#but only for my existing project list

[necrotic-nephilim]

I started in DC by reading fanfics, but as I began to read actual comics, I started to be unable to read the actual fanfic that got me into it in the first place because it's so out of character.

But there are still some stories that I love to read because I love the found family trope so much, even if it isn't really accurate to the source material.

As a comics purist (sometimes), are there tropes that you like enough that you'll still enjoy a fic even if it's not accurate to canon?

oh my god this is SUCH a fun question. bc while i started with the comics, there were certain characters and/or character dynamics where i was exposed to the fanon before the canon (just bc it's hard to read everything when you start out just to read some fanfic) and so i've definitely experienced the fanon to canon transition. (*especially* with Jason Todd. i had only read 80s/90s stuff where he was already dead or the New-52 bc that was on-going when i got into comics and man. the fanon misunderstandings i had about him before i got frustrated and sat down to read all his pre-Flashpoint stuff were absolutely bonkers.) and aside from that, whilst i tend to prefer canon over fanon, i'm not past giving fanon its flowers for occasionally having really interesting insights. occasionally. so some of my fanon "guilty pleasure" tropes would probably be

Morally Grey Tim Drake - this is one where if you try to back it up with canon, i *will* get salty about it. of everyone in the Batfam aside from maybe Bruce and Cass, Tim has the *most* black and white morals. often his internal conflicts are routed in such an inability to compromise his moral views and it can cause him to clash with other characters. he's *very* stiff and rigid in his beliefs and is *rare* to compromise in even the smallest ways. i mean, DC has repeatedly used Tim Drake of Tomorrow/Savior/Gun Batman!Tim for a reason. it's to demonstrate that of everyone, Tim *cannot* have his morals compromised. there's no grey area for him. he's zero or a hundred, so if he tips over the edge of "too far" he tips *all the way*, and doing so is one of his worst fears, how he could go "too far" if he let himself. a couple panels out of context from Red Robin (2009) (which was a grief spiral for Tim to begin with) don't change that. now that said. if it's done *right*, i sort of love Tim being morally grey in fanfic. it takes a specific flavor for me, and it's incredibly important to include that mental spiral along with it, of him struggling to justify it. i don't have any interest in "Tim Drake is loosy goosy with Bruce's morals and has the highest kill count and no one knows teehee" bc it doesn't play with the interesting parts of making Tim morally grey, which are fracturing his psyche. but all in all, i think it's fun to put Tim in a morally grey area and i will read it in fanfic and i enjoy writing it a lot

Joker Junior!Tim Drake - i've not written it on this account (yet) but on my main ao3 account one of my biggest fics surrounds this concept. this is one of those "well *technically* it's canon but only in a specific very divorced from the comics universe and would not work at all in the main timeline" so, i categorize it as fanon in that 95% of fics exploring the concept are not doing so within the Batman Beyond universe, but the main timeline. i just love it. I'll take any excuse to whump Tim, but this concept is so fun. psychologically breaking Tim will always be my favorite pastime. there are so many ways to explore the long-term effects this could have on him, how it could affect the Batfam. i'm not a fan of it being used as a "gotcha" to Jason or Babs' trauma with the Joker to paint Tim as the Ultimate Victim, but it is fun to see how their relationships would be affected by being mutual victims of him. (i have a vague JayTim idea where TIm fully retires from being Robin after being Joker Junior and killing the Joker, making Steph Robin for most of his typical Robin era and Jason still tracks him down out of curiosity bc he wants to know what happened and all. very underbaked but i've got thoughts.)

Renegade/Apprentice of Slade!Dick Grayson - this is another one where yes, this happened *sort of* in canon, but i highly doubt most people writing Renegate!Dick have read or are actually pulling from Nightwing: Renegade. it's just an exploration fo the concept fo Dick being Slade's apprentice and i will always eat it up in any capacity. whether Dick grows up with Slade from a young age, or chooses Slade for whatever reason later in life. it's not anything that works in canon bc it compromises Dick morally (similar to the above with Tim) and therefore will always come across incredibly fanon in most fics. but i can't say i don't enjoy it. it's fun to make Dick a little morally fucked up and see what you can make him under Slade's tutelage.

Jason & Damian Meeting in the League -there's no world where i believe this could work in the canon comics. (maybe in the Young Justice cartoon i suppose, but even then i think it's iffy) i would go as far to say it's wildly unrealistic. i don't see a world where Ra's would let Jason anywhere *near* Damian, bc Jason was Talia's pet project that he didn't approve of. that all said, there's something very interesting about how they *could've* met and them potentially bonding during that timeframe. them being somewhat brotherly during this time because Jason sees Bruce in Damian and sort of latches onto the kid and Damian is full of wonder hearing real stories about Batman and Robin, then that getting violently ripped away by Jason leaving the League is fun to me. it's fun how that could affect them within the Batfam and all. it's super fanon to me, but i do not care. i will eat it up

Bad Dad Clark Kent/Good Dad Lex Luthor - i will admit as a late, i've been less and less kind to this particular fanon bc of everything i've argued with people about, *this* one seems the most pervasive as misunderstood fanon. i don't mind when fanon exists, my gripe is when ppl try to claim it's canon. and the *arguments* i've had over this with people who can never seem to cite an actual comic are... frustrating. but that said, i think there is something fun to this strictly in fanon. the duality of who you expect to accept Kon and who you expect to hurt him being flipped is just sort of fun for the occasional guilty pleasure fic. it can make Kon's internal conflict a bit more interesting. the same goes for the Jon favoritism from Clark, it's not a canon thing (and i rlly wish ppl understood how complicated the timeline of Kon and Jon is and any distance from Clark toward Kon isn't malice, it's that Kon is from a timeline that Clark does not remember in the current canon so Clark just straight up doesn't know the poor kid.) but it's sort of fun to give Kon that complex of being overlooked and forgotten sometimes. making Kon just a *bit* more Luthor than Kent will *always* appeal to me in fanfic, especially if he *knows* it's wrong but craves approval from anyone who will give it.

Good Dad Bruce Wayne - i'll die on the hill Bruce is canonically a shitty father. maybe not to the extreme some people write him as, but he's not great at it. that said, i enjoy it in fanfiction. sometimes, i just want silly fluff or hurt/comfort where Bruce finally gets it right and manages to comfort whatever Batkid is in the fic. one of my favorite fics of all time is hinged on Bruce being a good dad, so i think it's just fun to explore how good the relationships *could* be, if Bruce was slightly less of an asshole. i usually prefer him as an asshole, but there are times i want low stakes nonsense.

Gotham Rogues Having Soft Spots for Robin(s) - just about every Rogue in Gotham has done something absolutely irredeemable, and most of them don't like or care about anyone in the Batfamily. but if there's a fic where one of the Robins inexplicably is sort of close with a Rogue and they have a cute silly relationship out of it? I'll eat it up i fear. Steph and the Riddler are besties? I'll believe it. Tim and Scarecrow get along pretty well? give me ten of these. Rogues protecting Robins just hits a spot. the unexpected nature of the relationship, as well as the fact they see each other regularly, can make a lot of good fodder.

[icewindandboringhorror]

Apparently I can meet my goal of roughly 400,000 words in 6 months if I just somehow write at least 2,200 words a day ghbjh... Almost 2,500 today... huzzah...

[kyeterna]

Midnight Library

[danielnelsen]

obviously the actual stories of the ttrpg adventures are interesting and also the point of them.. but i love the extra worldbuilding in them. reading about the events in the autumn falls.............very good!!!!

[actual-corpse]

OF COURSE THERES A PLACE CALLED FUCKING "DOOMS CHAPEL" IN CREEP-ASS SYMSONIA!

[falesten-iw]

Nothing can truly show you the reality of what's happening in Gaza, not a picture, not a video, and not even words. The truth is far worse than anything an image can capture. Families are not just enduring genocide, they’re being erased. Their history, their homes, their existence, wiped away like they were never there.

What’s left behind? Bits and pieces. Fragments. A scrap of fabric here, a shattered memory there. People are still trapped beneath the rubble. Some are alive, their voices weak but desperate, pleading for help that will never come. There’s no rescue equipment. No teams to save them. And anyone brave enough to try is met with drones, striking down anyone who gets close.

Those who’ve managed to survive aren’t just hungry, they’re freezing. Imagine huddling in a makeshift tent, shaking not just from fear but from the biting cold that seeps into your bones. The wind tears through everything, ripping apart whatever tiny bit of warmth you’ve managed to cling to. Inside the tent, there’s no comfort. Only the sound of bodies rustling as they try to stay warm, muffled cries of grief, and the haunting sound of people buried beneath the rubble, their faint cries for help echoing in the dark.

The cold doesn’t care. It doesn’t spare anyone—not children, not parents, not the elderly. It sinks into everyone, leaving them numb, both physically and emotionally. Hunger takes what little strength they have left, and the cold takes their hope. This isn’t some tragic story from the past—it’s happening right now. These are my people. This is my family.

A single line can hold the weight of an entire story, and a single choice can save a life. What if you skipped that extra coffee, brush pack, or subscription and put that money toward rescuing lives in Gaza ? One small sacrifice from you could provide food, warmth, or even survival to my family who’ve lost everything.

You might wonder, “Does it really matter? Can I make a difference?” The answer is yes. Every dollar you give is a line of hope, a stand against the darkness. Don’t let this story fade. Don’t let Gaza disappear into silence.

Please help us and donate now if you can, and reblog this post to spread our story.

Vetted and shared by @90-ghost: Link.

Verified and shared by @el-shab-hussein: Link

Listed as number 282 in "The Vetted Gaza Evacuation Fundraiser Spreadsheet" compiled by @el-shab-hussein and @nabulsi : Link

Listed on the Butterfly Effect Project, number 957: Link

Additionally, Al Jazeera News has documented apart of my family's case: Link

If, for some reason, you couldn't donate via GoFundMe, you can donate via PayPal instead.

Donate on GoFundMe: Link

Donate on Paypal: Link

Please keep the conversion rates in mind when donating through GoFundMe. Every 250 SEK is equivalent to 25 dollars, and 506 SEK equals 50 dollars and so on. Note: There’s even a raffle for a handmade Palestinian thob if you want to participate : Link

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[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.

[racefortheironthrone]

Hi- er, this is my first-ever writer's strike, how does one not cross a picket line in this context? I know how not to do it with things like Amazon and IRL strikes, but how does it apply to media/streaming?

Hi, this is a great question, because it allows me to write about the difference between honoring a picket line and a boycott. (This is reminding me of the labor history podcast project that's lain fallow in my drafts folder for some time now...) In its simplest formulation, the difference between a picket line and a boycott is that a picket line targets an employer at the point of production (which involves us as workers), whereas a boycott targets an employer at the point of consumption (which involves us as consumers).

So in the case of the WGA strike, this means that at any company that is being struck by the WGA - I've seen Netflix, Amazon, Apple, Disney, Warner Brothers Discovery, NBC, Paramount, and Sony mentioned, but there may be more (check the WGA website and social media for a comprehensive list) - you do not cross a picket line, whether physical or virtual. This means you do not take a meeting with them, even if its a pre-existing project, you do not take phone calls or texts or emails or Slacks from their executives, you do not pitch them on a spec script you've written, and most of all you do not answer any job application.

Because if this strike is like any strike since the dawn of time, you will see the employers put out ads for short-term contracts that will be very lucrative, generally above union scale - because what they're paying for in addition to your labor is you breaking the picket line and damaging the strike - to anyone willing to scab against their fellow workers. GIven that one of the main issues of the WGA are the proliferation of short-term "mini rooms" whereby employers are hiring teams of writers to work overtime for a very short period, to the point where they can only really do the basics (a series outline, some "broken stories," and some scripts) and then have the showrunner redo everything on their lonesome, while not paying writers long-term pay and benefits, I would imagine we're going to see a lot of scab contracts being offered for these mini rooms.

But for most of us, unless we're actively working as writers in Hollywood, most of that isn't going to be particularly relevant to our day-to-day working lives. If you're not a professional or aspiring Hollywood writer, the important thing to remember honoring the picket line doesn't mean the same thing as a boycott. WGA West hasn't called on anyone to stop going to the movies or watching tv/streaming or to cancel their streaming subscriptions or anything like that. If and when that happens, WGA will go to some lengths to publicize that ask - and you should absolutely honor it if you can - so there will be little in the way of ambiguity as to what's going on.

That being said, one of the things that has happened in the past in other strikes is that well-intentioned people get it into their heads to essentially declare wildcat (i.e, unofficial and unsanctioned) boycotts. This kind of stuff comes from a good place, someone wanting to do more to support the cause and wanting to avoid morally contaminating themselves by associating with a struck company, but it can have negative effects on the workers and their unions. Wildcat boycotts can harm workers by reducing back-end pay and benefits they get from shows if that stuff is tied to the show's performance, and wildcat boycotts can hurt unions by damaging negotiations with employers that may or may not be going on.

The important thing to remember with all of this is that the strike is about them, not us. Part of being a good ally is remembering to let the workers' voices be heard first and prioritizing being a good listener and following their lead, rather than prioritizing our feelings.

[remxedmoon]

so all you need to do right now is disappear.

HHHHAPPY ISATVERSARY EVERYONE. here’s redraws for every single battle cg in the game. 36 drawings this time around, with 11 of those being custom (though admittedly a good portion of those are edits). combined with the portrait redraws i made back in september, i’ve made 114 redraws for this project! jesus christ! just like those redraws, these are completely free to use!! as long as i’m credited and it’s not for commercial purposes, go wild!! do whatever you want!!!

no i didn’t make these for isat’s 1 year anniversary this is just wildly good timing.

i genuinely can’t fit all of these cgs in one post even with the 30 image limit on browser, but i’ll still try to fit Most of them below the cut (without making this post horrifically long), along with some notes that might be important 👍

okay! once again, i labeled all of the custom art as such in the drive(UPDATE. NNOT TRUE ANYMORE. reformatted file names to be easier to mod in auau. apologies!), but if you want a full list, the customs are hatless siffrin jackpot, bonnie jackpot, bonnie special attack, bigfrin attack, and a bunch of alts which are definitely not related to any projects i’ve been thinking about don’t worry about it. and out of those customs, only like. 3 of them are actually completely from scratch.

while i did my absolute best to keep the aspect ratios completely the same as the originals, there’s 3 exceptions that i just couldn’t get to work.

isabeau’s hair in his special attack cg wouldn’t fit in frame if i kept things completely accurate to the og, so i moved his cg down a bit. it shouldn’t cause any issues with modding or anything, it’ll just appear slightly lower than it does in game. alas…

isabeau’s sleeve and mirabelle’s hair made their jackpot sprites a little larger than the originals? i’m hoping this doesn’t have too much of an effect (since the jackpot sprites have inconsistent sizes) but i can’t test this myself unfortunately. aaa feel free to let me know on discord if any problems arise!!

i managed to fix these, so they aren’t going to cause problems now, but my original drawings for mirabelle and siffrin in the final attack scene were a pain in the ass to fix. mirabelle’s sprite was slightly too talk to fit in frame and siffrin’s hat whacked bonnie in the face while i was editing everyone together. i’m only mentioning this because it took like an hour and a half to fix them and finish the scene.

all that aside, these were a fucking BLAST to work on. apparently this ended up taking 57 hours over exactly 10 days. which is a little worrying if you do the math on that but somehow i have not burnt myself out. i will be doing enemies at some point!!! but probably not for a little bit. i think my friends will actually kill me if i don’t take a break.

once again, happy birthday isat. you’ve ruined my life and i wouldn’t have it any other way (silly).

also, on an actual serious note, this little timeloop game has genuinely changed my life for the better? you guys are probably sick of hearing it at this point (or maybe not, i don’t talk about myself That Much. i hope), but i was practically a ghost for about 2 years before joining this fandom. it’s a little surreal to suddenly have friends (plural!!!) and people who Care about me, or even know i exist, honestly. it’s weird!! in a good way!!!

i don’t think i would’ve ever come back to social media if this community wasn’t so welcoming. i’ve met a lot of really great people through this game!!! so, uh, thank you isat, i guess. here’s to another year.

[flanaganfilm]

Mr. Flanagan, I’d like to ask a question and I deeply hope that it does not offend or upset you. I am strongly considering canceling my Netflix subscription due to their new password sharing policy. However, Midnight Mass is one of my favorite shows of all time and I know it isn’t available on DVD, and I’m also profoundly anticipating your take on my favorite Edgar Allen Poe story. So I wanted to ask your take on people accessing your work through, uh, other means. If it’s something that’s offensive to you or will harm you or the other people who work so hard on these shows, I’ll happily keep my Netflix just so that I can keep supporting your work. I respect you far too much as an artist to do otherwise.

Again, I really hope I’m not upsetting you by asking this question. Thank you for everything, and I hope you’re having a great day!

(NOTE 6/4/2024: I'm editing this entry because, well over a year since it was posted, some journalists dug this up and used it to create click-bait headlines that are misleading, out of context and artificially combative. While I was of course disappointed over the years that Netflix opted not to release my work on physical media, I never experienced any hostility or aggression in those discussions, and I sincerely regret the manner in which this post was used in the press this week.)

Hi there - no offense taken whatsoever, in fact I think this is a very interesting and important question.

So. If you asked me this a few years ago, I would have said "I hate piracy and it is hurting creators, especially in the independent space." I used to get in Facebook arguments with fans early in my career when people would post about seeing my work on torrent sites, especially when that work was readily available for rent and purchase on VOD.

Back in 2014, my movie Before I Wake was pirated and leaked prior to any domestic release, and that was devastating to the project. It actually made it harder to find distribution for the film. By the time we were able to get distribution in the US, the film had already been so exposed online that the best we could hope for was a Netflix release. Netflix stepped in and saved that movie, and for that I will always be grateful to them.

However...

Working in streaming for the past few years has made me reconsider my position on piracy.

In the years I worked at Netflix, I tried very hard to get them to release my work on blu-ray and DVD.

It became clear very fast that their priority was subscriptions, and that they were not particularly interested in physical media releases of their originals, with a few exceptions.

While companies like Netflix pride themselves on being disruptors, and have proven that they can affect great change in the industry, they sometimes fail to see the difference between disruption and damage. So much that they can find themselves, intentionally or not, doing harm to the concept of film preservation.

The danger comes when a title is only available on one platform, and then - for whatever reason - is removed.

We have already seen this happen. And it is only going to happen more and more. Titles exclusively available on streaming services have essentially been erased from the world. If those titles existed on the marketplace on physical media, like HBO's Westworld, the loss is somewhat mitigated (though only somewhat.) But when titles do not exist elsewhere, they are potentially gone forever.

The list of titles that have been removed from streaming services is growing.

I still believe that where we put our dollars matters. Renting or buying a piece of work that you like is essential. It is casting a vote, encouraging studios - who only speak the language of money - to invest more effort into similar work. If we show up to support distinct, unique, exciting work, it encourages them to make more of it. It's as simple as that. If we don't show up, or if they can't hear our voice because we are casing our vote "silently" through torrent sites or other means - it makes it unlikely that they will take a chance to create that kind of work again.

Which is why I typically suggest that if you like a movie you've seen through - uh - other means, throw a few dollars at that title on a legitimate platform. Rent it. Purchase it. Support it.

But if some studios offer no avenue for that kind of support, and can (and will) remove content from their platform forever... frankly, I think that changes the rules.

Netflix will likely never release the work I created for them on physical media, though I'll always hold out hope.

Some of you may say "wait, aren't The Haunting of Hill House and The Haunting of Bly Manor available on blu-ray and DVD?" Yes, they are, because they were co-produced with Paramount, and I'm grateful that Paramount was able to release and protect those titles. (I'm also grateful that those releases include extended cuts, deleted scenes, and commentary tracks. There are a number of fantastic benefits to physical media releases.)

But a lot of the other work I did there are Netflix originals, without any other studio involvement. Those titles - like Midnight Mass, The Midnight Club, and the upcoming Fall of the House of Usher - along with my Netflix exclusive and/or original movies Before I Wake and Gerald's Game - have no such protections. The physical media releases of those titles are entirely at Netflix's discretion, and don't appear to be priority for the studio at this time.

At the moment, Netflix seems content to leave Before I Wake, Gerald's Game, Midnight Mass, and The Midnight Club on the service, where they still draw audiences. I don't think there is a plan to remove any of them anytime soon. But plans change, the industry changes.

The point is things change, and each of those titles - should they be removed from the service for any reason - are not available anywhere else. If that day comes - if Netflix's servers are destroyed, if a meteor hits the building, if they are bought out by a competitor and their library is liquidated - I don't know what the circumstances might be, I just know that if that day comes, some of the work that means the most to me in the world would be entirely erased.

Or, what if we aren't so catastrophic in our thinking? What if it the change isn't so total? What if Netflix simply bumps into an issue with the license they paid for music (like the Neil Diamond songs that play such a crucial role in Midnight Mass), and decide to leave the show up but replace the songs?

This has happened before as well - fans of Northern Exposure can get the show on DVD and blu-ray, but the music they heard when the series aired has been replaced due to the licensing issues. And the replacements - chosen for their low cost, not for creative reasons - are not improvements. What if the shows are just changed, and not by creatives, but by business affairs executives?

All to say that physical media is critically important. Having redundancy in the marketplace is critically important. The more platforms a piece of work is available on, the more likely it is to survive and grow its audience.

As for Netflix, I hope sincerely that their thinking on this issue evolves, and that they value the content they spend so much money creating enough to protect it for posterity. That's up to them, it's their studio, it's their rules. But I like to think they may see that light eventually, and realize that exclusivity in a certain window is very cool... but exclusivity in perpetuity could potentially limit the audience and endanger the work itself.

[nvuy]

doctor, doctor — veritas ratio

summary. you’re the worst person ever, distract him from his work, beat him at chess, and yet doctor ratio still can’t seem to hate your presence as much as he lets on.

notes. “nvuy please update your fics” NO.

my favourite person ever informed me that when owlbert lists all of ratio’s degrees, chemistry is not one of them, so i thought that was funny. but anyway i always lowkey forget ratio exists but then he appears in game and i go Good Lord and then go about my day. that man’s arms do something to me.

warnings. suggestive content, one intense make out session, you’re a freak LMAO, ratio thinks you’re a freak too, this is lowkey crack, i wrote this tipsy, gn reader but you do wear lipgloss.

“Hi, Doctor.”

Veritas’ fingers slid against the screen like nails on a chalkboard. A headache was already starting to form behind his eyes, and he squeezed them shut for a moment before he unwillingly opened them again.

“Yes. Good evening to you.”

Keep the pleasantries. Don’t yell. Don’t throw a punch. Don’t slam another book on anyone else’s head.

You sat down in the seat beside him with a purple soda can in your hand. “Whatcha doin’?”

Veritas cleared his throat. “I’m working.” He glanced up at the top of his screen. “And, judging by the time, you should be working as well.”

You weren’t even listening, choosing instead to pick up a stray notebook that he’d left on the desk. The page was filled with scribble and stupid math symbols—actually, that was not scribble. That was just his handwriting.

Gross. You grimaced at the page before you turned it. The next page, and the next, creased and scarred with harsh pen markings, looked undoubtedly the same.

“Work is for losers,” was all you remarked. You obnoxiously sipped at your drink.

Ratio scoffed. “How you even landed a position working for Madame Herta is beyond me. You are clearly a liability.”

You snorted. “I got hired because I’m sexy and smart.” You were picking at your nails, painted a deep purple like his hair. “You’re only here because Miss Asta needed help. After her problem is solved, you can go back to moping about how you don’t have a chemistry degree.”

You watched his jaw visibly tighten. His teeth gnashed together, and you swore you could hear them grinding behind his lips.

“It is a work in progress,” was all he said.

“Yap, yap.” You made a talking gesture with your hands. “I’m the professional here. That’s why Miss Asta made me lead chemist.”

Such a shame your ego overshadowed such a pretty face.

“What do you want?” he asked, trying to return to his notebook.

“I want to play chess.”

“I’m busy.”

You blew a raspberry. You punched him playfully in the shoulder. You almost hurt your knuckles bopping his bicep. “You’re just scared you’ll lose.”

His glanced up so quickly you swore you heard his neck crack. He raised an eyebrow in a challenging gesture, as if daring you to repeat yourself.

You only stared at him expectantly.

“One game,” he rushed out, face reddening in frustration. The look he gave you could’ve killed, but you knew him better than that. His strangely jacked physique wasn’t built to maim, and if he wanted to smack you with his tablet, he would’ve done so already. “And if I win, you will leave me alone.”

“Mmm, okay.” You shrugged. “And if I win, I get a kiss.” You tapped your cheek twice.

Veritas reeled back. Then, taken aback, he spluttered, “that’s all?”

You took another sip of your drink.

Then, you blinked. “Yep.”

Ratio, too, reciprocated, blinking wildly as if he hadn’t even processed what had come out of your mouth.

You grinned at him, eyes crinkling below your lashes as he eyed you down like he was viewing a sample through a microscope.

Then, he sighed. “Fine.” He tapped away on his screen. One of his floating gadgets projected a holographic chessboard onto his desk. “I suppose somebody has to dull that ego of yours.”

You leaned back in your seat and waved him off lightly. “You can go first.”

The chessboard flipped, and the white pieces faced him.

*ೃ༄

“Hey, does this thing have speech detection?” You leaned closer to the board. “Knight to B4.”

As expected, the small porcelain knight upon the board moved forward into its newly assigned position.

Ratio scoffed, clearly irritated. His fingers tapped idly against the desk. “You are so frustratingly lazy. It’s a miracle you get your work done, and such a shame it impedes your potential brilliance.”

You only made another talking motion with your hands. As he thought long and hard about his next move, you yawned. He took everything so seriously.

No wonder he was so jacked. He was constantly tense. It probably counted as a workout.

“You think I’m brilliant?” you asked with a smile.

“I think you have selective hearing.” Finally, he moved one of his pieces forward. “But, yes. Miss Asta speaks highly of you.”

“Aww. I’ll give her a smooch later.” That was a relief to hear, actually. Sometimes you worried if she’d boot you out of your position because of your tardiness. It was good that she still wanted you working in the station, despite lagging behind on reports and important meetings.

When you glanced up from the board after telling a pawn to move forward one space, Ratio’s eyes caught yours before he briskly looked down at the hologram once more.

Ratio was trying to read the board. He narrowed his eyes suspiciously. “Just what are you doing?”

“Winning.”

“You are not winning.”

“Sure I am.” You leaned back in the seat once more. “Checkmate.”

Veritas’ eyes snapped up to gawp at you.

“Excuse me?”

“Checkmate,” you repeated. “I know I’m distracting. I have that effect on loser nerds with big egos.”

Veritas was staring at the board again. He was trying to piece together your previous moves, as the holographic board began to play in reverse. He was no cheat, no, never, and you didn’t expect him to do it as you were watching either, but it was clear as day.

He lost.

Your tongue carded along the rim of the soda can. “L-O-L.”

“This doesn’t even make sense,” Veritas mumbled, fingers rubbing circles into his temples. “You didn’t even have a plausible strategy.”

“Yeah, I did.” You placed a defensive hand over your heart. “You just don’t know it, because I have such a great poker face.”

“Chess doesn’t warrant a poker face.”

“Well, then, if you’re not willing to know my genius strategy–”

“No.” Veritas glared at you. “You will tell me.”

“Sure. I’m more worried about my reward, though.”

The look he gave you made you howl with laughter. It was a twist of his lips into something unsavoury as if he’d just swallowed a shot of vinegar. His brows knitted together and those unfairly long dark lashes casted a jagged shadow over his cheeks.

The chess board disappeared with a small noise and the screen returned to normal.

You leaned forward, batting your own lashes at him.

Veritas, after displaying a shaky grimace on his lips, met you halfway and pressed a quick, chaste kiss to your cheek.

You looked offended when he pulled back.

You whined. “What was that?”

“Your reward,” he argued.

“You just brushed your lips on me. Do you kiss everyone like that?” You were quite literally sulking, more so to get on his nerves.

It was working.

You swore you noticed a vein twinge on his temple. “I don’t just kiss anyone, thank you. Especially not over a game of chess.”

“You’re not getting my genius strategy, then.”

“Fine.”

This time, when his lips went for your cheek again, you turned your head.

Veritas let out an embarrassing noise that you’d never forget.

When he tried to pull away, clearly flustered and radiating so hot you were convinced he’d combust right there in his chair, you locked a hand in his hair.

Flustered for a moment, he then returned your enthusiasm ten fold, large hands curling around your waist and keeping the excited jittering of your legs still.

“Somebody will see,” he mumbled against your lips quietly.

To address his concerns, you dipped down lower in your seat behind the wall of his desk. Anyone that was watching would look away if they knew what was good for them.

Pulling away from his lips proved difficult. You caught the taste of his evening coffee, as well as the scent of cashmeran, and something that smelled faintly of chestnut and the smoky smell of a nice warm fireplace.

“You smell nice,” you whispered. Your voice was slightly hoarse. “What’re you wearing?”

The grin you had stretched on your face said it all.

Veritas snarled against your lips. “A physics degree.”

His lips hit your teeth when you grinned. “Can’t taste better than a chemistry degree.”

“You are horrible.”

Your hand crept along the waistband of his pants, feeling along the ribbons and the sleek expensive material. It was like cotton, but somehow even softer against your fingers, as if the thread count was bordering on six-hundred.

He reeled back when he finally processed the feeling of your fingertips slipping below his clothes. “Watch yourself.”

“Blah, blah, blah.” He made no effort to remove your hands, so a finger then hooked beneath the border of the hole over his chest. “Come ‘ere, Doctor.”

The light in your eyes was almost as intimidating as when you pressed your lips back into his, this time firmer, as if you were trying to mould your skin to his.

His skin was surprisingly warm for how cold he behaved. His scent was addicting. Freshly printed books and a warm winter’s night.

It tore a low and pleasant groan from your throat.

Surprisingly, he did not push away when your lips slipped from his mouth and traced the line of his jaw.

Instead, he sighed defeatedly and angled his jaw for you. You hummed, clearly content.

“Enjoying yourself?” he mused.

“Mhm.” You wondered whether he’d let you suck a bruise beneath his ear. “You’re soft. For a man.”

Veritas scoffed at that. He would insist that you were softer, but he instead bit his tongue. Of course he was soft. He took care of his skin, and he didn’t waste his life away drinking that filth you called soda.

He usually hated that artificial grape flavour, but he supposed the taste of your lips helped quell the awful amount of sugar still resting on your tongue.

He stiffened beneath you. He hadn’t even realised you had crawled into his lap. “Are you leaving marks?”

“Yep.” Your lips had dipped down to the base of his neck to stain the thin stretch of skin there.

“Oh, you–!” His eyes squeezed shut when your teeth carded along his jugular in warning.

The poor man looked two seconds away from a heart attack. His pupils almost turned to slits. He couldn’t tell whether he wanted to push you away or draw you closer. It was a mix of heat and blur that made his vision swirl with colour.

He felt unreasonably dizzy. He was grateful he was still sitting at his desk, for he was sure his knees would have given out beneath him otherwise.

Your lips pulled back for a moment. Sticky. He could smell a tinge of kiwi fruit from the gloss smeared over your lips. He was sure it was lathered all over his jaw like thick paste. The remaining hour of his shift would be a mix of rushing the rest of his report, and trying to scrub your makeup from his face.

Part of him wanted the stains to stay there, as unprofessional the thought was.

His silent brooding while your thighs warmed his were interrupted by approaching heels. Black kitten heels, to be exact, with a dark pinkish plum soles. He recognised her footsteps from miles away.

His heart stopped.

“Um… Doctor Ratio? I’m just receiving word that– oh my stars!”

Too late.

Veritas sprang from his seat, shoving you back into your own chair, much to your chagrin. Your hand fell from beneath the material of his shirt.

The damage had already been done, however.

Poor Lead Astronomer Asta stood frozen, face red, holding a clipboard with way too many pink highlighted paragraphs on the paper.

Veritas awkwardly cleared his throat, and tried to wipe the sticky gloss off his lips. “The report will be with you in an hour.”

Asta merely blinked at him. Her cheeks were brighter than her hair.

Her eyes then flitted towards you. She looked like she had seen a ghost.

You waved. “Hey, queen.”

Then, she nodded once in a greeting, squeaked an, “okay, thanks,” to the doctor and then rushed away, still hot in the face.

You could see the uneven rise and fall of Veritas’ chest. You were sure his heart was racing beneath his skin; yours was exactly the same, maybe arguably even quicker.

“Terrific.” Veritas turned his head to ridicule you. Scary for a dude with lipgloss smeared all over his face. “You’ve traumatised the poor girl.”

He heard you sigh. “I was just getting started.” You slouched in your chair, defeated. You checked your watch, noticing the giant seven tick over. “I’m hungry.”

“Eat, then. It’s dinner time.” He sat back down in his chair after he was sure he’d cleaned his face of your makeup.

“I was having dinner.” You finished the last of your soda and tapped at the can absentmindedly with your nails. “And was just getting to dessert.”

“You have an awful tongue.” He waved you off with his hands, fed up. “Now, shoo. I’m busy.”

“You’re so boring. What do you do for fun? Read?” He opened his mouth to answer, but you stopped him before he could embarrass himself even further. “Don’t answer that.”

Veritas rolled his eyes.

Instead, he chose to ignore you and pull the data back up onto his screen. His handwriting is still the most horrific thing you’ve ever seen, but it’s almost fascinating watching him write like that.

It’s just a line that only he can understand. Like his own nerd language.

You found it sort of hot.

Your eyes darted over to the bathroom door. “Hey, Doctor… What about–”

His eyes flared, and his grip on his pen grew tighter. He almost split a hole into the paper. "We are not having a rendezvous in the bathroom, nor will I be coming home with you.”

"Aww."

"But, for what's its worth, I commend your bravery in asking such a bizarre thing."

Ooh, praise. Lovely. "Eh." You clicked your tongue and leaned forward to kiss the side of his hair. “Worth a try.”

When you pull away, he does not look up, but his cheeks are tinged a lovely pink.

[ahedalshaer]

On October 30, I will write to you the latest updates about our lives in Gaza⬆️📣

In the previous picture, there is a list of prices in Gaza for basic food items, most of which are not available, and if they are available, they are very expensive. You know, after my first campaign was stopped, I started a new campaign so that I could cover the basic necessities for me and my family, and donations are very few and non-existent. I am looking for all the ways to save money for my family

New suffering for my family .It's very dangerous

The shortage and high prices of detergents in Gaza are very alarming in light of the current war situation ...

The impact of war on hygiene and the spread of diseases: The war on Gaza has not only destroyed buildings and infrastructure but also targeted essential services that directly affect people's lives, including clean water and sanitation systems. The Israeli occupation, by deliberately targeting these vital services, contributes to the increased spread of diseases and epidemics. The absence of basic hygiene supplies such as soap,disinfectants, and clean drinking water leads to an unhealthy environment, causing diseases to spread quickly, especially among children and the elderly. In this context, maintaining hygiene becomes nearly impossible in the absence of basic resources, exacerbating the humanitarian crisis.

A call for help: In the face of this difficult humanitarian situation, we turn to kind-hearted people and anyone who has the ability to help to contribute to providing the necessary hygiene supplies for my family and other families suffering like us. Yourdonations will help protect the health of children, women, and the elderly who are facing the daily risk of disease.

Saving a child's life could start with a bar of soap, and protecting a family from epidemics could be achieved by providing disinfectants or clean water.

Vetted By:

1- @gaza-evacuation-funds No.347 here

@nabulsi @wellwaterhysteria @90-ghost

2- @ibtisams VERIFIED GOFUNDME LIST #11

3- butterfly effect project line No.407

❤️🔥Please Reblog as much as you can and Donate .🔥❤️

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[saphronethaleph]

Fascist, Thus Inefficient

“As you can see, my young apprentice, your friends have failed,” the Emperor said, triumph in his tone. “Now, witness the firepower of this fully armed and operational battle station!”

Luke looked at him in shock.

“Fire at will, Commander!” the Emperor said.

Fourteen months previously…

“Shipment IL-214-73 arriving,” a petty officer reported.

“Thank goodness,” muttered one of the technicians. “After the delays we’ve been having, we need to get those Khyber crystals into the third main focusing array. It’s been on the critical path for a week.”

He brought up the display, frowning. “All right, I think we can make up a bit of time if we just get them straight to cutting and installation.”

“Don’t we need to run them through the testing process first?” a more junior technician asked. “That’s on the list.”

“I know it’s on the list,” the senior tech replied. “But the list was written when they didn’t expect there’d be rebel attacks hitting our supply lines.”

He waved at the screen. “The testing process means heating each individual crystal up to eighteen hundred, even though we know Khyber can all handle temperatures of up to forty-seven-fifty. The cutting process doesn’t rely on heat tolerance either. Any crystalline flaws will come out in cutting, and we can just junk them. It means cutting takes a bit longer, but by going straight to cutting we can save at several hours on the overall process. And you know how much time we’ve lost already.”

The junior tech looked worried, then shook his head.

“All right,” he replied. “I guess so.”

“You need to learn how things are done in practice,” the senior tech said. “No big deal.”

Eleven months previously...

“I’m quite sure Rothana Heavy Engineering’s XJ-15 hypermatter feed systems will meet your needs better than the alternatives,” the Rothana representative said, as Admiral Jerjerrod examined the datasheet.

He wasn’t so sure. The newer units had better specifications, certainly, but they weren’t proven, and they were also somewhat more expensive.

“I don’t think that’s necessarily the case,” he said, out loud. “While I appreciate Rothana’s position, the Sienar alternative has similar flow rates and more proven applications.”

The Rothana representative nodded, sagely.

“I understand entirely,” he said. “However, I must point out that Rothana has some important additional information to present.”

He held out a credit chip, which Jerjerrod took and inspected.

“Owing to the XJ-15’s protracted development, we are willing to provide our test units at cost,” the representative went on. “That is in addition to having a higher production rate than our competitors and a less committed production output.”

Jerjerrod hesitated, then pocketed the credit chip.

“That all seems in order,” he said. “The XJ-15 it is.”

“Marvellous,” the representative declared.

Nine months previously...

“I’ve examined the records that exist from the first Death Star,” a senior technician said. “The amount of strain that was placed on the flash suppression systems was minimal to nonexistent. Even with the full firing that destroyed Alderaan, surviving records indicate that the flash suppressors had no more than a five percent load placed on them – an amount that can be handled by untreated durasteel.”

The other men and women in the meeting looked at the data on the screen behind their colleague.

“You’re suggesting we forego the duratemp treatment on the flash protection systems?” one of the women asked, cautiously. “I can see the advantages, but the downsides seem significant. I’d even say potentially destructive.”

“It is my position that the cost of including the duratemp treatment is unacceptable,” the tech replied. “It takes time and effort, including supervisory attention which cuts into the available man-hours on the project. We only have so much experienced manpower.”

That drew winces, though none of the humans in the room drew attention to the fact that they were spending a lot of that time in interminable meetings.

“In the following presentation, I’ll discuss my proposal and how it could shave as much as one week off the final completion timetable,” the senior tech continued, flicking to the next screen of his presentation. “This model shows how the flash suppression systems are built around the main weapon…”

Six months previously…

“There simply isn’t an option,” the head of personnel replied. “Our existing system is not providing enough technicians and operators.”

“This was quite sufficient for the first Death Star,” Jerjerrod protested.

“The first Death Star was a project that took decades,” the manager replied, shrugging. “It didn’t come up at first, sir – for that I apologize – but if we are going to redress the problem, we need to act now. There is no alternative.”

Jerjerrod rubbed his temples, thinking about the problem.

The fully functional Death Star was going to need hundreds of thousands of qualified technicians and operators, familiar with the systems of the vast battle station, and so many of the men who knew much about the Death Star at the moment were busy building it.

There hadn’t been many left after the destruction of the first battle station, because most of them had been working on it at the time.

“All right,” he said. “So your proposal is…?”

“We keep the same number of trainers for now, but abbreviate the course,” the manager answered. “Two months – at most. Then we have the new graduates train the next batch for two months, and so on. Exponential growth. At twenty students per instructor and a hundred instructors to start with, we’ll end up with eight hundred thousand in six months.”

That was extremely tempting… they wouldn’t be anything like the equal of what they should be, but they could learn on the job.

“All right,” Jerjerrod said. “Approved – see to it.”

One month previously…

“Next item on the checklist?” Commander Jaskier asked.

“Step one hundred and seven,” Technician Mils replied. “Self test.”

She pressed the self-test button, and the computer system clicked and flickered as it ran through the diagnostics.

Data results and readouts went up on the screen, and Jaskier and all the others in the control station watched the results.

None of them had any comment to make about the numbers. The checklist said to run the self test, so that was what they were doing.

“Step one hundred and eight,” Mils went on. “Sign off on results.”

She did that, as well, and Jaskier nodded.

“Good,” he said. “And I believe we’ve finished that half an hour ahead of schedule! Good work, everyone.”

Now.

The firing commands flashed out through the Death Star’s systems, triggering a cascade of further commands, and the whole massive battle station’s main superlaser woke for the first time.

Fifty XJ-15 hypermatter flow regulators controlled the flow of energy from the power core into the power collectors, and the energy being channelled into the system surged rapidly – rising to one hundred and eighteen percent of nominal, above what would have been anticipated, and greater than the one hundred and two percent that the older, more proven Sienar systems would have generated.

Thousands of high powered beams were generated, controlled and focused through an enormous array of Khyber crystals… a small but measurable fraction of which were cheap industrially grown diamonds instead, added to the shipments by subcontractors eager to stretch out their production from the strip-mined planet of Ilum without running so late on their deliveries that financial penalties were imposed.

None of the technicians who were in a position to spot the problem at this stage were actually capable of doing so. Their necessarily abbreviated training had mostly been on what buttons to push, and nobody had the deeper knowledge of the systems to recognize that the system was in an anomalous state.

Then some of the diamonds shattered under the load, allowing the beams free to damage adjacent systems, and in moments the whole of the energy drawn from the hypermatter core was unleashed.

The flash suppression systems were wholly, and fatally, inadequate.

“Watch yourself, Wedge!” Lando called, his head on a swivel, and banked the Falcon around so his ventral turret gunner could clear off one of the TIEs attacking Red Leader. “We’ve got to-”

Then there was a sudden blinding flash, and Lando did a double-take.

The Death Star’s protective shield was instantly, and dramatically, visible – because the entire inside of it was full of plasma and flame, lighting it up as clearly as Ackbar’s briefing had done back before the operation was launched in the first place. Then something blew up on the surface of the forest moon as the plasma followed the funnel of the shield, and the explosive force was no longer contained but began to drift out into space.

“...the kriff?” Lando asked, eventually. “What just happened?”

“Ow,” Darth Vader said, indistinctly, reaching up to feel his helmet, which had been crushed in by an impact with the ceiling.

The Emperor’s throne room seemed to mostly be intact, though there was an Emperor-shaped hole in the window nearest his throne, and Luke had his hands out to either side as he stood on the wall.

“Father, are you all right?” the younger Skywalker asked.

“What happened?” Vader replied. “I remember the Emperor ordering that the Death Star should fire…”

“I don’t know, it exploded just after he said that,” Luke answered. “It turns out that overconfidence was his weakness… do you have any idea where the nearest spaceship is? Keeping the atmosphere in is tiring me out a bit.”

[making-you-in-spore]

pinned post

TRANS RIGHTS!! TERFS GET THE FUCK OFF MY BLOG!!!!!!!

who are you?

i'm just a guy who likes spore [2008]

why do this?

i just really like spore and making creatures in spore. it helps me practice my creature creation abilities.

can you make my oc in spore?

as of right now i do not take requests. i generally find characters and creatures i want to make by them appearing on my dashboard. refer to the Request Beast.

what is in your icon?

captain thunderhide, my main spore space stage captain.

what is peeling?

peeling is when i remove all detail parts from a creature and show the bare sculpt underneath - anything that is not eyes, mouth, hands, feet, or limbs will be removed. it is a tradition around these parts

what are "original spores"?

original spores are spore creations that aren't based on existing media - ocs, copyrighted characters, or otherwise. usually, they're just making things to make them in spore, or are based on simple prompts such as "a plate of spaghetti" or "a penis".

do you use mods?

i exclusively play this game with mods.

can i download the creatures you make?

only if the original creator of the design is okay with it and requests a png. please note that in order to successfully download the creatures, you will need to download every mod used to create them.

i will not always be able to say what mods i use to make something, so it's a gamble if you don't have all of the ones i use.

how do i mod spore/do advanced creature creation like you?

darkedgetv's FAQ is a very good resource to begin. i started there, and it's where i recommend you to start if you're interested in spore modding. it also contains many other mods i have not listed under the cut.

as much as i disagree with the process of using a discord server to contain vital information and resources, the davoonline spore modding community discord is also a good source of resources and mods that even i do not use.

what editor mods do you use?

a lot, so they'll be under the cut.

not mods, but highly recommended for enhanced playing experience

4GB patch - Tutorial - patches spore [and other 32bit programs] to be able to use 4gb of RAM. recommended if playing a highly modded copy, and makes the game more stable.

Reshade & ReSpore - post-processing injector & shader that alters the appearance of spore, giving it more detailed shading and vibrant colors. i use this for gameplay and screenshots. runs on GPU power, so excellent if you have a strong graphics card

HD graphics fix - this doesn't actually seem to work for my copy, but it alters the textures of base spore to be more high-quality.

mods that are absolute must-haves

these mods are ones that i use in almost every creation, and add a lot of QoL to the editors. if i forget a mod in a creature png i post, it will be one of these.

Dark injection - THE spore mod. it's likely a lot of other mods you'll download will mesh well with dark injection. you can turn off whatever you don't want to use through the installer.

Universal Property Enhancer - a library mod that many other mods require

The Smoother - a useful tool for building muscles and smoothing out your creatures' bodies

Enhanced Color Picker - a requirement for super detailed creations, enables hexcode color picking and color wheel selection beyond normal limits of spore

[UPE] Infinite Part Scaling - allows scaling of parts near-infinitely, beyond the limits of the original game

Project Skyncraft - adds new creature skinpaints

Unshackled - adds nodes and limbs for creating custom wings, heads, hands, etc. a little bit unstable, i mostly use this for wings.

Spore Stacker - allows stacking of any part

Subtle Rotations - reduces part rotation snapping

Advanced CE - adds building editor manipulators to the creature editor

Every Part Costs Nothing - self explanatory

Rotate Anything - lets you rotate anything, including feet and hands

Advanced Creature Paint - allows for individual coloring of parts on a creature, like in the building and vehicle editors

Ambient Occlusion Disabler - removes baked-on shadows for creatures

Delta Paints - adds new skinpaints

Valla's Skinpaint Switcheroo - adds duplicates of all vanilla, C&C, and GA creature coat and detail skinpaints into their opposite category

test drive related mods

these mods are not required to download the creatures i post, but are recommended for the test drive.

No More Creature Editor Animations - turns off the animations that play when you add eyes, mouth, feet/hands, etc

Sevan's TF2 editor animations - adds multiple animations from tf2 into the creature test drive.

Mx3's Dance Animations - adds a multitude of dance animations into the creature test drive.

Tenebris's Creature Test Drive Animations - adds many animations from within the game to the creature test drive.

EditorBG - adds extra editor backgrounds

Ramone Kemono's MMD Drag Ball - high-effort dance mod complete with special effects and a reverse engineered camera system

part mods

these mods add parts to the editors.

DroneParts 2017 - adds many mechanical and polygonal parts useful for machine creatures, i like to use it for building clothes and markings.

New Drone Parts - a sequel to droneparts 2017, compatible with the old version. install both at the same time if you want to be able to use creatures from the old droneparts mod.

Himeric Engine - adds horror-themed parts to the creature editor.

Spore Resurrection Next Steps - adds a few parts to the creature editor and several new textures to the building and vehicle editors.

Dinosaur Parts - adds parts based on dinosaurs and other animals. mostly heads.

Strange And Beautiful - a now-discontinued, reuploaded mod that adds unusual and unique parts to the creature editor

Bionicle parts - adds a few bionicle pieces to the creature editor

Little Box Of Horrors - adds many parts with an overall horror theme. some are animated.

Pandora's Toolbox [1.0] - adds a multitude of basic shapes and polygons to build with

Replicant - adds non-textured animating parts and non-animating parts in a separate tab. good for if you want to use hands, limbs, etc without them animating or adding stats

Armoured And Dangerous - adds a few high detail mechanical looking parts.

Delimbiter - increases the amount you can scale limb parts, and allows for more crazy movements of certain limb parts

Valla's Vanilla Style Parts - adds several parts which mimic the vanilla style

Wordsmith 2.1 - adds letters to the creature, building, and vehicle editors

Kaiju parts - adds several parts based on popular kaiju

Organic Help - adds many membrane pieces to the creature editor, for creating wing webbing among other things

Project: Mad Mannequins - adds many human body based parts. and a horse for some reason

A Mouth For All Seasons - adds alternate versions of all vanilla mouths [and all unused cell mouths] with alternate diets

Valla's Captain Badges - adds all space badge models into the captain outfitter and creature editor

Rock On! - adds rock props from spore into the building and creature editors

[exhaled-spirals]

« To mention the global loss of biodiversity, that is to say, the disappearance of life on our planet, as one of our problems, along with air pollution or ocean acidification, is absurd—like a doctor listing the death of his patient as one symptom among others.

The ecological catastrophe cannot be reduced to the climate crisis. We must think about the disappearance of life in a global way. About two-thirds of insects, wild mammals and trees disappeared in a few years, a few decades and a few millennia, respectively. This mass extinction is not mainly caused by rising temperatures, but by the devastation of natural habitats.

Suppose we managed to invent clean and unlimited energy. This technological feat would be feted by the vast majority of scientists, synonymous in their eyes with a drastic reduction in CO2 emissions. In my opinion, it would lead to an even worse disaster. I am deeply convinced that, given the current state of our appetites and values, this energy would be used to intensify our gigantic project of systemic destruction of planetary life. Isn't that what we've set out to do—replace forests with supermarket parking lots, turn the planet into a landfill? What if, to cap it all, energy was free?

[...C]limate change has emerged as our most important ecological battle [...] because it is one that can perpetuate the delusional idea that we are faced with an engineering problem, in need of technological solutions. At the heart of current political and economic thought lies the idea that an ideal world would be a world in which we could continue to live in the same way, with fewer negative externalities. This is insane on several levels. Firstly because it is impossible. We can't have infinite growth in a finite world. We won't. But also, and more importantly, it is not desirable. Even if it were sustainable, the reality we construct is hell. [...]

It is often said that our Western world is desacralised. In reality, our civilisation treats the technosphere with almost devout reverence. And that's worse. We perceive the totality of reality through the prism of a hegemonic science, convinced that it “says” the only truth.

The problem is that technology is based on a very strange principle, so deeply ingrained in us that it remains unexpressed: no brakes are acceptable, what can be done must be done. We don't even bother to seriously and collectively debate the advisability of such "advances". We are under a spell. And we are avoiding the essential question: is this world in the making, standardised and computed, overbuilt and predictable, stripped of stars and birds, desirable?

To confine science to the search for "solutions" so we can continue down the same path is to lack both imagination and ambition. Because the “problem” we face doesn't seem to me, at this point, to be understood. No hope is possible if we don't start by questioning our assumptions, our values, our appetites, our symbols... [...] Let's stop pretending that the numerous and diverse human societies that have populated this planet did not exist. Certainly, some of them have taken the wrong route. But ours is the first to forge ahead towards guaranteed failure. »

— Aurélien Barrau, particle physicist and philosopher, in an interview in Télérama about his book L'Hypothèse K

[sejianismodding]

🎁 [BG+] My Little Animations Overrides! 🤸🏽‍♀️

☠️ REMINDER: Double-check the OP for updates!

⚔️ Requires the content pack listed in the .PACKAGE filename.

🌠 New Arrivals - 8/12/2024

🚀 Initial Release - 8/5/2024

🎁 Download & Discussions: https://www.patreon.com/posts/116205160

🤸🏽‍♀️ My Animation Overrides Collection: https://www.patreon.com/collection/884903?view=condensed

🗺️ Modding Announcements Post: https://www.patreon.com/posts/109291501

👋🏼 FYI, I take requests. If you've encountered an animation you want replaced, send me a screenshot and a short description of it and/or how to trigger it. GIFs are appreciated but not required.

🪄 Some animations just look... bad. There are a few solutions for this but I've chosen the simplest and most versatile - animation overrides! <insert magicky hand gestures here> Are you amazed? Yes, yes you are.

👽 This is an AnimXGenWear-adjacent project that was initially released to replace two standing idles that suffer from the smile shown below when the sky is awake and the mood is Fine because holy !@#$, does it look bad.

💬 You can thank @serawis for this releasing when it did. It wasn't a priority for me at the time. I had a scroll through a few of your Tumblrs following the positive response I got for the Deformer Map BUGFIX and I encountered the above post, inquired if it was still desired, et voila - a mod is born! I'll do more eventually, probably. I could literally replace everything with the cute Lovebug animation and have everyone just doing hand hearts for eternity <snickers sinisterly> but alas, maybe for my own game only.

🎀 These little animation overrides are 100% compatible with by big animation state mod - AnimXGenWear: https://sejianismodding.tumblr.com/post/757704895457525760

🤸🏽‍♀️ "KEEP READING" FOR PREVIEWS!

🎁 8/5/2024 - Two Female Stand Idles

LEFT replaced with RIGHT. I try to find animations that already exist in-game that match what the original does.

sej_AnimOvrd_BG_YF_HandFidgetSmile_Idle01.package

sej_AnimOvrd_BG_YF_LookLeft_Idle02.package

These are inside sej_AnimOvrd_!Set001_2ForBG_240805.zip.

---

🎁 8/12/2024 - Fem/Masc Attempt To Seduce

LEFT is the masculine animation on a female sim, RIGHT is the feminine animation on a male sim.

sej_AnimOvrd_BG_YF_AttemptToSeduce_M.package replaces the female animation with the male animation for female sims.

sej_AnimOvrd_BG_YM_AttemptToSeduce_F.package replaces the male animation with the female animation for male sims.

Separate downloads so you can grab one or the other or both.

---

Face Overlays get slapped onto your face when your mood changes. We can remove or replace any of them that we don't like. Removing them completely without replacing requires an ASM override, which I can do and IIRC, SIMS4ME did one as well and I saw a post here on Tumblr from another creator with an ASM override. I'm personally fine with most of the face overlays, I just don't like the weird Happy smiles, and removing absolutely all of them I think makes the sim too "life-less" but I can make an ASM override or provide links to the others I've seen if you want.

🎁 8/12/2024 - Happy Face Overlay

NO PREVIEW FOR THIS ONE YET!

sej_AnimOvrd_BG_YU_HappyFace_ConfidentFace.package replaces the Happy & Flirty mood "face overlay" with the Confident overlay. Happy & Flirty moods use the same overlay with the same fugly grin. Confident gives you get a cheeky raised eyebrow instead. Is fine.