#and will continue to do so the way his arc is going. there’s not much left for him outside of ‘this’ anyway … or so he believes

[tonguetiedraven]

Rin was wrong about the Kyoto arc and most of you are too

But like Rin, you don't have to hold onto your assumptions.

With the slight resurgence in aoex popularity, I'm seeing a new rise in some fundamental misunderstandings about the characters and plot. I've been asked a lot of questions about a few certain characters over the years, and I've noticed that the base of the misunderstandings people tend to have with everyone originates in the Kyoto Arc.

What am I calling the Kyoto arc? Everything that happens in the second season of the anime and everything that happens after chapter 13 in the manga . (The point when the anime said let's go off and do our own wild thing and forget about the story and characters Kato is making! It'll be fun and totally not still be causing long lasting chaos over a decade later) and up to chapter 35. It's a 20 chapter arc, roughly. And honestly I think most of the manga exclusive Kraken arc should be included in the Kyoto arc because it is a direct continuation of Rin and Yukio's story line there, but I digress and we will get to that!

I am going to assume that you, the reader of this lengthy essay (I'm wordy and won't apologize for it, lol), are aware enough of the manga and Blue Exorcist to know that every episode in the first season of the anime after episode 16 is NOT CANON and does a poor job of depicting all the characters involved from Angel to Yukio. (There is no character with a Z, lol. So Yukio wins that role.) No one comes out looking correct in that. I know some people will argue that Rin is fine, but no. He is not similar to his canon hot headed, impulsive, loud, often violent/aggressive, and past avoiding self who would never have let his twin pull a gun on Kuro and would never have let Yukio leave after that without a fight. Sorry guys, they nuked him too. Just in a more pathetic victim way so people let it slide because he obviously needs to be protected from all the other meanies.

I am also going to assume you know character names. You can google them if you get confused  ദ്ദി ( ᵔ ᗜ ᵔ )

Anyway, back on topic. I'm going to go heavily into the start of this arc and more broad as it goes on. The initial area is where most of the misconceptions start and they kind of carry through from then on meaning the entire rest of the arc and arcs there are a few flaws in the understanding of character motivations and reasons and some just basic plot stuff.

In chapter 13 of the manga, we get this tremendous clip

Just before this moment the exwires have found out that their classmate is not a human and is powerful.

You'll notice Shima leaning against the railing there. That's because he has a cracked rib and probably a concussion. Konekomaru is now sporting a broken arm, and Ryuuji got strangled out enough to be choking on blood. Shiemi was hypnotized and controlled and carried around like a possession by a demon king who tried to eat her eyes and kept taunting about making her his bride all while she was unable to move or do anything. There is not enough written about the truly terrifying kind of assault that is for the youngest member of their group, and that's without the tangle of a relationship Amaimon and Shiemi have in it.

It is vital that everyone take a second to think about that. Izumo and Takara were not there. They stayed in the camp. They didn't pursue Amaimon, Shiemi, or Rin. They chose not to fight or try to help. The Kyoto Trio did (because Ryuuji/Bon is impulsive and ran after Rin and Shiemi to help and the others followed him) and it took all of thirty seconds for the Demon King Amaimon to knock them all out without even really putting any effort into his attack.

They manage to get out of the forest and back to the pictured bridge with Yukio leading them out while the forest catches dramatically on blue fire. (Remember that the Kyoto trio grew up hearing about how much the blue flames of Satan destroyed their home and killed their family members. Their entire life was irrevocably changed because of blue flames.) And Rin and Amaimon are wildly fucking shit up. They even yeeted Mephisto who is a much higher ranking king.

All that leads to the Paladin appearing, Arthur Angel, who orders the exwires to be interrogated and checked by medics. (Honestly a step up for True Cross. They almost never remember medics.)

The Paladin appears and then Mephisto appears, and he has Rin in tow. Rin who is entirely feral and tries to lunge for the exwires. The traumatized exwires see Rin try and attack them with an entirely demonic face. They do not know anything about his story or Shirou or even ow he got here, but they can easily see that he's tied to Satan because of the flames and now he clearly wants to hurt. Hurt them.

Now in Rin's defense, he's not in his right mind. Mephisto sheaths the sword and the demonic part is forced to retreat and Rin passes out until he's slapped awake. At that point he's the Rin we know again (the exwires still have no idea what the hell is going on) and Angel takes him into custody. Rin looks over and sees his friends bloodied and bruised and sees Ryuuji with blood on his mouth staring with an unreadable expression.

It leads to this shot:

Question for the group: Who is Ryuuji asking this to?

Not Rin, that's for sure. It's Mephisto, in my opinion. Ryuuji is asking, quite understandably, why the hell the child of Satan was put in a class of ordinary students and why none of them were told about it. They just had a Demon King attack their class of exwires all of which were struggling against a simple moth and had to reseal it instead of exorcising it. A Demon King that attacked them because he wanted to do something to the son of Satan and they had no extra protection against that. Enough so that four of them are injured or traumatized.

(Also, if you get strangled do not yell and IMMEDIATELY seek medical help. There are a lot of terrible conditions and long lasting effects that can occur with strangulation.)

So at this point everyone is made to split ways. The exwires will get a small update from Yukio, and Rin will get put on trial for his life. Neither party knows what the other is aware of, and as far as we can tell, Rin does not remember that he tried very hard to lunge at and attack the exwires.

That does not mean that Rin did not lunge for and try to attack them. Not remembering trauma you caused someone else does not erase that trauma.

There is also this moment, and you best believe I am also here to defend Shiemi because she deserves it.

Go girl. You're so right. There's nothing funny about any of this. Not your abduction, not how assaulting that entire thing was, and not the fact that he was feral and that you're feeling like a lot of this is your fault. (And it was not her fault.)

Rin's defense in most bad situations is laughter and ignoring whatever the uncomfortable thing is. This rubs everyone around him the wrong way almost every time. And that's their right. I also truly think he doesn't know what he just did and doesn't remember much past drawing the sword and he's scared, and he's able to tell the vibes are bad and he's in trouble, but doesn't really get why/how. He is a bit (a lot) of an idiot and we love him for that.

Another vital thing to understand about Rin is that he sees the demonic and violent parts of himself as someone else. He is not that demon. He is not the guy that tore apart the forest, everyone is wrong. He didn't lunge after his friends, someone else did that. He isn't out of control of his flames, that isn't him. That demon with the flames and frightening strength and burning anger isn't him. They've got it all wrong. He's just Rin.

That is a big part of Rin's story. Rin accepting that he is all those things. He is the human and he is the demon and he is all the things that comes with both of those things. He is right and wrong and kind and cruel and caring and callous and gentle and dangerous. He is Yuri and Satan and Shirou's son, and he is complicated and trying his best and slowly learning to accept what he is and isn't.

Anyway, they split ways for a shitty night. Rin's is unquestionably shittier, but again, the rest of the exwires don't get told what the hell happened.

Anime only fans will already be noticing differences, but wait, there's a lot more that was missed/ skipped over.

The Kyoto trio are all at the hospital for the next few days and get a call about the temple having been attacked. Shima's dad and Ryuuji's dad were said to have been hurt in it.

This is the second hint we get that Ryuuji is not on good terms with his dad, and the mere mention of Kyoto visibly upsets him. That'll be important a little later.

Rin goes back to class with the girls but is pulled out by Yukio for his own individual classes with Shura before anyone can say anything. The cram teacher then explains the following:

The entirety of their school is giving them instructions on what to do if Rin goes wild because the exorcist and teachers all think he will go feral again.

Rin does not know they're getting this instruction.

We then see what Yukio told them is basically: Yeah, my twin has flames. I don't because I was too weak. I get tested daily for it. The koma (a nickname for Kurikara because you can't exactly go around calling a stolen sword by its name or people will catch on) sword sealed him. I don't know why we were allowed to live when True Cross has a very loud 'no Satan or Satan offspring allowed' policy. Kay, thanks, byyyeeeeee.

So no one is happy and no one really knows anything. Just Yukio who has always known everything and had the biggest emotional, responsible, and mental burden of everything about his brother. He was left holding the bag again. Responsible for a class he's the same age as, mourning his father whose death he doesn't know the full story of, responsible for killing his own brother if he goes feral, now ostracized even more by a community of exorcist he already didn't blend in with, and now made to bear all this. Yukio is a king for holding out for so damn many arcs without showing how bad his mental health was getting with all that stress.

At this point we see Ryuuji is placing the guilt for Konekomaru and Shima being injured on his own shoulders (Konekomaru tells him it was his fault that they were injured) and Shiemi is realizing that Rin became her friend as he was revealed and that she was never as much of a support or friend to either of them as she thought.

Meanwhile Izumo who, and I cannot stress this enough, did NOTHING in the fight and was not part of most of this and has at this point made NO effort to be friends with anyone past cleaning a shirt Rin loaned her, is judging all of them visibly.

A brief interlude of Toudou being a creep and Rin showing he cannot follow orders from absolutely anyone and making Yukio and Shura frustrated at how unpredictable and manageable he is, and we're now given the mission to go to Kyoto and help there.

Ryuuji is just so blatantly shocked and not okay with the assignment to his home. Like I genuinely don't think we have a shot of Ryuuji looking more shook and shit gets wild in this manga.

Ryuuji does not want to go back to Kyoto. He left on terrible terms with his parents and swore he would not return until he had his meisters and rank. He defied his parents in even going to the cram school and now he's being forced to return a bit busted up and long before he was ready. If you do not have a bad family dynamic, you can't really get how devastating this is, but try and imagine it. It's a tremendous source of stress and frustration for Ryuuji, and the main thing he's dealing with through this arc. He has a lot of history with his father ignoring and denying him and trying to control him, and it is not a healthy dynamic. THAT is what drives Ryuuji in this arc. Kyoto, the temple, and his father. It is NOT Rin. Rin is at the bottom of his list of things to be thinking about right now.

This is essentially Ryuuji's arc, and it is, quite simply, not about Rin for him. Rin becomes a part of it, but not until later. At the moment, it is Kyoto and the shame and frustration and resentment about that which is driving him forward.

Shiemi is melting under her own self loathing at this point. She is hating herself and has never been confident and always been prone to thinking poorly of herself, and shown she is unaware of when relationships are abusive with how severely Izumo bullied her and continues to bully her.

(And I could write another essay on how fucking misogynistic it is that everyone flocks to team Izumo when she's slightly nice to Rin and blatantly ignores the Shiemi abuse because well Shiemi is annoying anyway. Check yourself and ask why you feel that way if you do. Why is violence and cruelty okay against Shiemi? Why is it forgivable in her case but not in others?)

We all board a train to Kyoto and see each other for the first time. Rin has zero ability to ever read a room (we love him for it even if he will occasionally kill us with second hand embarrassment) and is acting like he didn't try to kill them on their last interaction and like everything is normal and there isn't a big and awkward elephant in the room taking up most of the train space.

THIS GOES DOWN DIFFERENTLY IN THE MANGA THAN THE ANIME. The manga stretches this scene out to give three characters very important breathing room while the anime cuts this far shorter and mixes up the dialogue some, muddying the motives.

Rin, not reading the room, sees Shiemi and calls out happily to her. Shiemi utterly freezes and can't decide how she should respond or what she should say. She has, as far as we know, never had a friend outside of her family and the twins. She doesn't know how to interact with them and she is drowning in guilt of failing them as a friend. A lot of that is because Rin said she wasn't his friend to the Kyoto Trio and because Izumo is always telling her she's failing as a friend and saying she doesn't like her. Izumo is a bully at this point. I will not back down on that point and will continue to reiterate it. You do her incredible arc a disservice to pretend otherwise.

That leads us to the confrontation:

Ryuuji does not show any sign of anger until Rin talks about Kyoto. Then it's instant grouchy face Grouchy face and grouchy boy until one of the other two interject and then he swallows all that Kyoto frustration right back down and stomps off to sit behind Rin with Konekomaru -- who has been given a talk by their superiors on what to do if their classmates loses his shit and goes feral on them and who lost his entire temple and family to the Blue Night -- voicing his worry about Rin losing control of his flames on a tiny train where there is no where to go.

Rin visibly deflates and sinks back on his chair Izumo, the drama queen who would deny being one, enters and sees. Now Izumo has conflicting reasons for her next act. She has been ostracized and bully quite a lot in her younger life, and that is part of why she is now an ice queen. She sees Rin and wants to help him feel better and is no more in the know of what the others are actually dealing with than Rin, and I dare say that was her first and primary motive.

However Izumo cannot allow herself to do something solely out of kindness to help someone. That is a weakness she will not allow herself and dangerous. Kindness and helping gets you hurt or killed by stronger parties and she has sworn off that in all cases but Paku. (No one quite knows what magic Noriko Paku possesses, but man does she, lol.)

So Izumo sits next to Rin and waits until after the debriefing about why they're here (meaning Ryuuji is now even more upset because yep, it's absolutely his temple and their miasma and their secrets and their weaknesses being discusses and revealed and flaunted) and they chat a little about the fact that lots of people have demon blood (*cough* FORESHADOWING *cough*) and then, after getting flustered about Rin complementing her and thanking her and getting buddy-buddy enough to use a nickname, she goes cruel and decisive and makes a pointed jab at Ryuuji, who takes it in stride for a moment, and then Shiemi, who visibly deflates thinking even less of herself and that Ryuuji does not take in stride.

Izumo did a kind thing in sitting with Rin, however, the others did not do a cruel thing by not sitting with him. They simply chose to give themselves a little space from a situation they were still struggling with. The cruelest one in the moment before she spoke was probably Konekomaru, and even he wasn't talking to Rin. He was nervous and scared and talking to his friends about Rin. None of them owed Rin anything. They did not owe him their time or space or attention. They are allowed to recover from their trauma and physical injuries while not having him constantly shove his over-excited puppy-energy self in their faces constantly and make everything all the more difficult for them while they try and reconcile that guy with the feral monster that wanted to take a chunk out of them and who was not in control of the flames they've grown up terrified of.

We see the story mainly through Rin's perspective, all the more so if you're an anime only, but that does not mean Rin is always an honest and reliable narrator. He is unaware he tried to hurt them and unaware of their own trauma. He can't imagine any of their actions and reactions aren't centering around him at this moment because Rin too is going through a lot of trauma and stress of his own that they don't know about.

What I find over and over again in this story is that people excuse any poor or selfish or cruel act of Rin's because of trauma and not being perfect, but they will not excuse it in any one else. This makes for a frustrating unfairness in expectations, and frankly, turns the story boring. If no one but Rin can make mistakes, or you choose only to see other's mistakes and not Rin's, you are robbing the characters and Rin of their complexity and growth.

Izumo was kind in sitting next to Rin, and she was purposefully cruel at the exact same time. This is who Izumo is. Kind and cruel for quite a long time. Brave and selfish. Confident and self conscious. Guarded while slowly falling in love and denying it every step of the way.

So the train ride immediately goes to shit and they get loud with Ryuuji calling her out (reminder, she can call them coward all day long but she did not leave the circle and didn't fight and has not stepped forward once in any of their missions to work as a group or fight until she had to)

And Shure (in the manga) wakes up and makes them sit in a different car of the train with bariyons on their laps as punishment. Konekomaru continues to stress, Ryuuji tells him to chill, Shiemi continues to hate herself, and Izumo continues to be purposefully cruel.

The bariyons get aggressive and one pins Shiemi to the ground. Rin does Rin and burns it without warning, freaking everyone out because wow! Blue flames are just suddenly everywhere. Ryuuji interferes because again, his temple was devastated by Blue flames and he has no reason to think they can behave differently and he is nothing if not determined to protect and help his team at all times.

Shiemi realizes Rin still has control of them and tells everyone to relax, and they do.

The flames are put out and Rin immediately attacks Ryuuji.

Rin demands trust and honestly, I could understand if he was unaware that he'd caused mayhem in the forest and tried to lunge for them, but if he was aware then he has to be smoking those flames of his because there is no reason to trust him at this point. He's lied (he didn't have a choice but they don't know that and reasons do not negate that a lie happened and we are now in the lies arc) and he has shown he is dangerous and that Demon Kings kind of follow him and will attack indiscriminatingly. (It's not like they know Amaimon is not allowed to kill them.)

Rin knows he won't hurt them and thinks that should be enough. No one else knows that they can believe this at this point. Ryuuji explains that Blue Flames have killed a lot of his people and that he can't trust someone who endanger his family. It is once again Kyoto he is thinking about and Kyoto he is worried about. They are on a train to Kyoto where Blue Flames destroyed a lot and now they're bringing the one guy with Blue Flames there and he keeps flaming up so it seems like what little he still has there is going to be devoured by flames.

Rin says basically, sorry that happened but it has NOTHING to do with me. This is a naïve thing to say and while technically right, is missing the point of what Ryuuji said. I can't trust you because you haven't shown me I can trust those deadly flames with you and they have absolutely devastated my home before.

The fight amps up more -- and again, Rin was the aggressor. They're both hot headed but he's the one that grabbed Ryuuji, not the other way around, and in a fairly close way to how Amaimon had grabbed Ryuuji and that can't be helping things. The fight gets louder and Konekomaru bravely intervenes and grabs both of their arms and tells them to stop. A bariyon choses that moment to cause chaos and try to kill Ryuuji and Shura has had enough and kills it but kindly doesn't kill the exwires for interrupting her nap twice over and the conversation is left entirely unresolved.

And for the next long stretch, they will not have that conversation resolved. They get back, Ryuuji is immediately accosted by his powerhouse of a mom, Torako Suguro who is pissed, and finds out that his dad has been absent and that things are going south fast in Kyoto.

From this moment on, Ryuuji will have one goal and that is to find his dad and save what few temple members he can. He wants to reunite his temple--that has always been his goal--and his dad's failure to lead and potential at being the traitor in their midst is causing what few of his sect are left to fracture even more. He is around Rin a few times in the next chapter, but his mind is never on Rin or their drama. He is wholly focused on Kyoto and the drama here.

This is where a lot of people misunderstand him. He is not avoiding Rin, he simply has a much bigger priority, as he should. This is his family and this temple is everything to him. We find out that Tatsuma has thrown their reputation in the mud and that he has caused a lot of their sect to abandon the temple, and that he has fought Ryuuji's hopes and goals every step of the way, and that he was the first to laugh at Ryuuji (which we know is an immensely traumatic memory for him) and that Tatsuma is actively working to avoid Ryuuji, and that he was at the Keep during the break in, and that several members of the Sect absolutely think Tatsuma is the traitor.

And if he isn't the traitor, then he is still failing them and running away from his duties. What's worse, we see a few of the sect (Mamushi specifically) even place some of the blame of the failure on Ryuuji.

Rin is seen working with the Kyoto trio on some kind of chore after they arrive, and actively being ignored and mistreated by the teachers. They absolutely deserve ire for the way they treat Rin like he's already gone feral and refuse to let him help.

Rin is being ostracized and thinks everything happening here is about him. He thinks the others are ignoring him and that they're upset about him. They're largely just... Not. Izumo and Shiemi are put on helping the large volume of patients and from what we see, Izumo doesn't chat with Rin again after the bus.

Shiemi sees this as a way to not let people down (she thinks she let everyone down in the forest. That it was her fault and she isn't good enough or strong enough or just enough to be their friends. Probably partly because the one friend she thinks she has is a bully.) and dives hard into work. She still doesn't know what to say to Rin and freezes up a lot.

That leads to a fantastic scene in chapter 18 with Izumo and Shiemi in the garden and Shiemi positively sobbing about being a useless friend and not being strong enough to help like she wants and Izumo telling her she's really strong and able to talk about friends and her emotions without getting embarrassed and that she's stubborn and strong as a weed and Shiemi, who has clearly not gotten enough praise in her life just glows and determines to be as strong and stubborn as a weed.

It's a vitally important moment for both these girls. Izumo is kind and doesn't turn it cruel and sees how strong Shiemi is and helps Shiemi see herself as strong too. Izumo has done a lot to break Shiemi down but she is also, arguably, the one that did the most to build her back up too.

She dives back into her work to the point she inspires Rin to try harder on his own training because he is lazy and she isn't, and he admires that.

At this point Shima has decided that to keep going on his own path in the laziest way he can manage that ignoring Rin was too much work so they're just going back to before and acting like nothing ever happened. Rin is drunk and insults him in this with the list.

Rin confronts Konekomaru later and finds out what happened to Konekomaru's family and Konekomaru begs Rin to leave Ryuuji alone because he is dealing with a lot of stress. Rin (correctly for once) realizes that Konekomaru will absolutely be his friend if he can show that his flames aren't a danger. If he puts in the work to get control of those, he can be friends. Rin goes off determined to do that.

Ryuuji and Shiemi are now the only two who haven't had their Rin moment, and they firmly busy in their own stuff. Rin still thinks they're avoiding him because they're mad at him and blaming him for the Blue Night stuff and they're simply not. At no point does he ever really seem to get that he's assuming stuff incorrectly about all this either.

Ryuuji does some not at all stealthy spying and follows Juuzou to the Keep to find most of the staff unconscious and gets himself in the middle of the theft of the Impure King's last eye. Mamushi betrays them to Toudou and states that it is because of Tatsuma that she is. That he has failed them as a leader and conspired with Mephisto by giving away the sacred relic of their temple (Kurikara) and letting the son of Satan have it.

She is not entirely wrong, and she is not entirely right. She is very wrong about Toudou, but they both escape to cause more havoc elsewhere and leave Ryuuji to finally catch up to Tatsuma.

We have been building for several chapters at this point that Ryuuji and Tatsuma do not have a great relationship. There is a lot of frustration and confusion and hurt in it. A lot of history and pain and Ryuuji is trying to get his dad to tell him anything. To deny the allegations if they're not true and do something to help with the fact that one of their members just left.

Tatsuma refuses to. We later learn why and it sucks, but it doesn't lesson the hurt in this moment. Being unable to explain something does not mean that your actions, justified or not, did not and do not hurt someone.

Ryuuji, seeing his dad turn his back on him without even a hint of an explanation to all the terrible accusations and all the pain and trauma around them, pleading for some kind of explanation to anything, plays the only card he has left.

His father has already all but disowned him for the cram school, so he returns that. He warns that if Tatsuma leaves now and like this, he might as well not bother to come back because Ryuuji will no longer (can no longer) consider him his father.

Rin, who has kind of snuck into this dramatic meeting, overhears this and has a violent trauma induced reaction.

Now, Rin has trauma and it is entirely understandable why hearing those words would make him react dramatically. That does not excuse the violence he reacts with. You enduring trauma and having triggers and painful emotions does not give you the right to inflict violence on someone else.

And inflict violence Rin very much does. Once again flaming up some too, not at all in control.

This was not Rin's fight to get in the middle of. I will die on the hill that others do not get to determine what a child can and cannot do in their own parent and child relationship. Others can offer opinions and advice, but they do not get to order or dictate the relationship. They are not part of it and cannot possibly know what it is actually like. This is the same sort of mentality that tells people who have had to make the immensely difficult choice to go no contact with a parent that they should try and make up because it's hard to be a parent like it's easy to be a child and under the parent's control and guidance. Ryuuji has a lot of reasons to have made that ultimatum, and while we will learn a lot more about why Tatsuma has failed as a parent and leader, the reason does not absolve or eliminate the failures. He has failed Ryuuji multiple times and at this moment, tied by a cruel fate, he has to fail and hurt him again.

He did not have to choose to do it this way though, and do not forget that.

And Rin knows nothing about their relationship. He is putting his own reactions and motivations on Ryuuji who does not have them.

Rin is in the wrong in this moment. I will not back down from that either. Rin hurt his friend and revealed himself, and in the next panels defied Shura and continued to try and fight Ryuuji and make him understand that you can't disown your father because you can't take that back--

And it is in this fight that Ryuuji is first made aware that when Rin talks about his dad, he has not been talking about Satan. Rin was raised by someone else. They still don't learn the real story yet, we're not really told when or if they do get the full story about Shirou, but you can see him realize something happened to whoever raised the twins, and it was bad.

Rin gets knocked out and arrested and Ryuuji is sent to ice his swollen face and he will have the injuries Rin inflicted on him here through the entire rest of the arc.

And I am now over 5k words so I'll try and wrap this up some. I'm going to have to post the Yukio half on another post xD

Rin gets a letter that tells him that Tatsuma and Shirou were in cahoots about the sword (look, Mamushi was partially correct) but that the sword did not have Karura in it like it was supposed to. He also finds out that Tatsuma wants him to kill the Impure King. Mephisto then shows up and locks him away giving him a death sentence. Yukio has to leave with that knowledge to try and stop the rising Impure King before he infects and kills all of Japan.

Tatsuma goes and shows that he had made a pact with Karura and that the Suguro line has always guarded the secret that the Impure King was kept sealed under the temple by Karura. That were he to be reunited with his eyes, he would rise again. Toudou wants to get Karura so he did all of this to get Tatsuma to reveal Karura.

Tatsuma is stabbed through the back of the throat and Karura mostly devoured, and the Impure King is rising and reforming and going to poison everyone.

Shura gives the letter to Ryuuji and Kurikara and offers the camouflage ponchos to go break Rin out if they want, and Ryuuji and Shiemi are the only two who do not hesitate for even a moment to go and rescue him.

The jail freezes them and gives nonviolent Shiemi a moment to shine. She confronts her own self doubts and goes to find Rin and coaxes him back out, showing she knows he won't be a danger to her by embracing him and his flames. She realizes that her fears and self loathing caused her to only think about her own emotions, and not how he was feeling (something Rin could also very much stand to do) and she immediately switches to comforting and encouraging him.

Rin busts the prison with style, Konekomaru says he's ready to be friends, Shima and Izumo state they're only here on Shura's orders, and

Rin still doesn't get it. He still has no idea what Ryuuji is dealing with or why he's upset about any of it. He has spent this entire arc trying to find his dad and trying to help the sect, and failing every step of the way. He has tried to help everyone around him in any way he can and show that he can be depended upon and trusted.

Rin has never opened up to any of them. Rin demands that they lean on him and listen to his advice and accept him entirely, and gives them nothing in return for that vulnerability and openness. He doesn't talk about his own life or emotions or thoughts. He keeps conversations light and easy and doesn't even tell them that he was raised by a guy that's now dead. He shoves himself in conversations and dynamics that don't concern him all the while demanding trust, and then will not let them in in return.

Ryuuji is seeing that so clearly now and it is hurting. How can you trust a guy who won't trust you back? How can you trust someone you thought was one thing who never showed you who they really are and still won't be open and real with you? Who has enough power at every moment to level half the world and is emotional and stupid and impulsive and won't be real with you?

Rin has been under a death sentence and told he had to keep his heritage a secret, but even outside of that, he really doesn't talk about himself. He doesn't open up to his friends like he expects them to open up to him. Neither brother is good at expressing themselves (and a lot of that is because they weren't raised to be that way. Shirou did his best but had a lot of limitations too.)

He demands they trust him wholeheartedly but will not trust them in return. Or he hasn't shown in any way that he does trust them.

This arc, at its core, is about lies and how those and trauma can and do make relationships messy. How even ancestral drama can go down the line and get us caught in cycles of it. But it also shows that we can do the work to get past them, and that it's messy and painful and loud and not always easy to see what's right and wrong while we do it, but we can get past it and move on together. We can make terrible mistakes and seek forgiveness and understanding and sympathy or empathy and try to do better. We can laugh in a field of disease and trust entirely on someone because we know we can even if the world is falling down around us and it doesn't make sense.

Neither Rin nor any of the exwires or Yukio are a villain in this arc. Even Mamushi and her cruel words and betrayal are not a villain in this arc. Everyone acts kindly and selfishly or in fright or confusion or in motives that are entirely misunderstood. They're all dragging their own emotional baggage with them and they're all getting tangled up and not listening, but they still strive on and strive to understand and talk it out when they can, because they care about each other and getting it right.

To act like it's as simple as "The exwires bullied Rin!" is naïve and robs Kato's story of so much richness and deprives the later arcs of so much character value she built starting here. Kato does a beautiful job of building all of her characters and giving them rich personalities and motivations and flaws and she shows us them through Rin sometimes, but she also gives them a lot of time without him at the forefront. She gives him flaws too, and a lot of wrongs, and that's why he's such a powerful and alive protagonist for our series.

You're free to dislike who you like and love who you like, but I do so encourage anyone who thinks the exwires were villains in this arc to really dive into the manga. Read through all the scenes and ask yourself why did Kato show that? Why is this character thinking that? Why did the character react that way? Kato gives us so much richness to dive into and to see so many people not do that and to take such quick and often incorrect or fragmented interpretations of the events is heart breaking and honestly robbing those people of a really good story.

Rin was wrong in assuming that everyone hated him and assuming that it was as simple as trust. He was wrong to try and force things and to try and force his own interpretations on others. It was only once he started to listen and hear what they themselves were saying that things got better. Now some of this is just the mess of the anime between season one and the start of season two, but a lot is just misinterpretation by the fandom. It can happen to anyone, but that does not mean it suddenly becomes factual because of that.

It's been at least six thousand words and I don't know if this came across as clearly as I wanted it to, but I hope it encourages those who haven't to dive in deeper. It's a rich arc with so many fascinating moving parts in it. I've barely brushed on Tatsuma, Juuzou, Mamushi, and Mephisto in this and their plots are all entirely interesting and add so much! Expect a Yukio and Izumo and possibly Shiemi follow up at some point, lol. Probably just as long though I'll try to be more concise.

If you read this far, thank you! You deserve to crash with the rest of the exwires in Toraya on a nice futon.

[novankenn]

What If...

Pyrrha was also under the sway of Salem Cinder and Pyrrha love each other (Pompeii) Jaune and Emerald are married (Topaz) Jaune and Emerald have a child (Jasmine Esmeralda Arc) Jaune and Emerald are on the run from Salem & Ozpin

Scene : A cheap motel in Argus

==> @cheeseeater2 - What if Nora and Ren find Jaune and Emerald with the kid and let them go if only for the child to be safe. Jaune says even if they hate him forever he loves them and hopes they can be happy one day.

Of all the things Ren and Nora expected after hearing that Jaune had left with Pyrrha during the fall, and then discovering that he and Emerald were on the run from Salem's agents. Finding himself held at gun-point by the man he used to consider a brother, was not one of them.

It had been a stroke of luck, finding out Jaune and Emerald were expecting. It was through idle chit-chat with the other tenants of the apartment building Jaune and Emerald had been living in for the last almost year... before vanishing days before a fire gutted the building. So as they continued their counter operations against Salem's machinations, they kept checking local medical centers and hospitals.

At a stop over in Argus, about a year after the last lead that went cold at the apartment complex. Nora had decided on a whim to check the local hospital, and much to her utter shock she caught site of Emerald leaving with a bundle cradled in her arms. So cautiously she followed the obviously new mother, tracing her back to a rather shabby motel.

A scroll call and Ren was beside her with in twenty minutes. A hint of intimidation and they had the room number. The flimsy wooden door was no obstacle for Nora. She was through it at the first hit of her shoulder. Ren was inside a fraction of a second after Nora burst through the door. The screaming of a startled child, and the yells of a young women, filled the room. But what Ren really focused on was the cold barrel of a rather nasty pistol being pressed against the center of his chest.

"You don't want to do this Jaune." Ren calmly informed his former team leader. "This will just make things worse."

"You right Ren, I don't want to do this, but to protect my wife and my daughter... I will." Jaune replied, his voice measured, and forced like he was fighting the potential of his own emotions surfacing. "Back away Nora."

"Jaune, why?" Nora asked as she stepped back away from the door she had just smashed in.

"I made a mistake." Jaune replied. "Both Em and I did."

"And what do you call this?" Ren asked nodding towards the pistol pressed against his chest.

"Protecting our second chance." Jaune replied. "Em, are you and her okay?"

"We are, she's just a little scared." Emerald answered, as she gently rocked the bundle in her arms. "Shush that's okay sweetie. It's okay, daddy will keep the bad people away from us."

"We're not... bad people." Nora countered.

"Really?" Emerald asked. "You've been trying to find us for years. Chasing us from place to place. Making us uproot, time and time again just so we can have a life away from all the bullshit."

"But..."

"We made mistakes. We were lied to. Led on." Emerald cut Nora off. "We figured it out too late to stop them, so we left."

"And have Ozpin's and Salem's minions dogging us all over Remnant." Jaune added. "We're out. We want to be left in peace. We know nothing, nor do we want to know anything. We're out."

"Jaune, you know..."

"Who says it can't be that way? Ozpin? Salem?" Jaune countered. "Fuck them and their little war!"

"Jaune, language!' Emerald hissed as she continued to placate the fussy infant.

"I'm sorry, but the point remains. We're out. We just want to make a life, for us and our daughter. A quiet life." Jaune expanded upon his original statement. "Both of you away from the door."

"Jaune, this isn't the right way. Come back with us? Ozpin can..."

"Ozpin is a failure." Jaune rebutted. "If he had any brains or sense he would have at least had an idea that Salem was trying something after the breach."

"None of us..."

"No, we didn't." Jaune agreed, "But we we're students, why would we have? The ones in power should have been protecting us. Like I will Em and Jas."

"Jas?" Nora asked as she moved as far from the door, as she could without getting any closer to Emerald or the infant. "Is that her name? Jas?"

"Jasmine Esmeralda Arc." Emerald informed the group. "She's named after our mothers."

Jasmine started to fuss more.

"Is she..."

"She's hungry." Emerald answered as she adjusted how she was holding Jasmine while lifting the left side of her shirt to feed her bundle of joy.

"I'm sorry it came to this." Jaune commented as he moved himself to be standing between Emerald and the now sitting Nora and Ren, his pistol still trained on Ren. "I never wanted to hurt you, either of you. You mean too much to me, but..."

"Jasmine and Emerald mean more." Nora finished his statement. "I can understand that."

"Are you truly happy Jaune?" Ren asked, keeping his hands flat on his lap, in clear view. "I mean really happy?"

"I am." Jaune replied. "I... we made our mistakes, but Jas is the best of both of us, and she deserves a future."

"A future you're willing to kill to protect?" Ren asked.

"You need to understand, Ren. I don't want to, but I will. To protect Em and Jas, I will put down anyone that comes after us."

"What are you going to do now?" Nora asked, trying to lean just enough to see Emerald and her baby.

"Same as we always do when you two or Cinder and Pyrrha get too close. We'll leave, and find somewhere new."

"That's not much of a life." Ren commented. "Always on the run. Is that fair to Jasmine? To Emerald? To you?"

"If I could change it. If I could fix it, I would... but there's fat chance of that happening, isn't there."

"Can I... can I hold her?" Nora tentatively asked. "I won't do anything, I swear, I just... I just feel this need..."

"I don't..."

"It's okay Jaune." Emerald cut him off. "I trust her enough not to hurt Jas. She's not the type."

Emerald stood, up after burping Jasmine, and slowly approached, keeping out of Jaune's line of fire. She loved him, wholly, and she understood is consuming drive and need to keep her and their daughter safe. She had the same compulsion.

"Watch her head." Emerald softly instructed Nora as she lay the precious bundle of joy. Jaune and her little miracle into Nora's arms.

"She's so small." Nora whispered, a sad smile on her face. "She's so small."

"Jaune, put it away." Emerald smiled at him as she crouched next to Nora who was completely enamored with little Jasmine.

Jaune hesitated for a fraction of a moment and then reached up and pushed the pistol back up into his sleeve. Ren heard the click of the mechanism resetting.

"Ren," Nora softly spoke. "We can't keep chasing them. We need to help them."

"Nora?"

"She's so small, and innocent. She shouldn't have to suffer for Jaune and Emerald's mistakes." Nora commented her eyes never leaving the beautiful if but slightly chubby face. "This is a fresh start for them... and us."

"Us?" Ren asked.

"I hate what Pyrrha did. How she used us all. How she broke our trust... but I want to help protect this little one. I want to do that more than chasing Jaune or Emerald." Nora made a kissy face as Emerald smiled. "Everything we're doing is about the future right? Protecting it?"

"I guess." Ren responded.

"Then let's help them. Let's let this little one have the family the Grimm robbed us of..." Nora's eyes started to tear up, emotions she thought long gone washing over her.

"It's okay, Nora." Emerald comforted her one time enemy. "It's okay."

"There might be a way." Ren sighed as he spoke. "Because to be honest I'm tired of chasing you Jaune."

"If it's any consolation, we're tired of being chased by you." Jaune gave his former teammate a soft smile.

"Would you stay in Vale, if we could get you in without anyone knowing? If we could help you get settled? Would you stay?"

Jaune looked to Emerald who was still hovering over Nora, rubbing her back in gentle circles as Nora tried to get control of her emotions. Emerald gave Jaune a smile and a nod.

"I would, if we can be safe. Unmolested?"

"Only Nora and I would know. Not even Ozpin will be any the wiser."

"Tell me why?" Jaune point blank asked.

"I want my family back together, despite the mistakes we've all made." Ren replied. "You're our family Jaune, and we miss you."

"I miss you as well." Jaune responded.

"So, can you really help us? Keep us secret and safe?" Emerald asked as Nora, at Emerald's urging, transferred Jasmine back into her arms.

"We can." Ren replied.

"No," Nora spoke her voice breaking slightly. "We will."

Jaune swallowed hard, and moved forward, his arms spread accepting Nora and Ren into a hug that had been forever in the making. A familial embrace they had all missed.

[lemotmo]

You and she and several others are correct. Everyone needs to take a breath and relax.

Q. So you just have zero expectations for the mid season finale?

A. No, I have what I would call realistic expectations for the mid season finale given where we are storyline wise. And where we are is at the very beginning of storylines. Especially for Eddie. The reality is we are only 8 episodes in, and 3 of those episodes were used for the opening disaster which means no real storyline movement. The storyline episodes we did receive were basically used to clean up either what Tim meant to do or regretted doing last season. Getting Bobby back as captain. Breaking up Buck and Tommy and getting Maya back to Hen and Karen. I also think episode 9 was clearly supposed to be the original mid season finale episode, which is why they filmed it before wrapping for the year. So episode 8 was supposed to be a kind of penultimate episode, meaning basically a set up episode. So it's probably not going to feel like a traditional finale episode. But lots of shows on ABC will now have that problem because ABC decided to wrap up for the year 2 weeks earlier than people were expecting. Most shows expected the Thanksgiving break and then to have one more episode before wrapping for the year so lots of their shows will likely have disjointed mid season finales. This is not going to be a strictly 911 problem. Another issue, which I completely understand and agree with, is there has been entirely too much Athena focus. She was basically 85 percent of the first 3 episodes and was more than half of last week's episode and that theme sounds like it's continuing with the mid season finale. So 5 out of 8 episodes have basically been Athena centric and that is too much too close together. Especially considering how much screentime she ate up at the end of last season as well. People are Athena'd out. Angela Bassett is a total badass so I understand them wanting to utilize her but it's too much and at this point it's irritating most people because it's coming at the expense of the entire fire fam and no one wants to sacrifice their screentime for cop Athena screentime. I do think people would be slightly less annoyed if we had a bit more focus on the 118 characters as opposed to so much Athena.

The other big problem is Brad. I genuinely don't want to see him again after this coming episode. Callum seems absolutely lovely and the initial use of him prior to Bobby returning to the 118 was fun to watch, but in typical Tim fashion, it's been dragged out too long and now it's just in the way. So that's even more screentime being used on someone the audience genuinely doesn't care about. But the moment people started loving and interacting with Callum it was inevitable that Tim would change course and drag his arc out longer. Between Athena and Brad there just hasn't been enough time to give to Eddie, Hen and Chimney. Buck has had decent focus, but again that's because they initially intended to break him and Tommy up last season so they had to spend time fixing that at the beginning of this season. This is where we are storyline wise. So people going into this episode pissed off that Eddie isn't going to say he's gay, which I don't think he'll say even when they get to the sexuality arc, makes no sense to me. We are at the very beginning of Eddie's storyline. A realistic expectation for his character in the mid season finale is deciding to go get Christopher or having a nice video chat with Christopher that indicates positive movement on that part of the story. That's it. That's where we are for Eddie right now. A realistic expectation for Buck is him deciding to go out and enjoy his new found freedom in his newly expanded pond. That's it. Anything else we might get from them in the mid season finale would just be a nice surprise. And we might get something but I'm not expecting anything from a Buddie standpoint. Their storyline is going to be in 8b and I think it will be early. And once it starts I expect it to move fairly consistently because I do still think episode 12, the 118th overall, is still the plan for their first kiss. The first part of this season did not go how anyone predicted so I understand the frustration but everything indicates Buddie is a when at this point not an if. They're going to tell the story on their timeline not ours.

Thank you Nonny. 😋

Yeah, I'm just going into this one not expecting anything big for episode 8. The only thing I'm desperately hoping for is some Eddie and Chris interaction. I really think that the Brad & Eddie conversation Callum talked about will be about Chris. Nothing else would make sense at this point in Eddie's story. I'm also still hoping that we'll see Eddie leave to Texas at the end of the episode to go get Chris.🤞

After 8x06 I am now completely sure that Buddie is coming. I said that before. For me that episode showed me all I needed to see in order to fully believe. But I admit that we all miscalculated the timeline Tim would go for. He is obviously using 8a to close all the storylines he began in season 7. 8b will be treated as its own mini-season.

The only storyline that will still be unsolved will be Eddie's and I think Ali is right to think that his story (and the eventual Buddie story) will come to the forefront in 8b.

That's about all I wanted to add here. 😋

IMPORTANT! Please don't repost this ask and/or a link that leads straight to my Tumblr account on Twitter or any other social media. Thank you!

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[oddlydrawnfriend]

Considering how 911 has forgiven every terrible parent of the main characters, not forgiving Eddie who has devoted his entire life to Christopher since he was born would be absolutely ridiculous. Like Buck's whole speech to Chris on why to forgive Eddie is him forgiving his own parents who drove him to self-harm to gain attention? Which is way worse than what Eddie did. We've been told time and time again how much Eddie's parents messed him up in canon, and now suddenly they are the more 'stable' choice to parent a kid?

Another point if we continue with Eddie losing Chris is it would reinforce the very harmful lie that Eddie thinks: he cannot have joy, forgiveness, and identity outside of his son.

The blowout with Kim only happens once Eddie tries to find closure with Shannon in a very messed up form on non-consensual therapy. Eddie recognized what he was doing wrong and tried putting a stop to it. He was not going to go to Kim again after telling her about Shannon. But once he finds some sort of closure, he is punished harshly by his son walking in and then walking out of his life, making his worst nightmare come true.

He finds forgiveness with the help of the priest and joy in a very very long time? The newest clip seems to punish him immediately with now Chris might not even come back.

CHRIS'S POV

Even from Chris's POV, it doesn't make sense that somehow both the Diaz grandparents suddenly gained emotional intelligence and maturity to raise Chris in a healthy environment to get over his trauma when they couldn't do that for more than 30 years?! Chris is avoiding, I doubt he is getting therapy there to deal with it. It was traumatic and he is valid for being mad but staying mad is hurting him. Eddie's whole arc and issue stem from the toxic masculinity that he needed to unlearn which makes him the king of repression. You know who caused a silly goofy man (Eddie at his core is very silly and is forced to be serious) to repress? His parents who are now somehow better options to deal with Chris's complicated emotions?

They think Chris loves the water, but they don't know the enormous work Eddie did to help Chris get over the tsunami. Chris breaks down during COVID because he misses Carla and his friends which dredges up his abandonment issues? They don't know that it was Buck who supported him through it and how Eddie adjusted his relationship with Ana to make him more comfortable. They don't know that Eddie quit the job he loved so Chris wouldn't be scared of losing him. They don't know how scared Chris was when Eddie got shot. We often focus on how Buck broke down and how Chris hugs him but Chris is breaking down with him together.

THE WILL (DISREGARDING ROMANCE)

Eddie's not stupid. He didn't put Buck instead of his parents in his will out of spite. Because really when it comes down to it, Buck was the best option for the will in canon. In the very beginning, we were told Tia Pepa and Abuela can't take care of Chris full time (thus, Carla). But Carla is paid for her job, she won't be on the will. Eddie has no other family in LA and we don't know how his situation is with his sisters. However, considering canon implies then to be younger (thus his parentification), Eddie would consider them too young (subjective) to raise his son. None of the 118 is as involved with Chris as Buck is. In fact, a big reason is the fact that is that Buck allows the Diaz boys a safe space which Eddie was not allowed to have growing up.

Buck has respected Chris's autonomy (admires it even- canon from s2), supports and listens to him without making him feel bad, expresses his emotions and finds ways to support him (like finding equine therapy, accessible skateboard) and respects his decision even if he doesn't like it (going to Texas). And I'm not saying because of Buddie or anything. Even if they remain platonic co-parents (co-parenting as described by Oliver Stark and Ryan Guzman), they serve as parallels to things Eddie wouldn't have gotten from his parents if he was in Chris's position.

Eddie was forced to manage his mother's emotions while his father was absent. Chris has a dead/absent mother but never has he had to manage Eddie's emotions. When Eddie has a mental breakdown, he calls Buck and is told to focus on his own healing (equine therapy). Time and time again, Eddie has said that his problems are not on Chris to help.

When Chris wakes up crying from a nightmare about the tsunami, Eddie gets him help and never criticizes him. What do you think happened when Eddie would wake up from his own nightmares after being discharged from the army? He was living with his parents, Shanon and baby Chris, there's no way his parents didn't know about it. We have proof in canon that Eddie never received any help and Shannon was at the end of her rope until she abandoned him. All his parents did was fight him for custody and applaud him for almost dying (aka silver star).

POSSIBLE FIX

One way to maybe fix this is by working with the theme of Eddie reclaiming his agency. If he goes to Texas to fight for his son, to have that communication, group therapy even, letting Chris know he is working on making himself better and that Chris needs to confront his issues and how running away and not feeling with grief is how the Kim situation happened in the first place.

Or, I understand that Gavin McHugh might want to take a break and return to the show except a few scenes. We can give him the Denny or May Grant treatment, where they are there but we don't see them anymore, just referenced. Like have a video call saying he wants to come back, show Eddie ecstatic and ready to hug someone at the airport, fade to black, and next time we can have Eddie on cloud nine but also scared of losing Chris again.

TLDR; It's unfair to punish Eddie when every main character's terrible parent has been forgiven and reinforces the idea that he isn't allowed to have joy, forgiveness and identity outside of Chris. Keeping Chris with his parents implies they are a better choice when they're the reason Eddie has these issues. There are better ways to handle the situation while minimizing Gavin's screen time.

[aroaceleovaldez]

The himbo, malewife, goofball -fication of percy jackson is such a crime by both the fans and riordan. It has made Mr not like percabeth as a couple because in all posts and in later books annabeth is such a girlboss, while Percy's dumb and can't fight his way out of a paperbag without her. All the posts are about how annabeth will be an architect and percy would love to be a trophy husband.

Even the humor in the books went from Percy's sharp wit and snark to 'my pancakes can't drown because I'm a son of poseidon.'

And now this recommendation letter bullshit.

Honestly now I'd wish percy just separated from annabeth (but they remain best friends.) He stays home with his family, becomes a camp counselor, helps young demigods, holds God's accountable and eventually becomes a social activist. (I also dislike him doing something marine biology related. It's clear he hates academics but he always wants to help people. Him helping demigods and mortals is such a wholesome profession for him.)

I fully agree with the first half of this, though I slightly disagree with part of the latter.

The later-series and fanon mischaracterization of Percy is at least a solid 50% ableism minimum, full stop. He's being warped into a very stereotyped ADHD character and the exact reason why he's being characterized as "dumb" is because of ableism. Percy is a very intelligent character! That's exactly why he's so in sync with Annabeth and they're such a strong duo! It's just generally Annabeth is more book/academically smart.

I disagree with where you say he hates academics - because that's one of the common misconceptions about his character. Percy doesn't hate learning or academic subjects! He's not even bad at them! We know explicitly that when he is in an accommodating environment he is interested in learning and gets significantly better grades! Percy only dislikes school because it is generally an environment that systematically he struggles with. It's literally just he has a learning disability (two, actually)! That's it! When his learning disability is accommodated for he does well! It's almost like that's what accommodations are all about! We know this from the first series! It's discussed pretty in-depth! Percy isn't a dumb character and he doesn't hate learning, he's just been let down by school systems so much that he's inherently distrustful of them. If they actually accommodate him though then he does just fine!

And that's exactly what CHB was all about and why New Rome University was supposed to be such a big thing for him! CHB is a learning environment geared for demigods. NRU is a demigod college. Both inherently imply an environment meant to cater to and accommodate students with ADHD and dyslexia! They are both systematically structured to be able to accommodate him! Heck, CHB and CJ even both address in the wider themes of the series a metaphor about how ADHD and dyslexia are commonly seen as childhood disabilities, and how it can be more difficult to find accommodations into adulthood because of that attitude but those disabilities don't just go away - that's why CHB is a summer camp but they talk about how demigods outside of CHB don't often fare well. The metaphor there is those who are not getting help or accommodations are struggling. Because that's how that works! This is a fully intentional metaphor from the first series! CHB is never framed as being perfect for demigods, because one of the entire central conflicts of the series is Percy and Luke going back and forth about this flawed system meant to help and support them but still letting people fall through the cracks. The "claim your kids by 13" thing is a metaphor about how acknowledging a child's disabilities (and possibly getting a diagnosis) earlier/as early as possible means they will have more time to learn and build up resources and support for themselves to be able to use later in life. One of CHB's major flaws is that it can accommodate demigods to a certain point, but it can only do so much before those demigods have to leave (the metaphor being accommodating school systems when those disabled students do not have any other forms of accommodations in their lives.)

And that's why Camp Jupiter was framed as being so revolutionary for Percy because it had an environment acknowledging that this is not just a childhood disability, adults with ADHD/dyslexia exist too and still need and deserve accommodations, AND is a place where those accommodations are available. That's why Camp Jupiter and NRU are treated as such special and important things to Percy, because it's essentially Percy being shown this type of thing can and does exist and it is available to him. It is an option he never thought was possible. Percy never thought he'd be able to go to college because he would not be able to go through school without accommodations, but NRU proves otherwise.

The part that's absolutely stupid is Rick then proceeded to retcon NRU so that apparently it's not a full college and Percy still has to take classes at normal mortal college which DEFEATS THE ENTIRE PURPOSE OF NRU EXISTING. Rick has fully retconned that demigods struggle past the ages of 16-18 when they're on their own (see above elaborated metaphors) and in doing so we have fully killed all symbolism in literally all of that. It's so stupid. And by having the plot of the CoTG trilogy entirely be that Percy is not actually allowed access to NRU in the first place because he is a son of Poseidon and has to do extra to even be accepted is stupid!

All that to say, I agree the marine biology feels like a huge cop-out and a disservice to his character by reducing him to just a son of Poseidon. The literal only reason why it's the default option people take for him is because oh, fish thing, fish guy. But I feel like everyone ignores the really obvious answer for what Percy would want to do which is - writing. Both his parents are writers/authors and he clearly admires that about them. Percy likes telling stories! He canonically is already a published author in-universe! That's what the books ARE in-universe! The first series fully exists in their universe and Percy is the author! This is explicit canonical information! Percy canonically has help physically writing it down (accommodations) but he is still the credited author! Percy is a writer! Already! Canonically! Why are we making him a marine biologist he already has a profession that ties into his character significantly more. Like you said, Percy likes helping people. That's what the books in-universe are supposed to be for! It's point blank at the beginning of the series! Book one! The thing everybody quotes all the time! The books exist because it is Percy trying to give advice to other demigods who don't know what's going on yet! It's Percy's writing down his experiences to help new demigods understand and contextualize their experiences so they can understand themselves better and figure out what's going on - WHICH IN ITSELF IS ALSO A METAPHOR ABOUT ADHD/DYSLEXIA! Because the core of the series has and always will be built around ADHD/dyslexia! Percy as a protagonist EXPLICITLY was created so that ADHD/dyslexic kids could see themselves as a hero!

Sorry that all was a very tangential rant but my point being: Absolutely. Percy in newer stuff in the franchise and in fanon is horrifically mischaracterized in ways that are functionally either fully ableist (shoutout TSATS for just outright claiming Percy is intentionally lazy and skips school out of disinterest, which is like the number one ableist attitude towards kids with learning disabilities) or a complete erasure of Percy's disabilities. Also I think he should be a writing major not a marine biologist.

[wickmitz]

— THE ELECTRIC-FEVER REMEDY.

[team5ds]

the worst part is i can't even say he's wrong. they certainly did figure out how to contribute the city by joining the wrgp. but like. this is one of those things where it literally does not make sense. this is insane levels of logic. "we're not sure how to contribute to the city. we think entering a magic the gathering tournament will help." like. imagine saying that fr when your parents ask what you're going to do after you graduate college. "idk. thought i'd play card games and figure it out, man"

[smile-files]

i continue to find ii3 baffling. why did they make it (this isn't to hate on the season, i'm genuinely curious)

[so-called-quail]

'Trapped in the end!' said Sam bitterly, his anger rising again above weariness and despair. 'Gnats in a net. May the curse of Faramir bite that Gollum and bite him quick!' 'That would not help us now,' said Frodo.

Sword in hand Sam went after him. For the moment he had forgotten everything else but the red fury in his brain and the desire to kill Gollum. But before he could overtake him, Gollum was gone. Then as the dark hole stood before him and the stench came out to meet him, like a clap of thunder the thought of Frodo and the monster smote upon Sam's mind.

Now he tried to find strength to tear himself away and go on a lonely journey – for vengeance. If once he could go, his anger would bear him down all the roads of the world, pursuing, until he had him at last: Gollum. Then Gollum would die in a corner. But that was not what he had set out to do. It would not be worth while to leave his master for that. It would not bring him back. Nothing would.

Sam and vengeance in today's entry

[cosmicpines]

I'm not done listening to the Alex Hirsch interviews but god it just reminds me both of how much I miss this show and how much I appreciate the love and care that went into it. I love listening to him talk about the characters with a frankness and care that shows how much he values them being three dimensional beings.

[phantajam]

my hot take about descendants is that NONE of the core four were ready for a relationship until maybe like, the third movie (rant in tags)

[echojedis]

One day I’m going to write out my entire essay of tech/phee thoughts but I don’t want anything I say to be misunderstood 

[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.

[majestyeverlasting]

𝐜𝐨𝐦𝐞 𝐰𝐡𝐚𝐭𝐞𝐯𝐞𝐫 𝐦𝐚𝐲 | 𝐞.𝐦.

Pairing Eddie Munson x Fem Reader [friends -> lovers]

Summary: You and Eddie ditch the party of the semester to fall into something you both know is meant to be [fluff, 3k]

A/N This is just fun, fluff, and feels. Felt like a vibe while I was writing it.

The music vibrates through the floor so intensely that Eddie can feel it in his bones. Even in the sunroom where he and a few others have settled. The small space gives sight to the backyard, where people mingle as they smoke, illuminated by string lights combating the night’s darkness. Those inside the house with him chatter, sing, and toss their heads back in carefree laughter, feet shuffling against the hardwood as they dance.

The entire scene buzzes with the kind of life only Steve Harrington’s place could ignite on a Friday night. One of these days, he swore he was going to loosen up and allow himself to get swept up in it too. 

For now, he watches. Eyes flitting to various faces, but always returning to you. If you weren’t smiling, you were talking, and the way your lips formed around your words was just as beautiful. The two of you spoke briefly when he first arrived, and he could still feel the delighted hug you’d given him over the fact that he decided to come. He wondered what he’d have to do to make it go away, but good thing he didn’t mind the feeling. It was a reminder of how much he wished your nearness could be all his forever.

Longing was a peculiar thing. Selfish in its occupation of his entire being. 

As Eddie takes another small sip from his drink, something fruity spiked with vodka, The Hair himself saunters up in front of him in a pair of slacks and a Polo sweater. Though rather polished for the occasion, it manages to look fitting on him. His cheeks are a little flushed and the metalhead raises a curious brow as his friend stares down at him with a smirk. 

Rebel Yell starts pulsing through the stereo as Steve offers him a hand off the couch. They end up weaving their way out back. The fall air is cool, but not all of summer’s warmth has vanished. A few people wave and greet them as they head towards a pair of chaise lounge chairs. Billy Idol’s voice is muffled as it continues thrumming from inside. Grooving bodies are visible through the windows as the party carries on. 

Steve pulls out a fancy metal cigarette case before they sit, flipping it open with a soft click. Eddie can’t help but snort as he relaxes into the chair. 

Steve’s brows furrow as he slips out a joint and begins lighting it. “What?” 

Eddie nods to the case in Steve’s lap. “Rich people shit.” 

Steve takes the first couple puffs before passing the joint to Eddie. “Jealous?” 

A smile cracks Eddie's face before he takes a drag. The answer is no, he isn’t. Once upon a time, jealousy was all he burned with, even though he was Hawkin’s poster child for no fucks given and had every reason to be grateful he wasn’t worse off. Grateful for Wayne, that he wasn’t in the pen with his deadbeat father, for finally finding solid friends. He had more than he could ask for, and it took growing up to see it. 

Eddie tips his head back and blows smoke up into the night before giving Steve his turn. What he can’t see is that your eyes have fallen on him from inside the house, sparkling and curious as Robin grins by your side. 

“So did I save you back there or what?” Steve asks as he ashes the joint onto the ground. “Looked like you were zoning in and out, man.” There’s genuine curiosity in his gaze though his tone is playful. 

Growing up with parents like his, Steve had gotten good at reading people. They vacationed a lot, but still managed to walk around with arc reactors in their chests whenever they were home. Bound to detonate in the wake of the most trivial inconveniences. Sometimes he wished he could shut everyone and their feelings out, but he wouldn’t quite be himself then. 

Eddie runs his ringed fingers through his hair. “Just a bit overwhelmed.” 

Steve takes a thoughtful look around. “These kinda things can be a lot.” 

Not even half the faces outside belong to close friends. There was a magic to it, nevertheless. For a few hours, everyone could throw their worries to the wind as Hawkins, Indiana began to feel less like a nowhere town and more like the top of the world. Lord knows Steve didn’t mind the distraction. 

“Not my scene,” Eddie settles on saying. The joint has found its way back into his hand. 

“Everyone’s got their escape,” Steve says. “You’re just too evolved for this one.” 

Eddie snorts. “Shut up.” 

“Yet here you are in the flesh,” Steve continues, thinking as Eddie smokes. “You should tell her how you feel.” 

Eddie coughs, lowering the joint from between his lips. “Dude. Fuck.” 

Steve bites back a smirk as Eddie recovers, extending his hand for the joint. Eddie refuses, taking another drag out of spite, for himself or Steve he isn’t sure. A distant swell of giggles makes multiple heads turn towards the back door, where you and Robin file outside. There’s an immediate flutter in Eddie's gut as he takes you in, your skirt flowing at your thighs. It takes him a second to realize you two are headed their way. 

By the time you make it over, Eddie has straightened up. Meanwhile Steve remains unphased. “Ladies,” Steve greets.  

Robin wrinkles her glittery nose at him. “Why weren’t we invited out here?” 

Chuckling, he makes room for her on his chair and she plops down beside him. “‘Cause you hate the way weed makes you feel like you’re going insane.” He leans into her with each word until she pushes him away with a helpless laugh.

“It’s the principle,” she counters. 

Eddie motions for you to join him and you smile as you take a seat beside him, bumping your shoulder against his in a gentle hello. When he offers you the joint, you shake your head. Steve reaches for it yet again, but Eddie pretends not to notice, taking another drag. A small smile pulls at your lips. 

“Actually, I think I will take a hit.” Eddie doesn’t hesitate passing it to you. 

Rather than indulging, you hand it to Steve, who laughs in victory. Eddie shakes his head, feigning betrayal in a way that earns a laugh out of you. It’s a sweet, melodic sound. He tries to ignore the way your thigh feels pressed against his, but it’s in vain. Even the vanilla notes of your perfume manage to cloud his mind in the softest way. No matter where he was, if you were near, he would always be painfully aware of your presence. 

It was your invitation that had driven him to this party in the first place. Although Steve’s invite came first, your insistence made him change his mind and say yes. Sweaty bodies and blaring music wasn’t your ideal scene either, but you gave in from time to time and looked good doing so. Earlier that night, Eddie almost hadn’t made it through Dancing In the Dark as you and Robin swayed and jumped around like you were alone in your room. There was something about the freeness of the way you moved that made it hard to look away. 

“Munson’s been meaning to tell you something,” Steve announces, looking straight at you.

Eddie’s heart drops into his stomach as he glares at Steve. Robin glances between the two of them, brows furrowed as amusement plays on her lips. You hug your arms as a cool breeze rolls through, but you’re more interested in what Eddie has to say than escaping the chill. In meeting your gaze, however, he silently begs you not to entertain the claim. It only piques your curiosity all the more. 

“Are you gonna spill or what?” Robin prompts.

“There’s nothing to spill,” Eddie insists, looking down to twist his skull ring. 

Reaching over into his lap, you gingerly take his hand into yours to slip off that very ring. He doesn’t pull away or argue, just watches as a helplessly warm feeling melts down his ribcage. His lips twitch upwards when you put it on your thumb because it’s the only finger big enough. It’s warm from being against his own skin for so long. Robin and Steve share a brief, knowing look.

“Speak now or forever hold your peace.” There’s hope woven within the lilt of your voice. Eddie chuckles, and you commit the breathy sound to memory as if you’ll need it one day more than you do now. 

Robin slaps her hands against her knees. “Well, it’s getting kinda chilly out here so I’m gonna head back inside,” she says, rubbing her arms as she stands. 

“Don’t do anything I wouldn’t do,” you tease. 

“I’ll stick to something tame like snooping around in Harrington’s room,” she says as she turns to leave. Steve rolls his eyes.

A comfortable silence settles between the three of you. However, his brows eventually pinch together as he reconsiders Robin’s words. Taking one last drag, he passes the joint back to Eddie.   

“She was joking, Steve” you assure him, chuckling. 

“No she wasn’t,” he worries as he stands to jog back into the house. Eddie snickers. 

With a soft sigh, you lean back onto your hands, looking towards the sky as silence falls again. There are a few clouds visible in the light of the crescent moon, but the stars are everywhere. Like tiny shining freckles peppered against the face of the night. Part of you wonders if he’ll talk now. 

“What if the stars have been watching us back our entire lives?” you murmur. 

Eddie’s brows pinch together as he looks over at you, chest rattling with a startled laugh. “That’s something to think about.” His eyes are a bit glossier now. “Don’t think I’d mind if that were true.” 

You tilt your head, a smile budding on your face. “You wouldn’t mind billions of little eyes observing your day-to-day life?” you ask. “That’s a pretty big audience.” 

A grin eases across his face, half playful, half cocky. “I’m a pretty interesting guy.”

You lift a teasing shoulder, feigning indifference. “You’re alright.” 

Eddie laughs, but a weighted look flickers in his eyes as he studies you, catching the fondness you hadn’t tried all that hard to hide. Even with the pleasant buzz beneath his skin and somewhat of a looser mind, he can see it clearly. 

“Hey,” you speak up again. There’s a new softness to your voice, something mischievous dancing around the edges. “Wanna get outta here?” 

Eddie blinks like he can’t quite believe you’ve asked, but finds himself saying yes anyways.

••• 

Sitting in the passenger seat in his van, you realize you didn’t think much further than this. The air smells like him in all the best ways. Pinewood and faint cigarette smoke. As the engine rumbles to life, you shift in your seat and peek over at him, your confidence a distant memory. The radio bursts to life as well, but he quickly reaches out to turn it down. You bite back a smile at the fact that his skull ring is missing from his finger because it’s on yours. Eddie settles in with a sigh, turning to you. 

“So,” he says, eyes sparkling and a little red under the glow of the street lights. 

There’s an intensity to the warmth of his gaze. It drives you to hide your face in your hands. Which does nothing to make him disappear, if the way he exhales a chuckle is any indicator. “Stop looking at me, I didn’t think this far ahead.” There’s no real distress in your voice, only giddiness mixed with nerves. 

“Now I feel like an idiot,” you whine. 

“Well, you’re not.” He sounds more sincere than the moment calls for. “And I don’t think I’m gonna be able to stop looking at you, so I guess we’re both in a pickle.” 

“A pickle?” You snort, lowering your hands to meet his gaze. More laughter escapes you. Maybe it’s your body's way of not having to address the implication of his words. 

There’s a flutter in his gut as he watches you. It’s like old times, back when you were freshmen who stayed up too late laughing over the most ridiculous things. Except now, you were more than the girl who sat beside him in Biology because you thought it was cool he had a tattoo. You’d grown into a friend, perhaps even more. As composure finds its way back to you, that truth weighs heavy in the small distance between you.  

Eddie clears his throat. “We could hang at mine for a bit. Wayne’s at work.” When you don’t say anything, he bites the inside of his cheek. “It’s up to you.”  

“Sorry, yeah, that sounds good,” you breathe. 

Eddie gears the van into drive, only to put it back in park with a heavy exhale. You blink when angles himself to look at you, opening his mouth a few times before speaking. 

“There is something I need to tell you,” he admits. “No way in hell did I ever think we’d be friends, but you’re the raddest person I’ve ever met.” A lump forms in your throat as his words wash over you. “And you’re so pretty that sometimes I wonder how every guy in the world isn’t giving you whatever you want all the time.” 

You can hear your heart in your ears as you say, “Maybe that’s ‘cause there’s only one guy I want in the world.” 

•••

A small sound of surprise rises up your throat when Eddie backs you against his bedroom door. His apology is hushed against your lips as he continues kissing you, hands gentle where they grip at your waist, feeling along your sides. You’re warm all over as if you’re laid out before the sun, arms hooked around his neck. It hadn’t occurred to him how much he wanted to kiss you until you looked at his alarm clock and realized that it’d probably be best if he drove you home. It was well past midnight. Time had escaped you as you talked and laughed. 

When he does pull away, he studies your face like he’s looking for something. A few seconds pass, and he still doesn’t know what for. Perhaps your smile as it shyly appears. You move your hands to cup his face, thumbs stroking his flushed cheeks. You’ve never been close enough to notice he has the faintest freckles over the bridge of his nose. It almost feels like you’re getting a glimpse at sacred markings you’re not supposed to see. 

Eddie remembers to breathe when you peck his lips again, running your fingers through his hair. His breath is startled out of him, more like. It’s a wonder his knees haven’t buckled beneath him. He wants to kiss you again to see if that’ll finally knock him back down to earth, but instead he exhales the softest sigh over your lips, squeezing your hips to confirm you’re real. He’s not expecting the sense of guilt that creeps up on him. 

Your brows pinch together. “What’s wrong?” 

“Nothing. I just… I haven’t taken you on a date or bought you flowers.��� He swallows. “I swear you’re worth all that, swear I’m gonna.” 

You gently scratch his scalp. “That’s nothing to worry yourself over.” 

Eddie shakes his head. “Don’t want you to feel like I’m just trying to come onto you,” he says. “I like you a lot—”  

“If it’s any consolation, I’ve been wanting to kiss you forever too.” Your voice sounds braver than you feel. 

A smile breaks across his face as he rests his forehead against yours. “Well, that’s maddening news.” 

Humming, you kiss him again, delicately running your tongue along his lips so he shivers. “Where are we gonna go?” you breathe, clarifying when he makes a soft, confused sound, “For our first date.” With the way you continue kissing him, he assumes you don’t really want an answer, that you’re trying to drive him crazy on purpose. 

His mind changes when you gently push his chest so he knows to pull away. He listens immediately, eyes dazed. 

“Maybe the arcade,” you supply, toying with the hem of his shirt. “Or a picnic by the lake.” Your hands slip under his shirt, gracing the skin of his lower stomach, your touch sending a rush of heat through him faster than any high ever could. 

You’re not trying to be suggestive, it’s more exploratory. A shared thrill in finally being able to touch him how you’ve wanted for so long. Eddie’s hands remain at your waist, grounding him even as he feels his resolve starting to slip. 

As much as he wants to indulge a step further, maybe even several, he holds himself back. It might be old-fashioned, but he wants to do this right, do a bit of course correction. He can almost hear Uncle Wayne’s voice from those lazy afternoons of his younger years, talking about life and how to treat a lady. 

“Next Friday,” he says, staring into your eyes intently. “It’ll be nice. I’ll surprise you,” he promises, taking your hands in his, relishing their softness, their warmth. His skull ring is still on your thumb. 

“Really?” Your smile is unabashed. 

He nods, a grin creeping onto his face. “It’s a date.” 

-

Thank you so much for reading! Feel free to let me know what you think. 

Turn on notifications for @taleseverlasting so you don’t miss the next one.

PART 2 (18+)

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[saetoru]

✩ ‧₊˚ ✩ KISS IT BETTER — GETO SUGURU.

contents. post hidden inventory arc, healing suguru agenda !!, fluff + established relationships, suguru has nightmares :(, chest kissies for sugu <3, reader lays on top of him, like very cheesy banter my bad

suguru gets nightmares—it’s expected, but it’s not easy. it breaks your heart—very painfully so—every time he jolts up with frantic eyes and labored breaths.

he tries to shake you off and pretend he’s fine the first few times, but by the time it’s happened enough, he resigns himself to letting you handle things, just like you always do.

it’s easier when you handle things—he’s starting to realize that more.

“another one?” you mumble through a yawn, sitting up and hugging him from behind as your cheek rests on his bare back. he grunts, hunched over with his head in his hands.

“‘s okay,” he says quietly, “you can go back to sleep.”

“we both know i’m not doing that, suguru,” you hum, palm rubbing slow circles into his abs. he sighs, melting into your touch eventually as he leans against you, head falling back to lay on your shoulder.

“sorry,” he whispers, “i didn’t wanna wake you.”

“i wish you would,” you hum, tracing his nose delicately as you kiss the side of his head, “i wish you’d let me help, baby.”

“you already help enough,” he mutters—almost bitterly, you note, “i don’t need to make you lose sleep over it.”

“you’d do the same for me,” you say gently, “wouldn’t you?”

“of course,” he says instantly.

sometimes, suguru is too kind for the world. it tramples him and leaves him curled on the floor under its cruelty. sometimes, he gives too much and forgets to take, to ask, and it’s starting to show. it’s starting to pile up and become too much and you think, just for once, someone should give to suguru too—because he deserves it.

“it’s a two way street, y’know,” you smile against his temple, “wake me up next time. please?”

“you really wanna see me at my lowest, huh?” he tries to crack a joke and dodge the question—but you know suguru, and you know what he needs. sometimes before he knows himself, even.

“everyone needs someone in their lowest, baby,” you mumble, “it helps more than you think.”

it’s silent for a bit. it’s like that more often than not with suguru these days—he’s silent, prefers the quiet and tender moments alone with you when you happen to catch them. he doesn’t have the energy to talk, and you don’t make him, and he’s grateful. he’s grateful when your fingers weave into his hair and your lips find his cheek, when you’re content with laying your head on his chest and just being there as he thinks.

you look down as he lays against you, his back to your chest and his body slotted between your legs, resting in your hold. it’s silent—he doesn’t always want to talk, and you don’t make him.

and he’s grateful.

finally, he breaks the silence first. “i felt it all over again,” he mumbles, “the…on my…”

his hand instinctively covers his chest, and you know what he means—he doesn’t have to finish, doesn’t have to say anything else before you press a tender kiss to his head. suguru doesn’t have scars on his chest. shoko’s reverse cursed technique heals well enough that the scars on his chest don’t remain even a little. it’s almost like it never happened—no proof of the x shaped slashes from blades to his chest.

but suguru can still feel his skin slicing sometimes—in fact, he thinks he can never forget it.

“hmm,” you think out loud, “well, there’s only one remedy for this i’m afraid.”

he looks up and raises a brow, staring at you before you crawl from under him, letting him plop down against the pillows as your body turns to hover over his.

“what are you—”

“mwah,” you press a wet kiss to his chest, starting from his collarbone before continuing in a diagonal line down the rest of his sternum. he can’t help but let his lips slowly widen into a smile with each one, letting out a soft chuckle when you tickle the skin slightly. “i read somewhere that kisses are really good for healing,” you murmur.

“ah yes, your doctorate from webmd is really coming in handy,” he teases, grinning when your lips press against his collarbone once more, on the other side this time as you peck along his chest in another diagonal line. it’s silly, a little pointless even—the wounds have long healed and you can’t even be sure you’re kissing where the scars would be, but suguru seems to brighten considerably with every touch of your lips.

it’s enough.

“well, my handsome patient,” you say cheekily, “did that help?”

“oh yes,” he nods dramatically, “i feel better than ever. thank god i have a gorgeous doctor like you.”

“hmm, i am rather gorgeous,” you brighten, giggling as he pulls you down by the wrist to kiss you softly. his hands are on your cheeks, cupping your face delicately as you hum against his mouth. “better?” you ask pulling away, pecking the corner of his mouth.

he nods, wrapping two strong arms around you as you lay over his body, grinning up at you.

“better,” he assures, “they should let you open up your own clinic. you’d put the hospitals out of business.”

“but suguru,” you gasp, “then i would have to kiss random men—surely you can’t let that happen!”

“you’re right,” he plays along, eyes widening in faux concern, “i can’t. i guess i’ll have to be your only patient.”

you smile at him—it’s radiant enough to clear the dark clouds of his shoulders, gentle enough that he feels the hardened parts of him start to go soft just a little. sometimes, suguru gets nightmares—they’re not easy, but you make them feel a lot less impossible.

it’s enough.

“what a waste of my higher education,” you sigh, “but fine. you’ll be the only one i kiss better.”

“i’m so grateful,” he snorts, pulling the blanket over your bodies as he holds you close.

sleep comes easier that night—and every night after.

i’ve decided to give this lil healing sugu series a tag so it’s: #operation: heal suguru! and you can click the tag below on this post to read the earlier drabbles !!

anyway unseen footage from this moment is that i actually sucked his tiddies as i kissed his chest. bc lord knows he just needed his tiddies sucked and he’d have been 100% happier and fine

[demilypyro]

Honestly I never liked Starline much. As far as IDW's original characters went, he was my least favorite. For a long time, he was just Eggman's overeager sidekick, and I didn't really see what he was supposed to add. But supposedly, Surge and Kit were planned characters right from the very start of the comic's run. And if that's true, it reframes Starline's character a lot.

If the goal all along was to eventually introduce Surge and Kit into the plot, then it makes sense they needed to introduce a new character to create them. Because a lot of the drama of their characters comes from their trauma. They were kidnapped, tortured and brainwashed, and who they were before that is unknown. The only person who knows their pasts is Starline. And in the very same issue that fully introduces Surge and Kit into the series, issue 50, Starline gets summarily killed off. It's been 24 issues since, and there's been no sign of him. The only person who knows their pasts is gone.

Through this lens, the utility of Starline's character becomes very clear. They wanted to introduce Surge and Kit, but needed to build towards them. They had to justify their existence in the narrative with the proper drama. Erasing their past was one way to do this, but this necessitates another character entirely. Someone needed to create them, and that person would need to go away. It couldn't be Eggman, since Eggman will always survive and return eventually. But an entirely original character could freely be killed off. Still, his influence could continue to haunt Surge and Kit.

Starline's arc was one of lost faith. He began by idolizing Eggman and wanting to please him. But then he was shocked by Eggman's seeming unwillingness to just... win. Eggman didn't want to kill Sonic before proving his full superiority by beating him fairly, and Starline eventually lost his admiration for the man. This was established quite early, as early as issue 14, so we can tell these seeds were planted with his future arc in mind.

Rather than helping Eggman, it became Starline's goal to surpass Eggman, by breaking the narrative stalemate between the heroes and villains. Endless stories like that of Sonic require that the hero always win, but the villain always survive and return. He wanted to break that status quo, what he called The Sonic Cycle. What he didn't realize was how expendable he is as a character.

As a character stuck inside the narrative, he could see the cycle, but he didn't see why it existed: editorial oversight. The powers that be would never allow Sonic or Eggman to die. He never had the narrative importance to accomplish this. He was only ever a means to an end, a narrative tool to introduce Surge and Kit. That would be his only lasting legacy. And there's tragedy in that. But he was also downright awful, so I can't say I feel sorry for him.

In the end, he was another victim of The Sonic Cycle, outlived by his creations, who have far more narrative potential. Get dunked on.