "The Storm" focuses on characters who weren't in that arc, and the story does very little to introduce who any of them are. Brownie could've been super useful as an inexperienced point of view character who's only meeting the others for the first time here, but instead she's really just a passive observer who's here as part of some kind of 4D chess game between Geoffrey and Alicia, an off-screen character whose motivations in this era of the story are completely unknown to even returning readers. Who are the good guys and bad guys here? What are the conflicts and the stakes of the story moving forward? What do these characters want? Basic questions like this aren't really answered. I can't imagine a new reader being able to make heads or tails of this. Hell, I can't really imagine a returning reader who hasn't been following the last decade's worth of Ken's tweets about this story making heads or tails of it, either.

...Maybe more will happen in the next story?

New story #2: Shattered Tomorrows preview chapter

After another message from Ken, the story of The Lara-Su Chronicles proper begins with the redesigned Lara-Su walking along a jpeg photograph beach at sunset and crying while thinking about how Knuckles - sorry, his name is K'Nox now - is dead.

Yep! Straight into the dad stuff!

Look, I'm the last person to complain about writers getting super personal and drawing from their own baggage in their writing, but Ken's just no fucking good at it. There's no nuance, nothing interesting to say. He just keeps writing mediocre-to-horrible dads whose misdeeds are always justified by their "good intentions," and then sometimes they die and their kids are like "we may have fought but actually you were the bestest dad ever and I'll miss you forever, I'll never be able to fill your shoes!"

This is the only part of the new material here that feels like it has any heart behind it, because I know how much his complex relationship with his late deadbeat father means to Ken (there's an author's note in this outright saying as much). But the guy died 42 years ago, and it doesn't feel like Ken has had any new thoughts about this part of his life in those four decades. He's just not an introspective or self-aware enough artist to actually mine his personal baggage for anything beyond "father knows best."

Anyway, so then it jumps forward in time(?) and now we're following this human guy who looks like this.

Previously, Ken got a lot of shit for literally just using the likeness of Anthony Mackie for this guy, based on his IMDB profile photo. Ken has thus redesigned the character... and by that I mean I think he looks more like Ernie Hudson now? Ken's clearly just working off of photo references (if not straight up tracing), given his face is the most detailed and realistic-looking thing on any page where he's present.

But you may be wondering: who is this, and why is he here? Well, for one, he's here to run around in front of some low res space photos while making trite references to things like Planet of the Apes and Star Trek. Haha, he makes a joke about red shirts! Original!! But beyond that, Commander Mykhal Taelor (yes, that's really how he chose to spell it) is a human... from Earth! Archie Sonic readers are probably confused, because in those comics Mobius is Earth in the distant post-apocalyptic future. Well, despite being a Planet of the Apes fan, Ken always hated that particular worldbuilding decision from Karl Bollers, always preferring to think of Mobius as a separate alien planet. And now he gets to make that canon in his own stories and throw out Karl's ideas. So Mobius is basically just, like, a Star Trek planet now, with its own alien creatures that sometimes just so happen to look like anthropomorphic Earth animals.

Also, at one point Taelor wonders if the inhabitants of the dead Mobius might have been human, and the alien ally he's talking to over the radio says it's unlikely. "I don't understand why your kind has a problem understanding you're a minority within a minority." Perhaps poor wording for a line said to the only Black character in the story.

Anyway, Commander Taelor here seems to have discovered the uninhabited husk of Mobius after the vague time-space cataclysm everyone was worried about in M25YL has come to pass, and he finds an audio log from Lara-Su that I presume will explain what happened. I guess those are the titular Lara-Su Chronicles. In theory this flash forward establishes some sense of pressing danger, but when the threat to the planet is so unclear and technobabble-y it just kind of lands with a thud.

It doesn't take long before we get back to Lara-Su being sad about her dad. A good little chunk of the chapter is spent with this new timeline's Lara-Su recalling moments in her life, including echoes of the original Lara-Su's memories from M25YL, which feels redundant coming hot off the heels of a straight reprint of that entire arc. And boy, for anyone who read the later Archie Sonic comics, the protagonist having vague memories of the old version of the series from before a lawsuit-related timeline reboot sure does sound familiar, huh?

The art inconsistency somehow becomes even worse in this story, with Ken flip-flopping on whether or not he wants to use outlines, with the no-outline art managing to look even worse by relying entirely on Ken's awful rendering. By this point in the book, readers are also likely to start noticing how often Ken reuses art from previous panels. This is a shortcut that tons of comic artists use, of course. Invincible famously did a joke about this. It's often understandable. But, again... it sure does stand out in a book that took 13 years to make with only 30 pages of new art. Amusingly, Ken even manages to combine his inconsistency and recycling problems by reusing the same art with and without outlines. And, of course, any time Ken tries to draw the Archie era designs it's just... the worst.

And, yes, it's in this dreamlike montage sequence of Lara-Su's life that we get...

The uncomfortable family nudity scene, followed by the dual timeline Julie-Su breastfeeding scene.

Yeah, you might have heard about this one already. If this incredibly eerie presentation of Lara-Su's hazy memories of the two different timelines make it hard to tell what's going on, don't worry. There's another, clearer version later in the book as part of Julie-Su's character profile, because I guess Ken was just so proud of it.

(I censored these myself because I'm not playing Russian roulette with Tumblr's inconsistent nudity rules and risking getting banned lmao)

Like, okay. Is a mother breastfeeding her child really that shocking of a thing to see in a story? No, not at all. But, like... when it's two characters who you previously created for an officially licensed Sonic the Hedgehog comic for 7-year-olds... and some of those officially licensed Sonic the Hedgehog comics for 7-year-olds are reprinted in the same book... and when it's drawn like this... yeah, it's kind of a shocker.

It just looks so unnatural. Julie-Su is posed very deliberately so that you'll see both of her breasts, and in the new timeline version she's barely even holding Lara-Su so you can really get a good look at her supermodel body, showing zero physical signs that she just gave birth. Most people will immediately jump to this being Ken putting his fetishes in his work (a type of criticism that I'm incredibly tired of - it's 2024, all the cool artists are blatantly putting their fetishes in their work now). And my immediate response is that, no, this is probably just Ken trying to come off as really mature on a surface level, a thing he's been obsessed with since the Archie days. Free from the shackles of writing a licensed children's comic, of course he's going to jump immediately into depicting some nonsexual, artistic nudity to try and prove he's A Real Mature Artist For Grown-Ups who just thinks the human body is beautiful and breastfeeding shouldn't be a taboo etc. etc.

But then, like. You look at some of the other character designs. Like Espio's daughter Salma, who's now this horrifying alien lizard person who's always nude, and her scale pattern puts scales exactly where her nipples should be. Or you look at his comments about the Echyd'nya age of consent. Or you look at how he keeps drawing Lara-Su in this. Like, does the shuttle really need this, like... reverse chaise lounge thing in the cockpit? So that we can keep getting these shots of the 16-year-old Lara-Su lying on her stomach and posing with one of her legs kicked up, her naked ass in plain view?

The vibe isn't great, is what I'm saying!

I'm not going to try to ascribe authorial intent here. I don't know. I'm not a psychic. Given his very blatant reliance on photo references elsewhere in the book, it's entirely possible he just referenced some figure drawing photos that were maybe just a little too sexy. And also, he's an American comic book artist, and a boomer one at that. Those guys tend to draw women a certain way, even when it's not supposed to be sexual. I don't fucking know. It just sucks. I'm not gonna make some hyperbolic statement about how this makes him a literal pedophile who should be in jail, but it is deeply offputting and objectifying.

But if you already knew about the nursing scenes and were hoping there was some other really shocking stuff in there for me to talk about in this review, sorry to disappoint, but nope. That's the only shockingly weird new thing in here. Once again, not a lot happens in this story, and what does happen is pretty boring.

Once we get past the recap stuff and the human guy, the plot developments boil down to this: The timeline was altered at the end of M25YL... but not as much as you might think. In the new timeline, Knuckles ("K'Nox"), Cobar (now looking significantly younger), and Rotor (now a rhino just called "The Emissary") still traveled via shuttle to go find a time machine in the Badlands and fix the time-space continuum, like in the climax of the original arc. This time, though, Sonic wasn't there, and Lara-Su came along without having to stow away. Lara-Su watches the ship while the grown ups go deal with the time machine, and then after a couple panels Not Rotor comes back with Cobar and is like "Hey, Cobar got hurt, we gotta leave. Dunno what happened to your dad." And then they just, like. Presume that Knuckles must have died. Even though we have no idea what happened to him. And then they just fly away. And then Lara-Su is sad that her dad died.

And that's pretty much it!

This is supposed to be a really emotional sequence - it's literally the scene where Lara-Su learns that Knuckles is dead - but instead it comes off as unintentionally funny because of how poorly it's portrayed. Not showing Knuckles' actual disappearance is a huge misstep, for one, making his uncertain fate more confusing and anticlimactic than dramatic. But also, Ken keeps just using the same two drawings of Rotor for two pages, so he doesn't really seem to be emoting at all, and he's in this spacey hazmat suit that honestly just makes him look like fucking Moltar from Space Ghost. So the whole time I'm just reading his dialogue in Moltar's deadpan voice as he's like "I dunno. We did what we could. Anyway, let's leave."

After this, we get a two-page spread previewing the rest of the story from Shattered Tomorrows. It's basically like a trailer in comic form. It has one of the most mystifying layouts I've ever seen in a comic book. I have no idea what order I'm supposed to read this in.

Yeah, I kinda have a feeling this is the full extent of what Ken has drawn for the rest of that book. I'd love to be wrong, but I fear that I'm right.

Bonus material: Data files

These are mostly very dull, recapping a lot of events shared between Ken's Archie run and the new Lara-Su Chronicles timeline. It seems like almost his entire run is still considered canon to the backstory of the new timeline, just with some names changed, and things only really diverge at the climax of M25YL. But I'll share the interesting stuff here.

Lara-Su

The main thing you'll notice in Lara-Su's profile is the massive, unreadable wall of text where Ken felt the need to list the entire Knuckles family tree, split across both pages.

This is literally so long that Lara-Su's personal history has to awkwardly cut off mid-sentence and be continued on the final page of the book, after the rest of the data files.

Also, please note that this list gives Julie-Su's mom's full name as Mari-Su of the House of Atrades. Incredible on all levels.

There's also a reference to the dark timeline Lara-Su was originally supposed to come from. You know, the one where Julie-Su is the leader of a rebel movement fighting against a Knuckles who had gone mad with power? The timeline that would have been way more interesting than the one in M25YL? Here it seems to have been written off as the result of another "timeline disruption." Lara-Su allegedly has vague memories of this timeline, in the same way that she has vague memories of the M25YL timeline.

Geoffrey

Geoffrey's bio mostly recaps events from the Archie comics, which means the Sonic/Sally/Geoffrey love triangle has to be alluded to. His rivalry with Sonic is described like this:

"He would later resurface when Kintobor was transporting his latest hi-tech weapon, the Dynamac-3000. It was during that mission he discovered a rival for the Princess' affections. Whereas the Princess would be one of a line of conquests where St. John was concerned, the blue-spined Erinaceinae who protested doth a bit too much regarding his affections for the Princess for St. John's taste would prove to be a source of great sport and amusement."

Yes. It's gross. Saying that Geoffrey saw Sally as "one of a line of conquests" is gross. Ken writing this and then still treating Geoffrey as the coolest badass ever is gross. The "Princess Acorn" is also first on the list of Geoffrey's "female relationships" elsewhere in his bio, though I suppose how much of a "relationship" they had is left vague. Honestly, at this point the fact that Ken didn't explicitly confirm that Geoffrey took the underage Sally's virginity in the book comes off as a display of restraint. The bar couldn't be any lower, I know.

Remington

His bio is, frankly, shockingly long for such a minor character, though I guess he does get a large portion of the word salad dialogue in "The Storm." There's a lot of stuff here about how the identities of his biological parents are shrouded in mystery, a plot point that fans have long speculated Ken just straight up forgot about in his time at Archie. (Ian confirmed that Kragok from the Dark Legion was Remington's dad, though, so this isn't really much of a mystery.)

Lien-Da

She gets a bio even though she's not present in the two new stories, just so we get to look at her awful new design and compare it to how Steven Butler drew her earlier in the book:

Commander Taelor

We get to see two drawings of him with the same exact Ernie Hudson face side by side! That's fun.

Julie-Su

She gets a list of "known friends," but the only character listed is Knuckles' mom. Poor Julie-Su.

Also, Ken feels the need to reiterate that Knuckles and Julie-Su are still distant cousins. He made a whole new timeline where he can change whatever details he wants, but THAT had to remain canon. Thanks, Ken.

And then after the data files we get the special thanks page, listing everyone who preordered the book and/or bought TLSC merch from Ken.

With my name on the list. Because I had to buy a copy to cover it for the blog.

My name is on the very next page right after the breastfeeding panel in Julie-Su's data file.

Yep. He got me.

Is it at least a well put together book? Like, in terms of manufacturing quality?

Its physical quality is... fine. It's a nice, sturdy hardcover. The print quality seems fine, though mine does have a bit of smudging from some sort of printing error on one page. The pages don't seem like they'll fall out on me. The image quality is crisp. The colors are vibrant. This is a low bar, but this is one of the few places where I'm able to give this book anything resembling praise.

The formatting and graphic design work, on the other hand...

(I didn't crumple those page corners, it came like that.)

For one, the placement and sizes of the M25YL pages is inconsistent, largely due to the fact that the book doesn't actually match the proportions of a comic. A lot of pages aren't properly centered vertically. Some pages go all the way up to the top edge of the paper, while others leave a visible gap of about half a centimeter. Every page has a 1cm gap to its left and right, which is sometimes filled in with a solid color or gradient that doesn't quite match the page it's surrounding. I have to assume Ken didn't have any sort of source files or original artwork to work off of, as those ideally would've had more generous bleed to account for slight shifts in printing. It kind of seems like he just got the highest resolution versions he could find of the digital releases online and printed those. The colors are a dead ringer for the digital versions, which have always looked slightly more saturated and pastel than they did in print.

I can't say this bodes well for his further plans for Archie Sonic reprints - sorry, Mobian Line reprints. If they ever come out, please, for the love of god, do not buy those. I don't care how much you love Archie Sonic, they aren't going to be good reprints. For comparison, IDW's similarly priced hardcover Sonic collections have none of these formatting problems, because they're made by people who know what they're doing with access to the actual source files.

The book also has its fair share of text-focused pages, split between the data files and messages directly from Ken about the history of his career and this project, and these are formatted in the most amateurish way possible. Just massive walls of Arial text over either plain white backgrounds, simple gradients, or faded photos. I've seen school yearbooks with better graphic design. Even ignoring my subjective feelings about the art and stories within, this book does not feel like it's worth $36 USD.

It's frankly shocking how shabby he let this thing look considering it's supposed to be his baby. And doesn't that really sum it all up?

Closing thoughts

Obviously, I did not expect this to be any good. But I'm still left kind of dumbfounded by it.

I think what really strikes me about it is that Ken had a blank check to do whatever he wanted here. He got an opportunity many writers would kill for when he gained complete ownership of his most famous work. He's free from the limitations of a monthly licensed comic book for children, free to make whatever creative decisions he wants without editors or other writers or Sega to worry about, free to completely reinvent the series to his heart's content and finally tell the story of his dreams. And with that opportunity and 13 years of his time, he made... this. A direct continuation of "Mobius: 25 Years Later" that barely changes anything about the characters or world beyond their awful new designs, even though much of the word count is spent rambling about how the timeline has changed. A story that makes zero concessions for new readers, or even returning readers who don't already have the last decade's worth of Ken's tweets explaining his creative decisions burned into their memory. 30 pages where nothing really happens and the story barely moves forward an inch despite the decades-long wait - but maybe something will happen if you buy the next book!

Who is this for? Maybe this really is a project for no one but Ken. Maybe he just really, really wants to finish the story he started, a story that's personal to him due to the family history it evokes, and the number of people who enjoy it or buy it beyond that is irrelevant. I think that many of the best artists are incredibly self-indulgent ones working with that exact mindset, artists whose enthusiasm for their own work jumps off the page or screen. So, if that's the case, then why the fuck isn't he telling the damn story? What's stopping him? Why is he still spinning his wheels? Where is that passion for his own work? Because it sure as hell isn't there on the page. There's a huge part of me that really wishes I could say "Man, what a weirdo, but you do you, Ken. You tell your weird little story." But there's barely any story here. It's like he loves styling himself as a storyteller, but he's terrified of finally having to actually tell a story after all this time. He's still stuck in the exact same mode of writing he was in almost 30 years ago when he was doing 6-page backup stories about Knuckles, just killing time and stringing readers along until he's eventually able to truly realize his vision. If not now, then when, Ken?

Even the back cover blurb is mostly just a dry recap of the history of this thing. It was a Sonic comic, the original arc was published in these issues, it went unfinished, Ken left Archie, the lawsuits happened, now he's continuing the story. There's nothing about why anyone should give a shit about this as its own story, even though Ken has spent years trying in vain to convince people TLSC is its own beast that shouldn't be judged as a Sonic story. I think deep down he knows that there's no pitch for this beyond the novelty of it originating from Sonic. And that's why, despite declaring that he'd leave the site, he's still on Twitter riling up Sonic fans. It's the only attention he gets at this point.

Maybe this is too harsh when those 30 pages of new comics are just intended as a preview for the "real" book. But the elephant in the room is that we have no idea if that "real" book will ever actually come out, let alone the entire series of seven graphic novels that will supposedly complete this saga.

Ken is undeniably a complete jackass and all around unpleasant, vindictive person who's rightly become an industry pariah. He's a self-proclaimed paragon of progressive values who'll send Comicsgaters after his successors for the crime of not worshiping the ground he walks on, and then turn around and announce he's going to reprint their work without even consulting them. He's a sore winner who already won his copyright battle on a level most comic writers would never dare to dream of, and yet still won't truly be satisfied until he sees an entire major comic publisher go out of business, putting god knows how many people out of work, because he thinks this would get him back the license to a video game franchise he doesn't even like.

But I still have to pity him.

As an artist, the trajectory of his life is my nightmare. I think all of us fear dying before we can tell all the stories we want to tell. There's simply never enough time to do everything. And here's Ken in his 60s, talking about how he's still planning on making his magnum opus all by himself out of stubbornness and pride, despite demonstrably proving he can't handle the workload, and also talking about how if he dies before the project can be finished he'll have to pass the torch on to his kids and get them to finish it for him. It's so grim. Even just typing that sends a shiver down my spine. It took nine years of his limited time on Earth to finish and release an 11-page comic about Geoffrey St. John sitting backwards in a chair.

This is a purgatory of his own creation. And yet... I'm not sure he's ever been prouder. One must imagine Sisyphus happy.

I guess if I want people to take anything away from this review, it's this:

Lesson one: If you're an artist or writer of some kind, or an aspiring creator, don't wait around. No one else is going to tell your story for you. Start writing that novel. Start drawing that webcomic. Start making that game. If Penders can put out this damn book that no one asked for after 13 years of work, then proudly proclaim that he's still going to make six or seven more books and also reprint hundreds of comics he doesn't have all of the rights to, then show up to cons with that foul Lara-Su Chronicles: Shattered Tomorrows banner and sit in front of it beaming with pride, fully aware of his critics but saying "fuck 'em, I know I'm hot shit," then you can do fucking anything. Tell the weird, sincere, cringe story of your dreams. If Ken Penders doesn't have imposter syndrome, then nobody should.

And lesson two: Don't buy Ken's books.

[kissandtellus]

Doctor’s Orders

Synopsis: Zayne is a husband & father first and foremost. Seeing you with your first-born strikes a need in him. He needs about 3 more carbon copies of you, STAT!

Warnings: Breeding, tracking ovulation, mention of pregnancy, praising, dirty talk, pwp, smut.

Zayne entered the apartment with the front door shutting firmly behind him. He ran a hand through his messy hair before tugging on the tie around his neck. Exhaling softly, he slowly made his way to the living room area. The sight of his wife and infant daughter together immediately brought a soft smile to his face.

He came up behind you, resting his chin on your shoulder as he peered down at their sweet daughter. "You're both still up at this hour?" he murmured, his voice weary but laced with affection.

He gently takes Luna from your arms, cuddling her close as he sits down next to you on the couch. “Let me hold my little angel for a bit... You look tired too." His thumb softly stroking Luna's cheek as he leans his head against yours.

You take a deep breath as Zayne takes her in his arms, sitting beside you on the couch. “She wanted her ‘Baba’, I also think she’s cutting teeth.” You wince, rubbing your sore breast from breastfeeding.

Zayne let out a low sympathetic hum as he took Luna from your arms, cradling the baby gently on his lap. "Poor little one," he murmured, his expression softening even more as he looked down at their baby.

He ran a finger lightly across her tiny cheek, feeling for any signs of swelling or irritation. "You're right. It does look like she's teething. I'll have to look up some remedies for that tomorrow," he said, his mind already going into his 'doctor mode.'

The one year old tiredly blinked up her her father, a chubby hand reaching out to grab at his glasses. “Ba…Ba.”

Zayne chuckled softly at Luna's attempt to grab his glasses. He gently captured her little hand in his, holding it in place. "No, no, darling. Not the glasses," he murmured, a hint of amusement in his voice.

He couldn't help but feel a burst of affection for his daughter. Even after a long, hectic day at the hospital, coming home to this sight always melted his heart.

"How many times has she been fussy tonight?" he asked, turning his attention to his wife.

"She's woken up a few times, mostly from pain, I think. But she's been calm since I called you," You reply, your gaze lingering on the two of them for a few more moments before shifting your attention to the folder that Zayne had set on the coffee table.

"Long shift?" You ask. "You look exhausted."

Zayne sighed, his shoulders sagging momentarily. "Long and exhausting," he admitted, his fingers still gently holding Luna's hand in his. "Non-stopping surgeries, a few emergency cases... the usual, really."

He leaned back against the couch, his gaze drifting to the folder that you’d been eyeing. "Why? Something you need from there?" he asked curiously.

"Just wanted to see if you had any new articles for me to read," You say with a teasing smile. "You know I like looking at all those impressive medical terms you use."

Zayne chuckled softly at your remark, the tiredness in his eyes replaced by a touch of affection. "Ah, my little medical term enthusiast," he said, shaking his head slightly. "I'll make sure to leave my most complex articles scattered around the living room then.”

You roll your eyes playfully in response. "Oh, what a gift that would be," You reply, unable to suppress a soft laugh. "I'll have to clear out an entire shelf for all your medical jargon."

Zayne's smile widened, a glint of amusement shining in his tired eyes. "Just be careful not to read too much," he teased. "You might start sounding like a doctor yourself, and then what will I do?"

You let out a small laugh at his comment. "Oh, don't worry, I doubt I'll ever get to your level. Unless... you're secretly planning to retire and pass on your wisdom to me?"

Zayne's eyes softened even more, his expression growing more serious for a brief moment. "And leave my job? Not a chance."

There was a hint of protectiveness in his gaze as he looked down at Luna, who was now dozing off peacefully in his arms.

You reach over and grab Luna’s tiny little hand, flipping it over to show Zayne the smallest layer of ice over her palm. “Looks like someone inherited Baba’s evol.”

Zayne's eyes widen, his attention immediately snapping down to Luna's hand. He carefully examined the fine layer of ice coating her palm. A mix of surprise and fascination washed over his features.

"So she did..." he murmured, his voice barely above a whisper. He gently ran a finger over the ice, feeling the coolness on his skin. "It's... early. I didn't expect her to start showing signs of an evol so soon."

Zayne carefully shifts Luna in his arms, his thoughts consumed with worry despite his efforts to hide it. He remembers all too well the struggles he faced himself with his evol - the loss of control, the accidents, the guilt.

He lets out a soft sigh, his gaze fixed on Luna's peaceful face. "She so young..." he mutters, his voice tinged with a hint of dread. "What if... what if she can't control it?"

You reach over and gently place a hand on his arm, sensing the worry in his voice. "Hey," you say softly. "She's your daughter. She'll be fine."

Zayne's shoulders tense for a moment, his gaze still fixed on Luna's face. He knows you are trying to reassure him, but the memories of his own struggles with his evol still linger in his mind.

"I just... I don't want her to go through what I went through," he says, his voice quivering with a mix of fear and protectiveness.

You press a warm kiss to his lips, resting your forehead on his. “You’re perfect. The best father she could ask for, and the best husband I could ever dream of. We’ll get through this together.”

Zayne closes his eyes, his tension softening at your words and touch. He takes a deep breath, the weight of his worries seeming to lighten marginally.

"You have too much faith in me," he murmurs, a small smile tugging at the corners of his lips. "But... I suppose if I have you by my side, I can face anything."

He opens his eyes, his gaze meeting mine with a mixture of love and gratitude. "Together," he echoes.

Zayne is a master of putting Luna back to sleep after a fussy night.

He’s also a master at dragging you back to your bedroom, kissing you within an inch of your life. Despite his exhaustion, he needs to be inside of you. Needs to praise you for being such an amazing mother.

His breath hot against your neck as he presses you down onto the mattress, his hands already working to remove your clothes. “I missed you," he murmurs, his lips finding yours in a passionate kiss. His body presses against yours, the scent of the hospital still clinging to him.

Zayne slips two long and icy fingers into your warm cunt, cooing in a calm voice he might use to tell his patients about their diagnosis.

His fingers expertly curl inside you, hitting that perfect spot that makes your hips buck against him “So wet for me already..." *His voice is low and husky, filled with desire* "I've been thinking about this all day..." *His thumb circles your clit as he adds another finger.

He continues to finger you slowly, his icy touch contrasting with the warmth of your insides. “You're so tight and warm... It's like coming home." His free hand roams over your body, squeezing your breasts and rolling your nipples between his fingers. “I love seeing you like this.”

You choke back a soft whine. Usually you would be so overstimulated from having a one year old hanging off of you all day. But with Zayne it was different.

Noticing your reaction, he smirks against your lips, knowing exactly how to drive you wild. “You're so sensitive tonight..." *He whispers huskily. “Does my little wife need more?"

You grasps at his shoulders like a lifeline. “M-mmh! C-condom, I’m-“

Before you could finish, Zayne finishes it for you.

“You’re ovulating.” He says as if he’s talking about the weather. with his free hand he flicks the screen of his watch towards you, showing you the calendar he has set on his watch of your ovulation cycle.

His eyes darken with a primal desire as he looks at you, his fingers still moving inside you. “I've been tracking your cycle, love." He murmurs, his voice low and commanding.* "And today is the perfect day to fill that womb with my seed."

You give lighthearted protest. It’s not that you don’t want another little Luna running around. It’s moreso you are so cockdrunk already you’d give your husband anything he’d ask. “You want anothed?” You whimper out

His lips quirk into a smirk at your whimpering protest, knowing that you're already so drunk on his attention and affection. “Yes." He replies firmly, his fingers curling inside you as he finds that perfect spot. “I want another little girl, just like Luna."

You don’t really remember how your knees got pushed up next to your ears, but what you do remember is the delicious stretch of his cock in your sloppy cunt.

He enters you slowly at first, savoring the feeling of your warmth enveloping him completely. “So tight..." *He groans, pushing deeper until he's fully sheathed inside you. “This is where I belong." He starts moving, his pace steady and deep.

You are digging your nails into his back, holding on for the ride. One hand is angling your hips, pushing up one leg higher than the other. His other hand is gripping the headboard. Through lidded eyes you can see the way his ice Evol slips from his palm, starting to freeze the mahogany wood.

He notices your gaze on his hand and smirks, knowing that your attention is split between the pleasure and the display of his power. “Fuck, you feel so good." *He groans deeply, thrusting harder into you. “So warm.” he emphasizes.

His thrusts become more urgent, his hips slapping against yours with a wet, rhythmic sound. The headboard creaks under his grip, the ice spreading further as his control slips away to pure primal need. "My patient is speakin’ to me..."

You realize he’s not talking about you, he’s talking about your noisy pussy that’s pulsing around his length, dripping onto the expensive silk sheets.

He leans down to whisper in your ear, his voice husky with desire. “She wants me to breed her." He thrusts harder, hitting that spot inside you that sends sparks flying behind your eyes. “And I'm going to give her exactly what she wants. Doctor’s orders.”

Your back arches when the curve of his cock presses just so into your cervix.

He sees your reaction and does it again, purposely hitting that spot with every thrust. “There it is.” He murmurs, watching your body respond to his touch.* "Right there.” His voice is strained with effort as he fights off his own release.

But Zayne is a good husband. When your contracting womb begs for his seed, who is he to deny you?

With a final, deep thrust, he buries himself completely inside you. His release is intense, his hot seed filling you up and spilling out around his length. The ice spreads across the headboard and down the wall as he comes undone, marking the room with his power.

The room immediately drops in temperature. Zayne draws back as much of the ice as he can, the exaustion from such a long day catching up with him.

He collapses onto the bed beside you, his body still trembling from the intensity of their coupling. The room is now a chilly 40 degrees Fahrenheit, the ice slowly melting back into his palm as he regains control over his powers. “…Love you," *he murmurs sleepily against your neck.

The expression on Luna’s face when you all tell her she’s going to be a big sister is all the encouragement you need for another 2 years of sleepless nights.

[pixiel]

Old Tumblr Dashboard (Userstyle)!!

I created a Userstyle for the Chrome/Firefox Stylus Extension that reverts the new dashboard to the old look!

You need to have Stylus installed. So if you don't have it:

Install the Stylus Firefox Addon or the Manifest V2 Chrome Extension (You can install Chrome Extensions on Edge as well)

Once it's installed into Firefox/Chrome/Edge you can proceed with adding this style or any other.

To add the style (Stylus), follow the instructions:

Go to this link: https://userstyles.world/style/11286/old-tumblr-dashboard-userstyle (If it says 'style not found' then the Userstyle.world server is just down, try again in an hour)

Click on "install".

Style will open a tag with it and in the left side you'll have a button that says "install style", click there. (Step-by-step copied from the lovely dorothyoz39 who wrote this in a reply!) If you don't want the sticky header you can remove the labelled script at the top of the css below /* Sticky Header*/

For Manifest V3 only Chrome Or Stylus incompatible browsers:

For Chrome Manifest V3 install the Tampermonkey Extension

Then add the Tampermonkey Backup Script instead of the Stylus version

https://greasyfork.org/en/scripts/492279-old-tumblr-dasboard-backup I highly recommend you switch to Firefox for continued use of good extensions! Stylus does not have a V3 update yet; however, the tamermonkey script works just as good.

Be sure to check for updates regularly and if you'd like, consider supporting me on Ko-Fi https://ko-fi.com/pixiel !

I'm currently taking donations so I can afford a much-needed wheelchair, so please check out my GoFundMe for more details! Any Ko-Fi donations will be added manually to the GoFundMe

..::::HOW TO UPDATE::::..

click the Manage button on Stylus and click the check for update button next to the userstyle, then click again to install!

Make sure to check the Userstyle and see if the version number matches the one below if you don't see any changes!

NEW UPDATE: 25/05/25 (D/M/Y) 17:28PM BST v17.13

16.16: Fixed activity and notifications, they now look like the previous version 17.0: Final update to the new icons bs! Every page should be functional. If theres any missed parts or bugs - let me know! 17.9: Minor fixes and Tampermonkey update! You can also fix the positioning of the Communities button and subnav from this menu as well - it should remember your settings when you update!

Tumblr Post Width & More (OTD+ Userstyle) Is now available!!

OTD+ is an add on for Old Tumblr dashboard that you can use to edit the Post Width, Content Positioning & More - It must be used with Old Tumblr Dashboard installed as well on the latest update! This style might be merged with OTD in the future.

THE CREATOR OF THIS USERSTYLE SUPPORTS THEIR TRANS SISTERS. WE'RE ALL IN THIS TOGETHER!

Check the readmore for the changelog, custom code & known issues!

----- Known issues:

Only two columns in Masonry view. Semi-Unfixable, Tumblr creates columns based on monitor size, if I try adding another column (because it doesn't exist) it just perpetually loads on screen. Semi-fix: Zoom out in chrome/firefox and it adds more columns, you may need to change the font size of the page though

Search bar doesn't appear on some pages (like viewing a post), this is because Tumblr removed the search bar on those pages completely. Unfixable but not a big deal

Tumblr has ONCE AGAIN CHANGED THE ACCOUNTS MENU. The menus are now shorter and have less information on them. This is unfortunately permanent. I do not see any way to fix this. Unfixable.

If you want people's icons to stay fixed in place, instead of scrolling with the dashboard change this in Stylus;

Or if you're using the tampermonkey version

Find text:

.NLCTe > div.Evcyl > div > div > .So6RQ.YSitt > .ge_yK > .c79Av > article > header > .RYkKH > .nZ9l5 { pointer-events: auto; top: 55px; transition: top .25s; position: -webkit-sticky; position: sticky; } and replace it with;

.NLCTe > div.Evcyl > div > div > .So6RQ.YSitt > .ge_yK > .c79Av > article > header > .RYkKH > .nZ9l5 { pointer-events: auto; top: 0px; transition: top .25s; position: absolute; }

Solved issues: (Update)

Menus need to be manually closed SOLVED! in V.4 and updated in V.5! The menu & icon WILL scroll with you if you have removed the sticky header CSS, however, clicking anywhere on screen will make the Menu disappear still.

Masonry view in searches is now fixed!

Resized Messenger Chat Box!

NEW UPDATE 16/08/23, 23:55 BST v6.5: Figured out how to reorganise the icons in the header. Let me know if you have any problems with it and make sure to update your Userstyle! Some icons are hidden with Display: Block; you can hide more icons with this method!

Solved issues p2

Brought back SOME of the icons for Tumblrs latest update - Unfortunately, this does not bring back user icons for Reblogged posts! Make sure to yell at Tumblr for removing the icons as well as the horrible dashboard update here! v7.5 Fixed icons for all posts and put them back where they came from!

v6.9.6.9 (I promise this is the last funny number): Fuck Off Buggy The Clown Update + All languages support for the old header design!

v7.0: Fixed the search bar for tumblrs new collections feature, so it looks like the original search bar!

v8.0: Fixed masonry view icons, hidden the reblog icon on dashboard icons, fixed icons in blog viewport

V8.1: Fixed issue with icons not working on soft-refresh & with endless scrolling disabled - be sure to complain to staff!

v9.3: Changed a few things with the search feature, I also made the posts less round.

UPDATE2 11/04/2024: SO We mighhtttt have overrun their servers. 😅 I'm getting a 500 Internal Server Error every time I try to fix it or upload it as a new style - the massive influx of people downloading the userstyle was probably too much. The Tampermonkey backup on Greasyfork works just fine though! Probably easier for a lot of people migrating anyway! UPDATE 11/04/2024:: My code has broken on Userstyles.world, (it is now fixed as of 12/04/24) until this is fixed I have created a Tampermonkey Backup Version of the Userstyle so feel free to use this version if you've broken yours!

https://greasyfork.org/en/scripts/492279-old-tumblr-dasboard-backup

v9.6: Moved the Following | For you | Your Tags to below the create a post panel. Fixed the Accounts Menu! + Bugfixes V10.3: Patio compatibility. Added a way to hide the Patio button & "patio feedback?" button, just search for patio in the code and follow the instructions! v11.0: Temporary Chat feature fix after Tumblr broke it, fixed some positioning issues and j/k scrolling!

v12.3: Fixed a text issue (my bad!), I undid the changes to the replies function and added a way to fix icons order for when you get the communities update!

v12.5: Update to make compatible with the Content Positioning using Tumblr Post Width & More (OTD+ Userstyle) v12.6: Post buttons fixed, icons unable to be fixed yet as I haven't got the tumblr changes just yet - but I will fix them asap!

v11.7: Communities Update, changed the new search bar on communities page to resemble the old one. The search bar still doesn't work on these pages yet for some reason. Blog view icons fixed. v13.0: The icons change should now have a working patchfix! BIG THANK YOU to arcadian-asgardian for sending me the screenshots I needed and testing if it worked. + Minor tweak, communities button resized to fit the rest of the icons better v13.2: Mini fixes now that I have better access to the new changes! Communities icon re-centered, usernames nudged back into place.

V13.5 & v13.7: Nuked the Go Premium button - Re-positioned the search bar on search pages v13.10: Changed a lot of the new look for replies - it's not perfect yet mind. Small bug with the "..." menu moving to the left with shorter replies. Looks a lot more like the old replies section though! Made it possible to remove the reply to reply button just search for "NEW Replies UI" in the userstyle and remove the /* */ around "display: none" OR use Ublock to block the element! v14.1: Reverted the "Original Poster" border + text to look like old version. Edit: Whoops, fixed an issue with showing the timestamps

v13.4: Added a way to fix the communities icon position if you don't have the New Xkit button or have hidden any of the icons. Just remove the highlighted /* */ pair in the code for what you need.

v14.11: Made Premium Perks button available in the bottom left corner for all premium users v15.2: Fixed the Tumblr fuckup AND added a cool new feature that allows you to customise the look of your header & hide the reply-to-replies button if you like, here's how to customise this. Set to "Block" if you want the button/icon visible, Set to "None" if you want it hidden! V15.5: Given labels to options for clarity - now says 'show' or 'hide'!

v15.9: The Boopdate! V16.0: Fixed Search view pages and made them look normal, unfortunately, I can't bring back the dropdown menus for "top"/"All Time" etc - but it should look more like the original now

v16.3: Minor tweaks to make search pages look better

16.10: Fix changes to the notification icons 16.14: Fixed many issues with Tampermonkey Version - including a bug that makes the header go weird when you click on a post, fixed notification icons in small view

16.16: Fixed activity and notifications, they now look like the previous version

16.26: TEMPORARY UPDATE - only changes some aspects of the dashboard - THIS IS FULLY INCOMPLETE AND I AM WORKING ON A FULL FIX FOR THE REST OF THE SITE EDIT: added changes for timestamps!

[starcurtain]

Teyvat's "Most Down Bad" Award Goes to Alhaitham for a Second Year Running

Seeing everyone making fun of Alhaitham for his "stalkerish" tendencies in this event is funny, because I feel like a lot of people missed that "Be literally everywhere Kaveh is" has been Alhaitham's MO from the day Kaveh appeared in the game.

From only grabbing his house keys after Kaveh returned from the desert (he couldn't have had both sets of keys at the end of the Archon Quest unless he went home and got Kaveh's copy) to ditching conversations to get back to his house only after Kaveh came home, to showing up without any warning or explanation in Kaveh's hangout with some ridiculous excuse about hearing his voice through noise-cancelling headphones... Refusing to offer any help in the Temple of Silence story quest other than staying in the library with Kaveh...

Since when does Alhaitham willingly cover anyone else's duties?

But this trend of "Be everywhere Kaveh is" didn't start when they were adults. It was already in place when they were still Akademiya students--and it's a trend that didn't end even when they had their fight.

Even when they weren't speaking, Alhaitham dogged Kaveh's every step through published responses to Kaveh's research articles in academic journals. He insisted on keeping a line of communication between himself and Kaveh open, even if the only way to do that was through very public ideological clashes. Pulling Kaveh's pigtails to get his attention lolol. It's implied that, for at least the few years between their fight and Kaveh moving in, this was the only communication between them--Alhaitham's refusal to allow their connection to entirely fade away. (And the fact that this is revealed in Kaveh's character stories--through his precious journal that records the moments of his life that had the most impact on him--shows just how deeply he values the fact that Alhaitham didn't give up.)

Another relevant side note: Alhaitham never asked Kaveh to give up his half of their house. Knowing half of it belonged to Kaveh, knowing that Kaveh may one day want to reclaim his part of it, knowing that it was listed as theirs, Alhaitham moved into the house and made zero effort to change its ownership. He was completely fine with living in "his and Kaveh's house." The stories suggest it was only months later (or even longer) that Kaveh even noticed he had the house, and he transferred away ownership of his portion without Alhaitham ever asking him (or even seemingly wanting him) to do so.

Please, let that sink in. Alhaitham actively left his grandmother's (presumably comfortable) house to move into "his and Kaveh's house," with no apparent explanation for why, and after doing so, he made no attempt to change that "his and Kaveh's" label. He moved into the house with no promise that Kaveh wouldn't show up on the doorstep the very next day and move in too. It almost feels like another deliberate provocation--I've moved into our house, are you going to come stop me? LBR, if Alhaitham had had his way, Kaveh would have been living there with him from Day 1...

There's also the fact that Kaveh literally can't write on a single message board anywhere in the entire nation of Sumeru without Alhaitham hunting his messages down and responding to them (which absolutely no one else does, by the way).

"NUH-UH!" "UH-HUH." "NUH-UH!"

Alhaitham's own character stories tell us explicitly that one of Alhaitham's defining character traits is "He is never where you need him to be," yet somehow...

Shot, and chaser:

Any time Kaveh is in the slightest bit of need or danger or just wants Alhaitham near, Alhaitham is "coincidentally" exactly where Kaveh needs him to be, whenever Kaveh needs him to be there.

Alhaitham didn't just "happen" to run into Kaveh in Port Ormos, an entirely different city from where he was supposed to be working. He didn't just "happen" to read the same terrible book as Kaveh when we know he otherwise would not waste a moment of his time on poorly-written literature...

He didn't just "happen" to appear when Kaveh was upset and needed a distraction in the House of Daena during Kaveh's hangout. He didn't just "happen" to be sitting around waiting when Kaveh needed answers after the Archon Quest. He didn't just "happen" to find Kaveh's academic publications and every single message board posting and respond to them at length and in public.

Which is exactly what Kaveh's mother told Kaveh he needed.

What level of down bad is "Abusing your powers as an Akademiya employee to keep tabs on your crush's library loans"? Just asking for a friend.

The only person for whom Alhaitham just "happens" to be available is Kaveh, over and over and over again--because he is very deliberately making himself a constant presence in Kaveh's life.

(Like, out of all things, I think people really underestimate the devs deliberately paralleling the romantic relationship between Kaveh's mother and father with Kaveh and Alhaitham's relationship. If you want to point to one thing that says "These two characters are intentionally queer-coded," it doesn't get any more obvious than this.)

Alhaitham, are you not embarrassed to be this transparent??? 🫣

[yourlocalbreadenthusiast]

Kindly take a break from scrolling to read this, it's important.

Take your time to grieve and come to terms with the election results, but once you've done that, it's time to get to work. We have two months. And a lot to do in that time. We have to prepare, to be ready.

Be careful about what you post or say online. Anything potentially incriminating should be avoided. Threatening language, even if clearly a joke, can be used against you.

Know someone who's trans? Someone who's had an abortion? Someone who's LGBTQIA+? Someone who's an immigrant? Someone who attends protests? Someone who's disabled? Someone who might in any way be at risk due to laws being put into place? No you don't.

Move away from social media platforms and browsers that require you to use your real identity or input a large amount of personal information. Now's a good time to find alternate means of communicating online. Tails, Element, Tor, Mastodon, Firefox, and Lemmy are all decent options.

Find a community. Someone you can talk to, either online or in real life, that you'll have reliable contact with. We need to try and create a network, but one that's as anonymous as possible.

Start scrubbing your trail as much as possible. Get rid of old accounts that can still be traced to you but are no longer used, delete personal data off the internet. There are websites out there that will freely remove your data from the internet, but be careful about which one you use, make sure it's safe and legitimate first.

Change any usernames that you can that contain any personal information. Names, birthdays, anything.

Plan B has a four year shelf life. Stock up, but don't take more than you you'll need. We don't want a COVID repeat where everyone buys an excessive amount of things and leaves none for everybody else.

There are doctors that will sterilize you, if that's the way you want to go.

Stop using online period trackers right now. Delete all data from it if possible first, then delete the app itself. If you must, write it down, but in a subtle manner and on something you keep at home. Don't label it, just put the dates. If you're really worried, discard older records and only keep the most recent few, and label the dates as other random events, like "go to mall" or "chicken salad for dinner this night"

Get your vaccines now.

Save money.

Archive. We have to start collecting records, media, data, books, and articles now. On racism, on fascism, on homophobia, on gender, on self-reliance, on survival, on safe travels routes, on equality, on justice, on anything that may be useful and/or censored soon. We can't let them erase it.

Collect those online resources. Bookmark them, copy files into your storage, Screenshot pages. Create a decentralized library where everyone is working to be part of a whole, storing what they can individually and sharing it between one another. Again, be careful about doing this.

Second-hand bookstores are your best friend. Books are usually very cheap in them, and they often have a decent stock. See what you can find.

When buying ANYTHING I have mentioned above, or anything else that maybe put you in danger, try to use cash to reduce your spending trail.

Check your car information online, many newer models can be remotely tracked.

Turn your phone completely off if you may be at risk due to your location and current activities. Turning off your GPS also helps.

Take note of where you are. Who are your friends? Who's a safe person? Where can you go besides your own home that you know you'll be safe? Establish these connections now.

Who around you is not safe? Who and where do you need to avoid? Do you need to move? If you cannot afford moving but need to, there are fundraisers that can help you. If even that is not an option, at least try to make sure your home is secure. Have someone who can help you. Have a fallback safe place.

And finally, I want anyone with resources to put them in the replies. Flood it with useful links, information, tips, anything. We're in this together. Do not panic. Organize.

EDIT: Please be civil in the replies.

[pomegranatelifethis]

I think I'm dying

The Wayne Manor library was your sanctuary, a labyrinth of leather-bound tomes and soft lamplight where you could lose yourself for hours. At sixteen, you’d carved out a place among the Batfamily, not as a vigilante but as a quiet anchor, someone who patched up their wounds—emotional and physical—when Gotham’s shadows spit them back out. Tonight, though, the library’s warmth couldn’t shield you from the sharp, unfamiliar pain clawing at your abdomen. You curled tighter into the armchair, a copy of *Jane Eyre* forgotten on your lap, your breath hitching as another cramp twisted through you.

You’d never felt anything like this. A dull ache had started that morning, easy to ignore, but by evening it was a relentless vise, squeezing your insides with no mercy. Then there was the blood. You’d stared at the red stain in your underwear, heart pounding, before piecing it together. Your first period. You’d read about it, heard friends whisper about it, but no one warned you it would *hurt* like this. Embarrassment burned hotter than the pain—you couldn’t tell *them*. The Batfamily was a pack of overprotective, mostly male vigilantes. How do you explain this to people who dodge bullets for a living?

The library door creaked open, and you stiffened. Dick Grayson poked his head in, his perpetual grin faltering when he saw you hunched over, face pale. “Hey, kiddo, you okay? You look like you just fought Bane and lost.”

You forced a weak smile, clutching *Jane Eyre* like a shield. “I’m fine, Dick. Just… stomachache.”

He stepped inside, all easy grace, but his eyes—sharp, trained to catch lies—narrowed. “Uh-huh. That’s not a stomachache face. That’s a ‘something’s seriously wrong’ face. Spill.”

Before you could deflect, another cramp hit, and you couldn’t stop the whimper that slipped out. Dick was at your side in an instant, crouching to meet your eyes. “Whoa, hey, talk to me. What’s going on?”

Your cheeks flamed. “It’s nothing. Really. Just… girl stuff.” The words felt like broken glass in your throat.

Dick’s expression softened, understanding dawning. “Oh. *Oh*. First time?” When you nodded, barely meeting his gaze, he didn’t laugh or make it weird. Instead, he squeezed your shoulder. “Okay, stay put. I’m calling in reinforcements.”

“Dick, no—” But he was already gone, leaving you to curse your luck. Reinforcements in Wayne Manor meant chaos.

Ten minutes later, the library was a battlefield of Batfamily concern. Dick returned with Tim Drake, who clutched a laptop like it held the secrets to curing periods. “I’ve got articles,” Tim announced, scrolling furiously. “Cramps are caused by prostaglandins, which trigger uterine contractions. Heat helps. Also, hydration. And maybe ibuprofen?”

“Tim, chill with the WebMD,” Jason Todd drawled, leaning against a bookshelf. He’d shown up with a heating pad—where he’d found it, you didn’t ask—and tossed it onto your lap. “Here. Crank that bad boy up. Works wonders.”

You blinked at the heating pad, then at Jason. “You… know about this?”

He shrugged, a rare softness in his green eyes. “Grew up around women. Picked up a thing or two. Don’t make it a big deal.”

Damian Wayne, perched on a ladder with a scowl, muttered, “This is absurd. If the pain is this severe, perhaps a medical evaluation is warranted.”

“Damian, it’s just a period,” Dick said, ruffling his hair, which earned him a glare. “She’s not dying.”

Bruce entered last, silent as ever, carrying a tray with a steaming mug of chamomile tea and a bottle of painkillers. He set it on the side table, his presence grounding the room’s chaos. “Take two,” he said, nodding at the ibuprofen. “And drink the tea. Alfred swears by it.”

You stared at the tray, then at the five vigilantes circling you like overzealous nurses. The embarrassment was still there, but it was drowned out by something warmer—something like belonging. “You guys are ridiculous,” you mumbled, popping the pills and sipping the tea. The heating pad was already dulling the cramps, and the tea soothed the knot in your chest.

“Yeah, well, you’re stuck with us,” Jason said, smirking. “No suffering alone in this family.”

Tim piped up, still scrolling. “There’s also this yoga pose that’s supposed to—”

“Drake, enough,” Damian snapped, but there was no venom in it. He hopped off the ladder and, in a rare moment of gentleness, draped a blanket over your shoulders. “Rest. We’ll handle patrol tonight.”

Bruce’s hand rested briefly on your head, a quiet gesture of reassurance. “If you need anything, you tell us. No shame in it.”

You nodded, throat tight. As they filtered out—Dick with a final wink, Tim muttering about anti-inflammatory diets, Jason tossing you a salute—you sank into the armchair, the pain easing under the heat and care. The library was quiet again, but it didn’t feel empty. Not with them.

For the first time that night, you smiled. Being part of the Batfamily was messy, chaotic, and occasionally mortifying. But it was also this: a room full of heroes who’d drop everything because you were hurting. And that? That was worth every cramp in the world

[chloe-skywalker]

You Know This Guy? - Bucky Barnes /Alexei

Bucky x Fem!Reader

Alexei x Daughter!Reader

Warnings: none

Word count: 659

Summary: Bucky called you to help manage these guys, he didn’t know Y/n would personally know Alexei.

Authors Note: Part 2 ? I wrote this before the movie came out so once I see the movie part 2 would be possible to write. Okay so I wrote this in february and didn’t find out till articles came out and said it in April but this fit almost the mental health theme of the movie. Definitely want to do a part 2.

Masterlist

Avengers Masterlist

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

“Ah Y/n!” Alexei exclaimed in pure excitement at seeing the young woman enter the room with Barnes. Y/n and Bucky immediately looked towards the man in question and Y/n stood in shock and Bucky in confusion.

“You know this guy?” Bucky tilted his head towards Y/n but kept his eye’s on Alexei. Bucky didn’t trust anyone in this room, besides Y/n.

“A long time ago.” Y/n answered Bucky as well as copying him and keeping her eye’s on the man she hadn’t seen in a very long time. Not since she was a child.

“Oh my sweet, Y/n.” Alexei smiled as he approached her wrapping her up in his arms lifting her off the ground, hugging her to his chest.

“Okay, let me down.” Y/n squeezed out at how tight his hold was and she didn’t particularly like being lifted off the floor.

“I’m so happy your here. And you know Barnes!” Alexei put her back down on her feet moving his hands up to cup her cheeks, squishing them in the process.

“Yeah, yeah I know Barnes.” Y/n answered with a nod as she reached up grabbing his wrists to lower his hands from her face.

“Fantastic.” He clapped smiling looking between her and Bucky.

“May I talk to you for a sec?” Bucky asked placing a hand on Y/n’s lower back to get her attention, but to also provide her with comfort having noticed how tense she had become.

“Uh huh.” Y/n nodded leaning back into his hand as they left the room.

“How do you know this guy?” Bucky nodded back towards the room where they had left everyone else as he referred back to the burly man weathering a to tight suit. A suit neither one of them was sure ever really fit that man.

“I know pretty much all of the Bucky. John from when we helped Sam, Yelena from the Red Room-” Y/n started listing how she knew a couple of the people in the other room, but she was actively avoiding giving a straight answer to his question for as long as she could.

“How do you know Alexei?” Bucky clarified knowing her well enough to know she was stalling.

Y/n sighed, she didn’t like bringing up the past, especially this. “I was part of that undercover family with Nat and Yelena when we were kids.”

“Yeah you told me.” Bucky knew the story, she had told him before. It was the only family experince the 3 girls ever had for most of their lives.

“He was our undercover father.” Y/n stated biting her lip and let out a shaky breath.

Bucky’s eyes widened a she lifted his arm and pointed back to the other room in shock, needing extra comfirmation. “He was?”

“Yeah. A decent one to.” She nodded looking away, she didn’t like the feelings that were coming up when talking about it sure she told Bucky about this before, but not into to much detail.

“Are you going to be okay with this?” Bucky was worried with how being around Alexei could effect Y/n menatly and emtionally.

“Do I have a choice?” Y/n shrugged, it’s not like they really had a say in the matter.

Bucky hated that he felt helpless in this situation. “I don’t want you to feel-”

“We don’t have any say in the matter Bucky. I just have to. . . be okay with it.” Y/n cut him off shaking her head as she does so. There wasn’t anything they could do.

Bucky rubbed his none metal hand down his face not liking their lack of options. The only thing he could think of was to get their job done as fast as possible. “Let’s get this done fast so we can go back home.”

“Yeah.” Y/n agreed hoping they wouldn’t hit anymore snag’s so they could go home.

Taglist: @padawancat97 @maryvibess @gruffle1 @starkleila

[kick-a-long]

I just want to clarify that this is a good faith question as I am not Jewish and I don’t have a great grasp on what sources may pass the sniff these on this but. What are the issues with Jewish Voice for Peace? I don’t know a lot about the org.

Thanks for asking! I’m not the best source but I can give you a few outline ideas. TLDR? Huge race faking assholes. Real prices of white washing terrorism shit. It’s actually fun to learn about because they really twist and lie about us and it’s a really good opportunity to learn what is and isn’t true. Obviously Jews and Israel isn’t perfect so you often have to check the more plausible claims but even those are usually wildly wrong and exaggerated. It’s tough.

We hate JVP because:

Almost no Jews in it yet they constantly say they represent Jews and token themselves to excuse other hate group’s antisemitism and calls for violence. They are deeply antisemitic and promote misinformation and violence against Jews themselves tho so don’t think they are just a shield. The Jews in it are either totally disconnected from Judaism, both religious and cultural (they promote self conversion to Judaism using a tea cup baptism type thing and various pagan rituals both of which are an ABSOLUTE no go in all forms of Judaism. They don’t publish their membership so it’s impossible to know how many actual Jews are in it) or they are this one insane antizionist religious sect that dress like Orthodox Jews but are basically the most fringe racist pieces of shit antizionists alive who think all other Jews aren’t Jewish enough and deserve to be killed with all the non Jews (they are also just racist against non Jews and Jews that aren’t in their sect as well as homophobic I believe.)

They are as much an anti Jewish hate group as something like the black Hebrew Israelites and Jews for Jesus.

Jews have a hard time with fake Jewish organizations because antisemites and philosemites outnumber us by probably 10 to one. And they don’t even try to learn from us they just put a Jew sticker on their Christian or Muslim bs and say all actual jews should be killed for eating babies.

Here’s some screenshots from the article I linked. I’m too tired to copy paste and format it.

They also rewrite and promote interpretations of holidays that are Jewish to ignore Jewish history and beliefs and replace it with Palestinians. They object to Jews praying or speaking in Hebrew as offensive to Arabs, and in general they are some real assholes to Jews. They token themselves as Jews even when they aren’t. “Not in our name” t shirts that leftist non Jews wear while pretending to be Jewish for the photo opportunity? That’s partially them.

See this photo? Literally no Jew could have been involved in this. Literally no one who knows how to google the word “Passover” could have made this. The Hebrew is backward, like…. It’s literally wrong in every way. Not even in an “we changed it to fit Palestine culture” it’s just stoner bullshit. Just a big ol plate of blood libel and inciting terrorism against real Jews.

Other people have more info. All this is off the top of my head but don’t listen to these fucks unless the info is verified by a Jewish source or you might end up thinking Hebrew is written left to right, bar mitzfas are colonial settler oppression, a bris is cp, and Dino is the real historical language of Jews … who flew down from space just in time to get slightly murdered by a very few fringe groups in 1930s Europe.

[bittertasteofhoney]

Good Day Sunshine | Ch. 5

A Long, Lonely Time

Summary: Ellie throws you and Joel together for a dinner date, and the two of you don’t know whether to run or stay to find out what may happen.

|| less angst, more FLUFF, jackson!joel, jackson!joel x f!reader, little slow burn crest, domestic!joelmiller, awkward first date vibes, more Ellie interference||

Notes: Not me giggling and kicking my feet while writing this chapter!!! Domestic Joel just might be my favorite, oh my god. Should I make the next chapter a little smutty?

Also, two chapters in one day? I’m so sorry I could not be stopped. Don’t know if this will happen again, but making y’all wait for this did not feel right, so enjoy!!

The characters, names and characterizations belong to HBO Max and The Last of Us franchise. This work is my creative property and aside from re-blogs and shares, I do not give permission to share or copy my work without permission or consent.

Previous Chapter.

After Dina and Ellie left and you finished your shift for the day, nerves propelled you to your cupboards to see what measly ingredients you had to bring a good faith gesture to the Miller house that evening. You spotted the typical ingredients used in a cake, and luckily, a bag of lemons from the greenhouse overflow pile you brought home that evening. A lemon cake it was.

An hour later, the mixture was rising in the oven, and you were sorting through your pile of scrounged clothing to find something relatively new-looking to wear to dinner. Every single article either had a mystery stain, a hole, a burn mark or all of the above. You settled for a sundress found on one of the Jackson supply runs to a neighboring city, gifted to you by Roberta for your last birthday. She traded a week’s worth of flour rations and a brass ring she found after moving into her home.

You thought it a steep price for a birthday gift, but relatively new clothing in the apocalypse was a hot commodity. Of course, you somehow managed to stain it at some point, but you told yourself stains were the new black as you attempted and failed to scrub it out. 

After slipping it on, you pulled your hair into a loose braid and pulled the cake out of the oven to cool. Within the hour, you took the long path to the Miller house to get your nerves under control. It was going to be fine. It would be awkward, sure. This could be the first step to potentially being friends. Or at least, something more than whatever you currently were.

Once you were standing in front of the black front door, it took you another minute to scrounge up the courage to knock. After a few polite taps, the door swung open with an over-excited Ellie standing in the doorway. 

“Why did you wait so long to knock?” Okay, Ellie, a little grace would be nice. 

“Oh, I was just wondering if this was the right house. I’ve never been here.” The young girl tilted her head to the side. 

“It says Miller on our mailbox.” A nervous laugh escaped your lips.

“Oh my gosh, Ellie, I-”

“Hey.” You looked up at the sound of the deep, gruff voice. Holy. Crap.

Joel stood before you, towering and domineering, but not just in his everyday look. His hair was still wet from a recent shower, combed back, and he was wearing a shirt that looked stiff from hanging on the line. You felt your cheeks turn rosy. He looked goddamn delectable.

“Hi.” He nodded at you, looking everywhere but at your face. You saw his eyes zero in on your dress, but you weren’t ready to think about how that made you feel. 

Ellie leaned in towards you conspiratorially and whispered, “He actually did laundry for this.”

“Ellie!” Joel looked at his adopted daughter as if the floor just fell out beneath him. You brought a hand to your mouth to cover a snicker that fell flat once his eyes met yours. You mouthed a “sorry,” which he answered with a blush and a throat clearing. 

The three of you stood there awkwardly before you lifted the cake in your hands as an offering. “I, uh, made a lemon cake. For tonight.”

“You didn’t have to do that.” You gave him a small smile.

“I did. I have a feeling Ellie just dropped this on you.” His sideways look at Ellie answered every suspicion you had about tonight’s dinner invite. He met your eyes, which caused your cheeks to turn redder and your gaze to fly to the floor.

Of course, Ellie stood between the two of you, smirking. “So, I completely forgot, but Dina asked if I would help with chopping wood for this week’s bonfire so I’m gonna go!” 

“Ellie, please don’t-”

“Ellie!” 

That little shit. She didn’t even pretend to listen to the two of you argue as she ran out the door, leaving you alone. With Joel.

You took a deep breath. “So, dinner?” Joel’s eyes were locked on the door.

“Yeah, dinner.” He wouldn’t look at you. You moved the dish to one hip and tentatively reached a hand out to gently nudge his arm.

“Joel, I can go. I didn’t mean to push in.” His eyes flew to yours.

“No! I mean,” A throat clearing. “No. You didn’t. Please stay.” You felt the breath leave your body at how soft his eyes looked. Good god, how was this man single?

You look at him, surprised, and he offered you a tilt of his lips. “I’m afraid I cooked, so it won’t be that good. Your pound cake will more than likely save the meal.”

You laughed and awkwardly followed him to the dining room as he led the way. You let your eyes land on various knick-knacks in the orderly living area. A few wooden sculptures. A sunken couch. A threadbare rug. Pun magazines? You were definitely going to ask about that at some point.

“Can I help with anything?” He began to shake his head, so you repeat his name in an exasperated tone. “C’mon, please? I need something to do with my hands. This feels like an awkward first date.” You tilted your head to the side. “I guess it is a first date of sorts. Ellie definitely set us up.”

The strangled sound that left that man’s body again had your hand flying up to your mouth to cover a giggle. “God, don’t sound so horrified!” 

“No, it’s not- I don’t mean to say it isn’t, I just-” You put another hand on his arm without thinking as a giggle finally escaped. 

“Oh my gosh, Joel, it’s fine! I’m sorry.” He let out a huff that might be the closest thing to a laugh you’d ever heard come out of his mouth. You looked at him for a minute as you two awkwardly shuffled on the spot.

“Do I smell chili?”

“Yes. It’s about the only thing I can cook well. Mostly cause it’s just tossin’ a bunch of things in a pot. I traded Tommy for some ground beef and I had tomatoes from this week’s pick up. So.” You smiled at how goddamn nervous this man was. It was cute.

“Sounds delicious. At least let me help you set the table.” He walked you to the kitchen, where you grabbed utensils and he grabbed plates from an upper cabinet you tried to and failed to reach. He gently moved you to the side after your failed attempt and directed you to the utensil drawer, chuckling to himself. 

After he filled two bowls with his concoction, you sat down and ate in tense silence, with the two of you swapping glances to see what the other was doing. Definitely a first date.

After you took your last bite, you looked up at him and waited for him to make eye contact. “I want to apologize.”

Another cough. You had to stop, or this man would choke before the night was over. “For what?”

“I guess for the drama from the past few weeks?” You licked the spoon clean before continuing, and Joel couldn’t help but let his eyes drift to your mouth, entranced. You kept talking without seeing Joel’s current fixation. “I know I didn’t exactly cause anything but I’m just sorry it happened. You and Ellie were still adjusting to life in Jackson so I can’t imagine it must’ve been easy handling petty drama and learning life in a new town.”

“It wasn’t petty. It was deserved.” You leaned on your arm, getting comfortable as you pushed your bowl to the center of the table. Joel felt warm in his chest watching you get settled at his dining table and smiled to himself. 

“What you said was wrong. It was hurtful but… I don’t know. I sort of get it. Not the hurting my feelings but I get the frustration and I guess, stress.” 

His eyes were filled with sincerity as he said, “No. I…forgive my language but I was an ass. I took my frustrations out on you, and I wasn’t fair. Not a word of what I said was true.”

You blushed and nodded. “Thank you.”

You sat in another minute of companionable silence, you smiling to yourself and him thumbing a groove in the table before you stood. “Cake?”

You began clearing the plates when Joel put out a hand to stop you. You playfully rolled your eyes. “Go cut the cake, Joel. I’ll just put these in the sink.”

Another pseudo-laugh-chuckle, and he stood. You noticed him flexing his hand and made a mental note to also ask about that later. “You want coffee?”

You spun to look at him over your shoulder with narrowed eyes. “What kind of question even is that?” That actually got a chuckle out of him. You smiled, relishing the win as he followed you into the kitchen. Your little domestic dance felt like what an alternate timeline with him could be like. Imagined domestic bliss with Joel? What was happening to you?

A few minutes later, he led you onto the front porch carrying two cups of coffee while you held the cake. You both sank into rocking chairs, swapping cake and cups of coffee. He leaned forward to take a bite of the cake, and a groan escaped his mouth.

You blushed at the downright erotic nature of the sound and coughed to cover it. 

“I can’t remember the last time I had a slice of cake this good. You made this?” You smiled and nodded. “You’re going to make some man very happy one day.”

You shrugged. “I don’t know. It seems odd to tie yourself down to someone in this world, but I guess it helps to have someone, given what we all go through.”

He shot a sympathetic look your way as you took a small sip of coffee. You gave him a sad smile. “We all have our little story.” You shrugged.

“Care to tell it? You don’t have to. But I’d like to hear.” You looked at your lap and pinched off a piece of the lemon loaf, taking a bite to bide your time.

“The condensed version? I grew up in Tennessee. Eight, when the outbreak happened. We were lucky for a while. I grew up on an apple orchard, so I didn’t experience the mania of those first days, but it didn’t take long for raiders to come knocking.” Your voice caught. 

“Those days were hard. I watched my dad get shot right in front of me, paralyzing him for the rest of his life.” You took a deep breath. “It actually took a few years for me to even see infected, and when I did, the fear that I felt… I truly knew the world was forever changed in that moment. We noticed them in a field across from our farm and stayed locked inside for days waiting for them to move on. Which they did.”

Your breaths grew clipped, and you brought a hand to your chest to still the increased pattering. Joel’s hand twitched at his side, wanting to reach out to you, surprising himself at how protective he still felt of you.

“But then a few years later, my mom got bit. She hid it from us because she was scared. And I know that now. But one night,” You met his eyes and he noticed yours were watery. “My dad and I were sitting on the porch and noticed her standing in the driveway watching the orchard. We noticed she was twitching so my dad called out to her. In a split second, she was on him, biting his neck.” You shook your head. “I was twelve at that point. I didn’t know what to do, so I ran.” 

Joel got out of his chair and knelt before you, reaching out to place a hand on your knee. You took a deep breath and forced a smile. “I’ll say the rest quickly. Okay.” You blinked a few tears away. “She chased me into the orchards, and I had to use one of the axes to hit her. And I killed her.” You met his eyes, and he rubbed your knee comfortingly. “I didn’t even go back for my father.” You hiccuped.

“I just kept running. I was frightened out of my mind. I came across another group within a week, who took me in, and a few years later, Tommy found me in Nebraska and brought me here.” Joel rubbed your knee for a few minutes while you slowed your breathing. He just sat there offering support while you learned to just be again. 

Nervously, you met his eyes and saw that the softness was back. “Tommy can be a pain in the ass but I’m not surprised he took you in and brought you home.”

You let out a watery laugh. “Yeah, he loves picking up strays.” 

He shook his head. “No kid should have to go through what you did.” 

You shrugged. “We all went through some dark stuff. It wasn’t an exclusive experience.” The only answer you got to that was a sharp nod. A subject change was in order. “Tell me something good.”

For the next few minutes, he stood crouched before you as he told you about his life in Boston and his trek with Ellie. He skirted around a few things, obviously avoiding mentioning how he and Ellie exactly met or where her family was, but you listened intently. 

“And pre-outbreak?” 

He froze and in a clipped voice said, “I was a contractor. Had a daughter.” You froze.

“What was her name?” His gaze froze on the ground as he stood there, seeming to struggle to breathe. He stood and brought a hand to his mouth. 

“Sarah. Her name was Sarah.” His face was back to its uniform of all hard lines. You stood slowly, placing your coffee and cake on the ground and bringing a hand to his arm.

“I’m ready to listen if you want to talk about her. But only in your time. We can also talk about something else. I promise I have an abundance of embarrassing stories about your brother I can relay.” He huffed again in muted laughter. 

He shook his head, smiling to himself. “I don’t talk about her enough.” 

The two of you stood there as he told you about Sarah, about her incredible smile and her obsession with Dawn of the Wolf. He painted the picture of her killer spin kick during soccer season, and how their favorite thing to do together was watch cheesy horror movies. He never shared how she died, and you did everything you could to skirt around it, keeping him exclusively talking about her interests and their everyday life as a single dad and daughter. 

After the two of you settled back into silence, you let your gaze wander around the yard and porch until you spotted a guitar leaning against the home exterior. You gasped and beelined for it, Joel watching you curiously. 

“You play?” One of his hands shot to the back of his head, where he scratched nervously. 

“No, I-” You chuckled.

“Oh, fine. The man with the guitar doesn’t play. Obviously. But do you mind if I do?” 

He nodded slowly, clearly intrigued. You settled back into your chair, perched on the edge, while you checked the guitar’s tuning. After a few testing strums, you began plucking the strings, letting the familiar notes of Unchained Melody pierce the quiet. 

You sang along softly, closing your eyes as your fingers danced through the verses and choruses. Mostly out of nerves because you couldn’t bring yourself to watch Joel’s reaction, but also because a reel of moments with your family pre-outbreak was playing across your mind. 

Your mom in the apple orchard. Your dad teaching you to play guitar. Cooking breakfast. Running through the rows of trees.  

When you plucked the final string, you opened your eyes to see Joel watching you intently. You gave him a soft smile. “My mom and dad used to slow dance to that song.” 

He swallowed and nodded. And after a pause, “You wanna dance?” Your face tilted to meet his eyes, and a smile quickly broke out. You nodded, not trusting yourself to speak.��

He smiled and returned inside. Unsure of whether to follow or stay put, you nervously fiddled with the guitar strings until you heard the opening notes of More than Words by Extreme spill out of the open front door. 

You smiled to yourself as Joel reemerged, reaching a hand out to you. “You know how to dance?”

You playfully rolled your eyes and chuckled again, placing your hand in his. “Yes, Joel. It’s the apocalypse, not the Stone Ages.” He mimicked your eye roll as you delicately settled into the appropriate stance. 

It took some awkward hand placement, but the two of you eventually began to sway. You first placed your hands on his shoulders and after a verse, linked them behind his neck. He took that as permission to lower his from your waist to your hips. 

As the song flowed over the porch and into the yard, you absentmindedly carded your fingers through his curls, humming along. He lifted a hand to grab one of yours. You froze, noticing you may have crossed a line, but he just held it in his hand as the song moved into the final chorus. 

You locked eyes and kept them there as the song finished. His gaze flitted to your lips, and for a charged moment, you let yourself nod, thinking maybe, just maybe, the two of you might move into strange but new territory together. Was all this tension simply attraction? He leaned in closer, and you felt your breath seize up. Was this really happening? 

As the song’s ending of guitar runs circled you, he brought your hand to his mouth and let his lips press to the work-worn skin. You inhaled sharply. 

As the song ended, so did your proximity and the two of you shot apart, fixing your clothes and clearing throats. 

“I should probably head back. It’s getting late.” He nodded to himself, listening but unable to meet your eye. 

“I’ll walk you.”

“No, it’s fine. It’s only a ten minute walk.”

“Please. I want to.” You stood there, staring at the man who looked ready to bolt but insisted on ensuring your safety. 

“Fine. But can I ask you something?” 

“‘Course.” 

“If I let you walk me home, will I get a kiss goodnight?”

The man turned as red as the garden tomatoes.

Next Chapter.

Tag List :) @silksepia @hello-nah817 @longlivetheloneliness @keseqna @millers-girl @treacherqus @lemonboi @spnfic85

[tec-a0l]

26 years

it’s been 26 years since the massacre at CHS, and because there’s so much misinformation surrounding it, i’ve decided to make a list of the most common myths to debunk them.

⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡

“eric was the leader, dylan was a follower”

this narrative is pushed by many different sources (most notably by dave cullen), however it’s blatantly false. both dylan and eric were equally responsible for planning and following through with the massacre.

if anything, it could be argued that eric was more of a follower, as dylan wrote about committing a massacre nearly a year before eric did, and several of their friends stated that eric actually tended to follow/copy dylan in more innocuous ways. this, however is also somewhat farcical, as they made the choice to do this together, and should both be held equally as accountable.

⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡

“eric shot dylan”

this goes hand-in-hand with the “leader/follower” myth, however based on all the publicly available forensic, ballistic, and coronary/post-mortem information, dylan undoubtedly took his own life.

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“they picked 4/20 because it’s h*tler’s birthday”

the intended date was 4/19, as they were inspired by the 1995 oklahoma city b*mbing done on the same date, however they weren’t prepared enough when the day came and they had to postpone.

⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡ ⟡

“there were 15 victims”

yes, 15 people died that day, but only 13 of them were victims—you cannot be the victim of a massacre that you, yourself perpetrated. while it’s true that d&e were victims of an unsupportive society and intense bullying, they chose to carry out the massacre, which means they were not victims of their own violence.

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“rachel & cassie were killed for believing in god”

rachel scott & cassie bernall’s martyrdom is probably one of the most prevailing myths about the massacre, but it is very much untrue. for rachel, she had no interactions with d&e on the day, as they shot her from a distance. for cassie, while she did have an interaction with eric, it was only him taunting her before taking her life—no conversation took place.

d&e did, however, ask valeen schnurr if she believed in god—to which she answered something along the lines of “no…yes, because my parents believe,” according to schnurr herself and other survivors from the library—but she wasn’t killed because of it.

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“d&e were members of the trench coat mafia”

while they did wear trench coats/dusters, neither dylan nor eric properly associated with the TCM. a couple of their other friends did, but not d&e themselves.

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“dave cullen’s book is an accurate account of the events”

this could not be further from the truth—dave cullen’s book is filled with misinformation, distorted evidence, and flat out lies. this includes the very real story of how the now-late anne marie-hochhalter—whom he never even interviewed, instead going off of random news reports—was injured. she had spoken out about it in an article, stating:

“I was injured at [CHS], and Dave Cullen's book is inaccurate and sensationalized...It felt kind of violating, to be honest,” Hochhalter says of the experience of reading Cullen's book. “He got the part about how I was injured completely wrong. I couldn't bear to read the whole thing.”

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there’s no doubt hundreds of other myths surrounding the massacre, but these are the main ones that come to mind first.

it’s important for us to remember that this was a very real event that had very real impacts on people—it’s easy to fall into the trap of disconnecting d&e from the destruction they caused, viewing them more as fictional characters you just see on your screen, but that’s far from the case.

i hope cassie, cory, daniel, danny, dave, isaiah, john, kelly, kyle, lauren, matthew, rachel, and steven all rest in peace, they were taken far too soon.

for dylan and eric, i hope their friends and families can remember the good times they had with them, and the rest of us can learn from this case and not go down the same dark path they did.

my love is with the families of all those effected by this tragedy, we owe it to them to do our best in making the world a kinder, more understanding place and taking whatever steps we can to stop more shootings from happening.

be kind to yourselves, and be kind to others.

[songoftrillium]

Werewolf: the Apocalypse 5th Edition and the Anti-Indigeneity in the Gaming Industry

reosted with permission from J.F. Sambrano

Dagot’ee!

Shii J.F. Sambrano gonsēē. My nations are Chiricahua Apache (Ndeh) through my maternal grandmother and Cora Indian (Náayarite) through my maternal grandfather.  I am a mixed race Indigenous person, and through my father my heritage is English and Scottish. I am currently residing and doing work in my community on the lands of Lummi Nation. I use both gender non-binary and masculine pronouns, but prefer the former. I have several published works in the TTRPG industry, and am probably most known for my contributions to Mage: the Ascension 20th Edition, Werewolf: the Apocalypse 20th Edition, and the Transformers Roleplaying Game, as well as being part of the Essence 20 development team. Further, I also work in higher education at an Indian college, both advising and teaching Indigenous students across the United States. My passion is education, and I believe that we all learn through play, and that TTRPGs are a valuable source of learning, especially on personal, cultural, and social levels. This has always been what has drawn me to TTRPGs since I started playing M.E.R.P. with my brother in 1996 (and before that HeroQuest), through to my “graduation” into more story-driven games such as those presented in the Storyteller System, until now, where I author and produce my own roleplaying games.

I was also part of the First Team (in-joke intentional) hired by White Wolf Studios/Paradox Interactive via Hunters Entertainment to develop and author Werewolf: the Apocalypse 5th Edition. After several months of work, Paradox Interactive chose to go in another direction in early 2021 (I believe it was either March or April) and in fall of that year, it was announced that Werewolf would instead be taken in house, with Justin Achilli as the Brand Creative Lead and primary author of the book. Going forward I will be describing my experience while I worked with Paradox Interactive, primarily through Karim Muammar, White Wolf’s Brand Editor, as well as the developmental editor for Werewolf. Although I worked in a team, both with hired authors and in-house representatives at Hunters Entertainment, I will not be speaking for the experience of others, except when specifically noting unanimous consensuses, and specific interactions (which will go unnamed) that are particularly relevant. My hope is that by highlighting some of the anti-Indigenous attitudes that are central to the foundational members and leaders of the White Wolf brand, that I can provide opportunities for growth and healing within the World of Darkness TTRPG community, but also in the broader gaming community, where these behaviors and attitudes are rampant. I also want the community to have a better understanding of what this experience is like internally, and the challenges that Indigenous creators, as well as other marginalized creators, are met with when they try to make positive change within nerd and geek communities clinging to inherited white supremacist values, even if they don’t realize they are doing so.

What I do not want to be doing in this article is creating fuel for edition wars.  I believe that both legacy and Werewolf 5th are rife with anti-Indigenous attitudes, and appalling amounts of appropriation. Both versions deserve criticism, I am not defending one over the other, I am only sharing what my experience was like working on the 5th edition of the book. Further, please understand that I was originally going to wait until I had read the final copy of the book, because I wanted to know how much of my work was used (based on previews I already know some was, just not the extent) and whether or not they decided to credit me for that work, and how I was going to be credited.  My belief is that I likely will not be, but I am genuinely uncertain.  Knowing how they handled that would have reframed how I addressed this. But more importantly, I want it to be very clear that even before Paradox ultimately pulled the plug on the Hunters team, I was preparing to exit working on the project based on the experience I will describe below. Not only did I find it frustrating, and personally disparaging, but I ultimately decided I was uncomfortable with my name being attached to the product based on the direction they wanted to go. So while I wanted to know whether or not I would be credited, because it would teach me something about their internal practices, I do not want or need the credit.

Finally, the reason that I decided to speak about this now instead of after having a chance to inspect the final product, was because my personal experience dealing with anti-Indigeneity coming from Paradox was just that: personal.  But since then I have witnessed a throughline of hateful and xenophobic attitudes wielded against Indigenous people across the globe, and we do not deserve this treatment.  I was outraged over the events that led to the segregation of the Latin American fanbase, which culminated from bottom-up criticism about how poorly their people and countries were being defined through World of Darkness products, and ended up with the firing of their Latin American Brand Ambassador, Alessa Torres, because she chose to stand with her community in those criticisms.  I was further appalled when the likeness of Tāme Wairere Iti was shoehorned into the Werewolf book, a blatant example of cultural theft: not only in stealing the literal physical identity of an Indigenous person, but also his sacred tā moko.  When Paradox Interactive issued an apology for this, it felt incredibly hollow to me in the wake of these events, the hateful attitudes I had personally witnessed coming from the top.

Whether from North America, Mexico, Brazil, Argentina, or Peru, or across the globe in New Zealand, not only do Indigenous people deserve better treatment from such a major company, but their Indigenous and Latino fanbases, who have twisted and worked themselves through difficult representation for decades at this point, deserve better.  Apologies are not enough, especially when they come with next to no real change.

Werewolf: the Apocalypse in Context

At the time that White Wolf Publishing began to produce its World of Darkness line, the TTRPG industry was dominated by white men, both as producers, developers, and authors, as well as the main characters in their settings. White Wolf's World of Darkness made an impact at the time, by defying these Eurocentric, patriarchal presentations, first by defaulting to feminine pronouns throughout Vampire: the Masquerade, and then by focusing on Indigenous representation and values in Werewolf: the Apocalypse, and as a young Indigenous nerd, it had a positive impact on me, as I know it has on some other Indigenous people who became fans of the World of Darkness at the time. This was because before opening the pages of Werewolf: the Apocalypse, I had never seen heroes that I could play who looked like me and my culture. It was off, and often offensive, but it was my first experience in which I could directly play a hero who shared my heritage--and I also had more than one option through two different Tribes to do so. This might sound a little like I was cheering for table scraps, but again, at the time, table scraps was more than I had ever seen before.

Werewolf: the Apocalypse 1st Edition was originally published in 1992 via then White Wolf Publishing (not to be confused with Paradox Interactive's White Wolf). From its inception, the premise was interwoven with what its then-authors believed to be Indigenous praxis and representation.  Like many pop-culture presentations of Indigeneity from this time period (see Fern Gully, Dances With Wolves, Disney’s Pocahontas, or in TTRPGs, the NAN from Shadowrun) it was rife with problematic and even offensive stereotyping. The most obvious examples thereof are within the two "Pure Tribes" Uktena, and W****** who I will henceforth refer to as Older and Younger Brother. However, Indigenous inspiration was at the core of the game's spiritual premise as well, where animism and "Totems" are central to the setting and gameplay. The way these concepts are presented is trivializing and dehumanizing, but it is important to acknowledge that the appropriation present in Werewolf: the Apocalypse goes a lot deeper than the two Brother Tribes (even the term "Tribe" was meant to invoke a vision of Indigeneity compared to the previous setting in the line's use of "Clan"). Additionally, there is art throughout every generation of these gaming books that represents humans, wolves, and human-wolf hybrid forms wearing Indigenous regalia, including sacred items such as headdresses, or engaged in sacred rituals such as the Sun Dance. The list of problematic representations goes deep, and my examples only scratch the surface, but it is also important for me to note the positive impact that this had, particularly in the 90's.

Even though the primary contributors to these narratives were non-Indigenous authors, or in one case, a Pretendian, and another, a culturally disconnected author, by the time the Revised (or Third Edition) era of the books came around, White Wolf Publishing was actively engaged in cultural consultation.  While I do not believe cultural consultation makes a big difference on its own, it matters that the attempt was made, to a degree: while these efforts fall short of what needs to be seen in cultural representation, this was still ahead of most other gaming companies at this time.

Hired by Hunters Entertainment

In February of 2020 I was approached by one of the co-owners of Hunters Entertainment to be one of the primary authors for Werewolf: 5th Edition due to my work on other World of Darkness projects, and let's be honest, because I was capable of bringing a much needed Indigenous perspective to a gameline that was rooted in Indigeneity and rotting with appropriation and racist stereotypes. I was overall receptive to the invitation, largely because I was very passionate about the World of Darkness setting overall, and Werewolf in particular, due to the impact that 90's representation had on me when I was a younger gamer. I also felt hopeful that with a really hard rewrite of Indigenous aspects of the game that I could shift a lot of really painful aspects of the game into something that was a net positive for Indigenous representation. I will tell you now, more than anything, I was excited to rewrite the Younger Brother Tribe, because when separated from racist authors, their message is very empowering and real to my lived experience.

That said, I did not agree to join the project without first asking for reassurances. I said that I was not willing to write negative Native stereotypes. I would not use appropriative language, or generally engage in appropriative writing (which meant at minimum that the names of the Pure Tribes would need to change), and most importantly, that I would not not engage in writing that contributed to erasure. While the person who recruited me to work on the project was eager to work with me, he acknowledged that he was not sure he could get everything I wanted to see approved, but also promised to fight for everything I suggested as hard as he could. Additionally, he shared with me that the original setting pitch for W5 involved all of Younger Brother being slaughtered en masse in a massacre. I made it clear that this was exactly the kind of thing that I would not write.  I cannot remember if this was something he suggested to be changed before or after I was invited onto the project, but with some pushback it was changed.  However, I point this out because I want you, the reader, to understand how eager Paradox Interactive was to start with mass genocide and erasure as a foundation to the setting.  All that said, I cannot stress enough that I have had nothing but positive experiences with Hunters Entertainment, and none of the following concerns fall upon them.

The Sword of Heimdall

The first encounter the Hunters Entertainment team as a whole had with problematic guidelines for the W5 draft was the direction that Paradox Interactive wanted to go with the Sword of Heimdall. At the time, the suggestions from Paradox and Karim Muammar were that the Sword of Heimdall was going to represent the new major villain of the Werewolf setting, and that they were to also represent the far-right, fascist direction that Werewolf society so often turned toward. They were meant to be representative of how far the new concept of Hauglosk could take entire communities. However, the Sword of Heimdall was discussed interchangeably with the Get of Fenris as a whole, and more than once Muammar seemed to suggest that every member of this Tribe was guilty of the same attitudes espoused in previous editions from the Sword of Heimdall. Now let's not beat around the bush: the Sword of Heimdall are literal Nazis. They believe directly in white supremacy and don't shy from it. They wanted to cleanse impure elements from the Get of Fenris, including BIPOC people, other non-white ethnicities, women, neurodivergent Garou, and other disabled Garou.

The writing team found this approach problematic for several reasons. The first, and most obvious, was that the direction seemed to want to turn one of the most popular Tribes into a horrific stereotype of its most abhorrent faction. Whether or not Muammar’s goal was to turn them into villains, we could not imagine a world where fans of previous editions would get their hands on this book, and not look for a way to play one of their previous favorite groups, thus creating the issue of making a guide to playing Nazi. Even beyond that, it’s not as if historically there were not players who used the tools of the setting to play Black Spiral Dancers, why wouldn’t this draw people who actually wanted to role-play through these toxic, harmful politics? Further, and while this is less important, it left a bad taste in my mouth, the justification for this major shift in Werewolf lore seemed to change over each pass. At first, Muammar suggested that all Fenrir were Nazis/SoH.  Then, when he was provided with evidence that it was a small faction that was eliminated in the early 2000’s, he started to shift toward the idea that we should not follow the lore. Finally, when every single member of the writer’s team flatly refused to provide what would essentially be “a player’s guide to being a Nazi werewolf” the writing was on the wall about the end of our involvement with this product. More than once, he suggested that we were cowardly social justice warriors for being unwilling to work with this concept, even though there were several attempts to write a heroic version of the Fenrir that were focused on undoing these ills of the past.

Indigenous Erasure in Werewolf: 5th Edition

While the entire Hunters Entertainment writing team was handling the major, glaring issue of Paradox’s fervor to include a major Nazi element in Werewolf, I was personally dealing with the problematic approach to the Indigenous issues in the setting. The largest problem, for me, was in addressing Younger Brother’s issues, the history of non-Indigenous writers creating horrifically racist stereotypes, and what was valuable in the Tribal identity that should be saved and recentered. However, my attempts to do so were thwarted with every approach. I rewrote this Tribe four times, and offered three different versions of it to try to earn approval for a final write-up, but each time there was a lot of negativity directed towards my attempts and all them boiled down to this: Muammar felt that having two Tribes (both Younger and Older Brother) representing the “Indigenous population” was too many, and wanted them to only be focused on Older Brother, and that Younger Brother’s connection to a central, Indigenous identity, was undesirable because “other sources wrote them as having Siberian and European connections” and that future writing on this Tribe would require a lot of sensitivity…suggesting that one, Muammar wasn’t interested in doing the work to handle that level of sensitivity, and further, that he wasn’t interested in including me in future work, since I was involved with doing that at the time.

I want to take a moment to remind you that the work that was put into recovering Younger Brother started with “Let’s Kill Them Off” and at this point, through a combination of convincing and pleading, had been walked back to “They can live, but now they’re not connected to being Indigenous anymore” which is just representative genocide of a different variety. “Kill the Indian in him, and save the man.” It was also explicitly something I said I would not write about going into this project. Ultimately, my efforts did not get much further than this, with some specific exceptions I will cite below.

Karim Muammar’s Anti-Indigenous Positions

Muammar consistently and repeatedly communicated to the team in ways that were condescending and dismissive of our collective accomplishments and capabilities, but from my perspective, no one suffered as much significant derision as I did while discussing the changes I wanted to make to Younger and Older Brother in order to make their representation empowering and exciting.

In the pulled quote from the previous paragraph, I want to point out to you that Muammar, who had the title of Lead Editor on this project, refused to capitalize Native American. Further, he would often redline my work with edits to decapitalize my own uses of Native American, as well as the word Indigenous when referring to Indigenous peoples. While there are plenty of people who might want to argue about this, I will point out that both the AP style guide as well as the Chicago style guide (the one which I am most familiar with in my academic historical work) both call for Indigenous to be capitalized when referring to a people. Further, I challenge anyone to defend the consistent decapitalization of Native American. More importantly, the reason that these are standards in respected style guides, is because the English language has been used historically to oppress and erase ethnic identities, including Indigenous identities. By transforming adjectives into proper nouns, we are declaring that Indigenous and Native aren’t descriptors that can be applied to animals, plants, and soil, but real lived identities and culture groups.

When I was explaining to the Paradox team (which was mostly just Muammar) why it was important to change the names of these two Tribes from the appropriative (and offensive) ones used in the past, Muammar pushed back by defending the previously used Younger Brother name, even after reading my extensive research and explanation about how this would harm Indigenous communities and fans.

While doing so, he also decided that it was appropriate to refer to this entirely Native American tribe by the word “savages” a slur that has been specifically used to dehumanize Native Americans, and then mocked my rewrite that focused on presenting them as stewards of the land using Indigenous methodologies and praxes, instead of the “savage” racist stereotypes they were presented as in previous editions. Further, as in the above quote, even after it was communicated that the use of this term was problematic, he kept doubling-down to use it to refer to the Tribe.

Even though I worked hard to redefine Younger Brother through Indigenous theory, such as place-based theory, relational theory, and communal theory, Muammar either refused to recognize this work, dismissing it as simple, or else simply could not understand the importance of these changes. Either way, the choice is that he didn’t want them to change, or couldn’t comprehend why the change was important because of how entrenched in white supremacist thinking he is. Further, after the massive effort that I put forward to attempt to educate him and the rest of the Paradox team on these issues, the insistence on using offensive terms and belittling my work felt intentional. So let’s talk about the work I did that was above and beyond my job description: free cultural consulting work.

“Sensitivity” and Consultation

I have seen several misunderstandings of my role working on this project going around, so I want to make something very clear. I was hired to work on this project as an author, and nothing else. I was not ever hired to be a cultural consultant. I do not do cultural consulting work. While I feel that there are many creators and companies who hire cultural consultants with the best intentions in mind, their responses often fall short of what is needed, as no one is ever obligated to actually follow the advice of cultural consultants. Further, I think there are also many companies who choose to hire cultural consultants only to say “we did this minimal step, and that is enough” in order to ward off naysayers.

However, anyone who hires me gets some level of cultural consulting for free, because it comes out in my writing–in both what I won’t write and what I choose to center my writing around. In the case of Werewolf 5th Edition, however, it was far more involved than this. I came with a plethora of “I will not write X” because I knew the setting was so problematic.  A short list of my demands besides not being willing to write Indigenous erasure, was that we needed to change the names of the Pure Tribes (and the term Pure Tribe itself), we needed to change the word Totem to Patron, and also the Patrons of the Pure Tribes. We needed to move away from the term Metis for obvious reasons, and we needed to move away from the term Skin Dancers. I also specifically noted that there was a lot of cultural theft happening from the beginning of Werewolf until now that I wanted to address. The only way these issues were going to be addressed was to convince Paradox they were actual issues on the level of PR concerns, because nothing else was likely going to be considered. So in order to achieve this, I put in weeks worth of research, writing, and meetings with top level administrators with Hunters Entertainment so that they could bring this information to Paradox.  I never documented my hours, but I would guess that I did approximately 80-100 hours of what I could only describe as cultural consultation work for free that was outside the contract work I was hired for. Let’s be clear: I did this willingly because I was passionate about the positive changes I wanted to see in this product, because I believed that Werewolf’s historic ills could be turned toward non-toxic representation.

Besides my actual words, such as naming the Ghost Council, and arguably the name Gale Stalkers came from a combination of names I pitched to Paradox after Winter’s Teeth was denied, and several sentences and paragraphs that I have seen so far that appear so close to what I originally wrote that you could imagine they were just edited versions, my largest contribution toward the final version of Werewolf: 5th Edition was this work. The only reason the offensive, appropriated names were changed were because of hours of my work to convince them it needed to happen. The reason that the Gale Stalkers aren’t just dead and gone: again, I pushed against this. The reason that Skin Dancers, Totem, and Metis will not appear as canonical titles? I pushed against their unwillingness to alter these things (see Karim’s defense of Wen**** Tribe name above).

Further, and this is the biggest reason I decided to write this article before seeing the final version of the book, I want to mention that I was also included in discussions with Hunters Entertainment to potentially be part of the art direction team, especially to oversee depictions of Indigenous characters, regalia, and art, to ensure that it would be represented either respectfully or not at all. I decided I needed to speak as soon as possible after the artistic portrayal of Tāme Iti appeared in the Glass Walkers preview without his permission. There are many arguments surrounding this issue and I am not going to address everything, but ultimately, I can tell you that had I remained as part of the art direction team, and saw that, I would have questioned it immediately. Even if I didn’t recognize Tāme Iti immediately, I would have asked what the source was on the depiction of moko in that piece, because I am aware that this is a sacred form of art–and I had already discussed wanting to make sure things like Crinos in headdresses didn’t appear in the book (as had often happened in previous editions, particularly on a certain white-skinned character whose name rhymes with Steals-the-Past).

As time working on this project went on, and I went through rounds and rounds of trying to convince Muammar and Paradox that it was important to not steal Indigenous identities, art, and stories, and that a greater effort needed to be put in powerful and empowering Indigenous representation, and I constantly ran into refusals and criticisms that were clearly hateful toward Indigenous identities and peoples, not to mention the push to represent Nazism as a major part of the game setting, I grew increasingly frustrated and restless with feeling like I was trying to work on a challenging project while also defending my right to exist as the person I am at every turn. Eventually I turned to another Indigenous TTRPG and game creator to ask for advice, and after a long and difficult discussion, I came to the conclusion that I was going to talk to the Hunters administration team and tell them that if Muammar kept using slurs and other anti-Indigenous language and attitudes, I was going to need to step off of this project, because it was harmful to me on a personal level. In furtherance of this point, I have been avoiding doing any contract work at all where I can tell that I am wanted for my specific cultural perspective ever since, because this situation was so harrowing for me.

Unfortunately, before I could have this conversation, after one final draft of Younger Brother and Bone Gnawers (which had its own issues, but that is not the point of this discussion), before we received any other specific feedback, the Hunters Entertainment administrators announced to the writing team that Paradox had decided to take the book in-house, and would no longer need our services.

The main point I would like to leave you with, besides these few specific quotes (out of dozens and dozens) that Muammar made that were anti-Indigenous, is that there is often a big call to have more BIPOC voices in various entertainment industries, so that both our stories, perspectives, and unique views on how the universe and life works, can be included; so that an industry that is historically, harmfully Eurocentric, might turn toward new, healthier, and inclusive directions. And I agree with this call for change, but I implore you to consider the conditions that BIPOC creators often have to work under: doing cultural/identity work and consultation for free as part of being present, being subject to vicious refusals of our experiences and perspectives, and straight-up having slurs lodged against our work. I want to see these changes in the industries we love, including the gaming industry, but currently the people who are in charge, who have the most power, are severely hostile to our work and our perspectives. This is why, for example, works like Coyote & Crow were done with an almost entirely Indigenous group of creators, and led by Indigenous creators, because trying to work for and with this ugly, hateful, and xenophobic group of people is so often exhausting, both mentally and spiritually, and because no good changes end up being made.

I am glad the harmful, appropriative terms were removed from the setting. I am glad I was part of the fight to make that real. I am not so glad that I was treated with hostility and racism by Muammar for the effort and love I put into this work, and I am not so glad that I will certainly be reviled by one of the two communities I did this work for–the gaming community, and certainly the people in power in this industry–and I am also not so glad that I didn’t have the opportunity to properly acknowledge how much of Werewolf’s base themes and setting are twisted and tied-up in Indigenous appropriation without giving the proper acknowledgments.

More than anything, I hope that this story will help you, the fans, realize that there is a lot of darkness in these communities, and they won’t change unless you hold their feet to the fire.

Ánaagodzįįhł

J.F. Sambrano

[kutyozh]

not only langblr music resources

people irl often ask me where the heck i find the music i listen to, so i figured i might as well make a handy resource masterpost!

Radio Garden: Listen to radio stations all over the world. You can save your favourite stations, explore radio playlists, and search for stations in specific countries or cities. Love this one. You can download the app (android and apple) or listen via your preferred browser.

Radiooooo: Lets you choose a country, a decade, and a 'genre' (slow, fast, or weird) to listen to. You can download the app (android and apple) or listen via your preferred browser.

Charts: Charts can be tricky if you're looking for music in a specific language since there are multiple languages present in most country specific charts. It is nevertheless worth checking them out. Top 40 Charts or Popnable are your places to go. Popnable has some additional features like playlists that you can find in the "Discover" section.

beehype: Filter music by continent or country. Main page shows featured articles to browse.

Tunefind: Heard a song in a film or tv show that you enjoy but can't find it in the credits? This is the website for you! I use it when shazam fails me or when I'm at the cinema and can't use it or w/e. The songs sometimes come with a description of the corresponding scene for easy checking. Just very handy to have on hand.

Last.fm: Copy this link template: https://www.last.fm/tag/[nationality]/artists and replace [nationality] with a nationality you want to explore, e.g. "french", "chinese" etc.

Wikipedia: Type into the search bar "music of [country]", e.g. "music of slovakia", "music of botswana" etc.

Local events: Check for concerts etc. in your area. I know this is not an option for everyone for a bunch of reasons, but if it is for you, visiting local concerts can be a gold mine. I got like ten whole new songs in spanish and one in rapanui from one event I went to (it was like a culture fest with singing, dancing, and poetry). Also listening to live music just connects you differently to the art imo.

Friends & Acquaintances: Last but not least; sometimes my nosiness beats my social anxiety and I simply ask people what they like to listen to. If I'm being extra confident, I ask if they listen to music in languages other than english. Go forth and ask people about their music, go go go!!

Spotify specific recs:

Every Noise At Once: Sounds overwhelming - and tbh it can be. For this reason I personally prefer to look at 'Genres by Country', although there are many other interesting playlists to look at, such as 'We Built This City On' or 'The Sounds of Places'. You can find more if you scroll all the way to the bottom. Unfortunately, due to the layoff of the creator of this site, some features are not available anymore. This website is entirely based on Spotify.

Discover Quickly: This one might become a game changer for me personally. How it works: Log in with your spotify account. Choose one of your playlists, saved albums, followed artists etc. All relevant songs will show up as tiny thumbnails. You will hear a sample when hovering over them. Klicking on one of the thumbnails will lead you to the artist's overall releases as well as related artists. You can add your finds directly to a playlist!

LindsayDoesLanguages: Individual language playlists + more

Shameless self promo - my own account with individual language playlists. Also on YouTube !

700+ Languages: A playlist by Matthew Bofenkamp that contains one (1) song per language, and as it says on the tin, Matthew has so far collected songs in over 700 languages. Might be a good starting point for more music in your language of interest! Accompanying g0ogle spreadsheet with youtube links here.

One Song in Every Language: A community playlist by looky_dooky that aims to collect one song in every language. Everyone with a spotify account can contribute.

Another research tip: If you're on desktop, a good way to find language specific playlists is to go to any artist's profile and scroll down to the "Discovered on" section, then click "show all". Voilà!

(These showed up when I visited Haleluya Tekletsadik's page)

[trexiejan]

I have a theory that Tom Taylor copied/took a lot of inspirations from Dickkory.

I may or may not be wrong but I just can't help but notice the timing and the similarities. A lot of things in dickbabs relationship are not very original at all. Most of the time they just steal concept from other couples.

Now going back to Tom, I suspect he was in a lot of social media apps (twitter, reddit, instagram etc) and secretly lurked in nightwing fandom groups and have read their posts and conversations etc. including about dickkory.

1. The concept of visiting his parents' grave

This panel of Kory and Dick showing up in his parents graveyard was shared in the Nightwing subreddit 1 month ago. How come 1 month later Tom wrote a similar thing for Dick and Babs?

Also notice Dick told Kory "You shouldn't be here" but Tom wrote Dick telling Babs "Thanks for coming here" it seems to me Tom really saw the kory comic and wanted to make the dialougue different for dickbabs to make them look better.

2. The concept of wearing each other's superhero costumes.

This fanart of dick and kory exchanging costumes was created by Laurarts on March 4, 2024, it went viral on twitter and it was also shared on the nightwing subreddit.

How come 1 month later Tom Taylor wrote that Dick and Babs wear each other's costumes too in Nightwing #113 that was published in April 17, 2024. 💀.

3. The concept of being freaky

Now my suspicions of Tom stalking and copying Dickkory content was solidified when he literally posted this gif of Dickkory from the DCAMU, notice how Dick and Babs started acting horny and freaky in his run after he tweeted this and Babs started teasing Dick and making sexual jokes to him like Kory does to Dick in the dcamu. 💀💀💀

4. The concept of A crowd of heroes watching them.

I remember a year ago I posted this screenshot of an article discussing the original plan for dickkory in reply to a thread where Tom Taylor got tagged by the person i was talking to. The person was a dickbabs shipper who insisted NTT dickkory was bound to fail, I told OP it's not true, i showed her this screenshot of the article that discussed the original wedding plan for dick and kory and where it also says a crowd of heroes would watch Dick and Kory. How come a few months later Tom Taylor wrote this dickbabs wedding scene in his run and made a crowd of heroes watch dickbabs too??? 💀

5. Wally being a shipper

This panel of Wally in Teen Titans Academy #9 being a Dickkory shipper was published in December 14, 2021, how come a few months later, Tom Taylor wrote Wally being a dickbabs shipper in Nightwing #91 (April 19, 2022). Wally felt ooc because he never once talked about dickbabs before tom wrote him in his book💀

6. The concept of a woman teaching Dick to be more than just a hero

Seriously, Kory already taught him this 😭 She was literally the reason why he didn't become a Batman 2.0, He already learned the whole "you can be more than just a hero and be in a happy relationship" lesson from Kory.

But Tom Taylor just had to bring him back to square 1 so he can make Barbara say this to him too, making her act like Kory 💀 it's funny cuz Barbara never acted like this before, don't forget she was the one who keep rejecting him and making him feel bad for trying to be happy before 💀💀💀

So yeah sorry if i'm being annoying about this, I might be wrong but even if i'm wrong it still doesn't make dickbabs original since dickkory writers and fanartist did these concepts first.

and tom taylor is known to be an obsessed dickbabs shipper who tried to have beef with dickkory shippers on twitter so copying dickkory content as a form of secret revenge sounds like something he would do 😬