#comic gamest

[video-witch]

Cotton (コットン) manga chapter 1 English fan translation.

Original Author: Minakami Hiroki

Serialized in Comic Gamest in 1994

[taptroupe]

sorry i'm thinking about jun and mike from the mansion of hidden souls (sega saturn, 1994) again

[itsfantasticac]

Street Fighter comic by Kecho, from a 1997 Comic Gamest compilation.

[awfulmidis]

Lost Media Found! I knew my cousin vin and said he found this game that was said be buried in sadam andler's closet. an unknown gem, known as nedm. people, and omong gamesters, know this today as "not even doom music", as stated to be a hidden pilgrim of the Meme. But in truth there has been no real answer what nedm stood for. I say it is Nintendo Entertain Dumbo Mondo! Because it was told this was one of those games id software sold their engine to and made a s****y super nintendo shooter!!wtf!?! but in truth it was just a bootleg port for the it made from New Germany. Well anyways we dug a bit deeper on this conntecting the schemy publisher of the bootleg beeing SlyEye, a third-party coop. Ties with Segtendo, idk, idc. Point being they owned the dev team GIGABAD Studio, a colleges dorm squad formed in florida. Know a guy know a guy situation between John Carmack and and Tommy Tallirico (what a bambino!) Vin played the game on Lint.tv and some of the original devs showed up! They talked about how they sold the license to the game for fucking 50k euros. I'm American so I can't get those numbers working at the moment but that's a wallop of fondue! They legit moved onto working in the industry on the side, like the type of guys you'd see in the credits but in the smallest of all texts scrolling by after a 70$ AAA game. They did mention that the bootleg is a complete botched port and the original game made for DOS-MS was vastly different in everywway, so far as saying it's as good as DOOM was but more. This was sort of a small team trying to make it big but gets swindled by the last minute type of crud. Somehow no different than the Action 52/Cheetahmen situation. They even said they had a whole comic that came with the game it was supposed to be shipped with, saying it was like a 1-to-1 story mode as the game goes on. Not a lot info spread aferwards, the stream got cut due to a DMCA takedown from the band Jerry Flintstone from copyright infringement, which alas was just a false auto flag. very luckily i was recording cousin Vinstripe, The Mafia Gamer play this game and paused to listen to the music. This was said to be the final boss's theme song or one of many. the dev said they don't know who made this. they only went by the intitials. A.M.

[ excuse the quality my roommate was downloading deadlock on steam without the thottling so it sounds like an aol.voice chat =[ ]

[dailydefunctmangamagazine]

Comic Gamest (コミックゲーメスト) / Shinseisha (新声社) / Sep 1994 issue

[rielzero]

How long does a comic usually take you?

Oh! A question! Thank you anon c:

I'll be honest, I have no idea if I can even give an average. I generally hope to get to a point it'll just take 2 weeks to finish one comic, but so far it takes a month and then I take a month break because my health gets really loopy..?

Currently we're in the end of spring (At least it feels like the end of spring) And start of summer.. I have seasonal affective disorder so I really slow down and get a hit of summer depression. I take vitamin supplements and try to manage it, but I can never predict how things go, At least I have a tumblr timeline so I plan to properly examine my mental state by looking back the past few years at some point.

Things that tend to affect how long a comic takes me.

Amount of pages that the comic has.

Complexity of page layouts, if a comic has a lot of characters in complex poses the posing, drawing and flatcolor stage take much longer.

Extra rendering requirements (Effects, magic, story-telling visuals.)

Comic prep-work (Such as the creation of refsheets and gathering of references, thumbnailing and screenshotting for backgrounds)

Script revisions (If my script is outdated, I need to check this first before I even start thumbnailing.)

Writing the script (Haven't needed to do this in a while, there's currently about 10 comics planned, and I am working on number 5.)

Research. (I sometimes go back and look into elements from the game, or research DND lore, this is mostly background story work so you don't really notice it, I suppose)

Health flop, chronic fatigue and disability. If I feel down, I can't make myself draw. Usually I try to work on some 3D stuff if I can't get myself to do linework, that way its worked on a little bit daily if not at all.

Other things outside of my control that take away time I'd prefer to spend on the comic.

I try to take breaks on the weekends usually.

Overall Estimate Of Some Tasks that I figured

Screenshotting backgrounds for the entire comic: Takes about 3-5+ hours, Dependingly. I actually need to play the game to get certain locations in specific gamestates and to double check potential missing elements from the script.

Thumbnailing the entire comic: 4-6 hours, amount of pages affects this. I am looking back and forth to my script while doing this.

Layouts / 3D & Text bubbles: One page layout can take 1+ hour or more, less if the contents are fairly simple. Pages without dialogue take less time, Action scenes take the most time even when they don't contain dialogue due the poses.

Drawing & Rendering: 1-3 hours per page, considering Wether there are lightning effects, complex poses, or a large amount of characters present. Flat-coloring sometimes takes much longer than actually drawing.

Double Checking and Final Touches: This doesn't take that long, 30 minutes or a bit more. I'm pretty much proof reading the entire comic to make sure nothing's missing, from character details to spell-checking text.

And I do this all on my own!

[tga-ines-soares]

Penny Dreadful the original weekly

The penny dreadful was a 19th century publishing phenomenon. The Judith Flanders explains what made these cheap comics and made them sensational and them highly illustrated stories so popular with the Victorian public.

In the 1830s it was increasing literacy and improving the technology saw a boom in cheap friction for the working classes. The comic 'Penny Bloods' was the original name for the booklets that ,in the 1860s there were renamed Penny Dreadfuls and told the story of adventure, initially of pirates and highwaymen, later concentrating on crime and the detection. The issue weekly, each 'number',or episode ,it was eight but occasionally it was 16 pages ,with a black-and-white illustrations on the top half of the front page. Double columns of text filled the rest, breaking off at the bottom the final page, even if it was middle of a sentence. The Success Highwayman And Gothic Tales

The blood were astonishingly successful, creating a vast new readership. Between 1830 and the 1850 they are publishing up to 100 of penny-fictions, as well as the many magazines which now wholeheartedly embraced the genre. At first the bloods copied popular cheap fiction's love of late 18th-century Gothic tales, more sensational the better, 'a world,' said one writer, ' of dormant peerages, of murderous baronets, and ladies of title addicted to the study of toxicology to study of poison, of gipsies and brigand-chiefs, men with masks and women's with daggers , of stolen children, withered hags, heartless gamesters, nefarious roues, the foreign princesses.'

[laikaflash]

Bringing this back because I've noticed some of the comics getting attention again. (Yay!) I've also taken the liberty of adding the Gamest manga pages to the Miscellaneous section above.

Masterpost of my Soul Edge Translations

Now you don’t have to wade through the tags to find them all! Here are links to all of my fan-translations of the Japanese-exclusive Soul Edge/Blade material thus far. Be advised that the miscellaneous posts from 2021 are more about my thoughts on particular details than anything else since they were made when I was puttering around.

Soul Edge Official Fanbook art pages:

Siegfried Schtauffen 🏰

Rock 🪓

Sophitia Alexandra 🏺

Cervantes de Leon 🏴‍☠️

Taki 👹

Voldo 🕷️

Heishiro Mitsurugi 🏯

Hwang Seong-gyeong ⚔️

Li Long 🐉

Seong Mi-na 🌺

Chibi Comics:

Sophitia’s Divine Message 🌊

Siegfried the Forgetful Boy 💭

Rock and Bangoo — Gold Axe, Silver Axe ✨

Cervantes on a Snowy, Cold Day 🔥

Taki: Getting Along with Everyone and Exterminating Demons 💥

Comic Voldo’s Punchline 🕳️

Mitsurugi’s Mightiest Weapon 🤖

Hwang’s Stomach is Rumbling; The Taste Is…🍛

Seong Mi-na: As the Family Quarrel Goes On…? 🐙

Li Long: Go for it, Li Long! 🍃

Miscellaneous:

A page from the Soul Edge OST booklet featuring Siegfried 💿

Excerpt from one of the light novels (with my thoughts) 📖

A part in the same book that made me regret a lazy joke edit. 🔖

Rambling about the banners in the Ostrheinsburg Castle stage 🎮

Gamest manga cover and excerpt pages.

[dailyretrogames]

Undercover Cops (アンダーカバーコップス) is an arcade-style beat 'em up video game developed and published by Irem, originally for the arcades in 1992. It is Irem's first attempt in the modern beat 'em up genre that was founded by Data East’s Kung-Fu Master. Players control "city sweepers", a police agent-like group who fight crime by taking down thugs in New York City in the year 2043.

The video game is notable for its detailed backgrounds and grimy futuristic setting. For its time, it was relatively gory, featuring crow-pecked skeletons in the midst of its urban wastelands and forcing players to lose a life by being crushed by a garbage compactor during the first boss battle. While the gameplay is inspired by Final Fight, some of the enemies are unique. Besides the usual human thugs, players fight strange mole creatures and mutants with jet packs and blades for hands. Players can never use enemy weapons, but the stages contain objects that can be picked up and used instead such as burning oil drums, steel girders, long concrete columns that shatter on impact, boxes of hand grenades and fish. The characters eat mice, frogs, birds and snails to restore their health (many people in Japanese society eat these for their nutritional value but also attribute the development team's sense of humor later seen in the Metal Slug series).

The Japanese arcade version differs from the World version in several respects. The characters have a number of moves not seen in the World version, including dash + jump attacks, up to two different kinds of throws, and a powerful airborne special attack. The backgrounds and graphics are also different, especially at the start of Level Two and the end of Level Three. The music in the Japanese version has a more electronic feel and includes more voice samples. Some enemies carry broken bottles, knives and axes (in the World version these are replaced by planks and clubs). The mole creatures are weaker, taking only one hit to kill. Players' jump attacks do less damage, but their wider range of attacks makes them much more versatile.

The appearance and functions of the police car seen at the end of Undercover Cops exactly resembles the appearance and functions of the tank from Moon Patrol, another arcade game by Irem. The boss from Stage 1 of the first R-Type, also by Irem, can be seen on the screens of some red television sets. Undercover Cops was later advertised on a blimp seen in the arcade flyers of Irem's other beat 'em up, Ninja Baseball Bat Man.

Due to its small success in Japan, Undercover Cops also got its own manga by Waita Uziga, which was published in the Gamest Comics series by Shinseisha in 1993.[4] The game was later followed by a Game Boy spin-off titled Undercover Cops: Hakaishin Garumaa, and a more accurate translation called Undercover Cops Alpha (アンダーカバーコップスα), which retains the details of the original arcade version.

A few years later after its release, a lot of the team (artists, programmers, composers, designers, etc.) who made Undercover Cops went on to form the Nazca Corporation, who created the Metal Slug game series. The team have also worked on the Hammerin' Harry series, Superior Soldiers, In the Hunt and GunForce 2.

[taptroupe]

in the year 1993, Konami released a certain arcade beat em up fantasy RPG.... with a manga adaptation to boot...

And now, 30 years later, the oneshot manga of Gaiapolis is now online! to be scanlated one day, but take this photo gallery for now. enjoy ^_^

[itsfantasticac]

Darkstalkers comic by Hiroshi Izumi, from a 1998 Comic Gamest compilation.

Game Parody 4Koma Grad Prix 10 (Feb. 10, '98), pg. 73

[centrally-unplanned]

Okay, so I have a theory - I wish I could prove it, but alas I can only guess. First, I'm SUCH an idiot; its Gamest magazine - yes of course, games and anime and manga and all that bleed over, but not that much. Some of this fan art is random but *most* of it wont be. So what will it be of? Games obviously, and not just any games:

Princess Waya from the game Bravoman, released in...1988

A glodloid mecha ship from the arcade game Syvalion, released in, wow, 1988.

This issue of Gamest came out on January 1st, 1989 - its a retrospective of the last year. Its not 100%, I see 1986's very popular Return of Ishtar in there for example, but overall its art of 'big games' of the year which are likely new games. With that knowledge...

...this is still pretty hard, damn. Looking over the list of big games from the time, none of them look like they would have a character like this? Its why I didn't think it was a game character at first, arcade games of the time aren't this detailed and are generally shooters or side scrollers (or strip mahjong). And its...weird, with every other art its just very obvious what game it is? This one is uniquely elusive.

I found another comic in Gamest magazine by this same artist by the way, Gamest 19, April 1988. Its, uh...

Its a "real type pig" and is apparently "the kind of thing anyone would think of", a statement I assume is directly targeted at me as a Fuck You. But this is data - Tatebi is absolutely willing to draw weird abstract shit.

So I looked back at the original art, and did what anyone would do when lost and directionless - looked at her panties:

Which, hey, -aito? Wait, its not TAR- on her shoulder; its TAI-, Taito, aka:

One of the biggest arcade game makers of the era. But they weren't this meta, they weren't making anime robot girls with their corporate brand slapped on their groin, at least not that I can tell - their gaming logo is the Space Invader monster.

But as we know now Tatebi-kun has zero chill and that older pig comic is definitely some form of satire of the industry, so I think this girl *is* fan art; not of a game, but of Taito itself, made into a Bubblegum Crisis style hyper-detailed anime gynoid. They are a company that uses computer machinery to project the face of digital waifus after all, its a very on-point avatar to grant them. And it certainly explains why I can't find any god damn record of a single popular game with a character like that released in 1988!!!

I certainly might be wrong, but if true I got to give Tatebi props - for an original character this art is amazing, and they are pushing the envelope on that biomuscular-cybernetics hybrid design. The 'chrome' designs pioneered by illustrators like Hajime Sorayama (Sexy Robot from 1984, for example) tended to be more in vogue at this time (or just...a hot girl, who is apparently a robot, trust me bro), you don't see designs like this too commonly until later (ask resident robo-fetishist/animator expert @canmom for details on that timeline). Would love to know more about his identity - one of the other comics in that same section of the magazine is done by a young Kenichi Tajiri, an established animator today who was art director on shows like Princess Tutu and the final Sailor Moon movie (he is a longtime friend of Junichi Sato, if you couldn't guess). I feel like Tatebi has talent, I would love to know what else they did.

Anyway if my theory is laughably full of holes and you know exactly where it came from, absolutely tell me, I am ready to take the L on this one. But a theory is better than nothing for something like this.

Fan art from Gamest magazine, No. 28, 1989.

I can’t read Japanese, so I don’t know what this is fan art of.

[dippydrawtale]

Next: ???

Last: Here

[makairealm]

//DRIVE UPDATE//

Volume 1 of Shinseisha Gamest Comics’ “Vampire Hunter” manga has now been added to the Google Drive. Shoutout to our mod, CC for purchasing this and Volume 2 (which will be added eventually).

This will be the FINAL mangas for the drive. It’s been a long journey, I hope everyone has enjoyed all the contributions made. There’s still much that needs to be added, but this will be the last major update for a while.

Thank you so much for the support.

//LINK//

“Vampire Hunter” Volume 1

[daraoakwise]

Uhura is our queen! Star Trek rewatch, continuing with 2x16, The Gamesters of Triskelion. Wow. Ok. This episode. After the light and comic Trouble With Tribbles, we get what is, in my opinion, one of the darkest Uhura episodes. This episode is full of Uhura, with lots of content in the main storyline. But friends, I’m just going to say it. While it isn’t played that way (real human consequences being largely ignored in Star Trek, alas), this episode of heavy. She is tortured, threatened, and there is one scene where the best case interpretation is that she fights off a violent sexual assault.

Uhura, Kirk, and Chekov are beaming down to an uninhabited planet to check on a communications and navigation station. I love that Uhura is included on this mission. It absolutely makes sense that she would be part of a team to check on a communications station. Sadly, we don’t get to see her at work. They step into the transport pad, but before Scott can start they transporter sequence they are instantly boinged away to somewhere else.

They scramble to their feet, and quickly figure out that they are not on the planet they are supposed to be on—sky is the wrong color, too many suns. They are approached by some warriors wielding weapons. The three of them immediately step into a defensive posture, but the phasers won’t fire. Kirk orders them to go to hand to hand combat. To our eyes, used to actors who train extensively for action sequences, it looks a little funny and awkward. There is a bit of a disconnect between what I would think the skills of a trained Starfleet officer would be, and Nichelle Nichols’, um, actual skill. (No one else is any better.) We’ll just overlook that. Uhura is subdued by two of the warriors.

Kirk asks if they are all okay. Uhura says that she thinks she is, although the way that she reacts suggests she has taken some hits. The master thrall appears and compliments them on their fighting spirit, noting in particular that Uhura’s spirit is as great as the Captain’s. Damn straight it is! (Which makes me wonder if she is targeted later to try to break that.) The three of them are tied up and taken prisoner, and sent to be trained. They are told they will spend the rest of their lives there.

They are shown to their quarters—barred cells. Kirk gives a glance at his officers, who immediately follow along. They punch their captors and make a run for it, but their neck collars are activated, and they all scream in pain and collapse.

They are put in their cells and left alone for a time. Chekov says that the Enterprise will be looking for them, but Uhura points out that the Enterprise would have no idea where to look—they have no idea where they are.

This next scene is unquestionably a sexual assault. It’s horrifying. And it’s perpetrated against Uhura. The audience isn’t shown anything, but god, we can hear it. The big blonde drill thrall brings a tray to Uhura. Kirk challenges him, asking what he wants of Uhura, but the thrall shuts him down. The door slides open and the thrall walks in, backing Uhura deeper into the room while music plays ominously. We can’t see Uhura anymore, but she screams at him: “what are you doing?!” There is banging, and Uhura is making a truly terrible keening, screaming sound. We see their shadows; they are struggling. “I have been selected for you,” the thrall says, and his meaning is abundantly clear. More struggling in the shadows, and Uhura groans and starts screaming again. Kirk, who can’t see anything but the shadows we also see is shouting for her: “Lieutenant, are you all right???!!” Kirk desperately shoves his hand through the bars. “What’s happening to Lieutenant Uhura!!??” he cries, and his voice cracks in rage. We then cut to commercial on Kirk’s despairing face. Back from commercial, Kirk is still calling out for her. The thrall walks out of her cell, staring her down. “She is not allowed to refuse selection,” he pants, and walks out apparently clipping up his belt.

One of two things has just happened. It is possible that she has just fought him off. Or it is also possible that she has … not been able to fight him off. Not much time has passed, and they are still clothed. But I’ve got to say, there are things that 1960s Star Trek just can’t say; things they can’t show, and so Star Trek hints. It suggests. It cuts away. It uses music and editing to imply, while allowing for plausible deniability if the censors come knocking. And all of those things just happened. As I said in the beginning, the best case scenario is that she just fought off a violent sexual assault. Best case. So regardless of what happened in the shadows, she has been violated and attacked. And then Uhura gets to deal with her attacker for the rest of the episode. And of course, this is never squarely addressed. It never comes up again—not in this episode and certainly not in future episodes. And for now she’s focused on survival and escape. But god almighty, friends. This happened to her. In sickbay and with her therapist back home and in the dark nights in her quarters, this was surely something she had to come to terms with.

They are brought out to train in combat. We are introduced to a thrall who has refused an order. (A black man, incidentally. Or not so incidentally.) Uhura is instructed to strike him with her weapon as punishment. “No!” she cries, flatly refusing. She is told refusal is not allowed. She doesn’t care; she won’t do it. Their collars light up, choking them for a moment. And then Uhura is tied up, and her thrall—the same guy—is very, very clearly about to whip her. It’s … Jesus, guys. It’s horrifying, and the whole scene couldn’t be more obvious in its callback to slavery.

Kirk won’t let it happen and steps in to take the punishment, and is terribly whipped in front of his crewmates. Uhura is stopped from helping him during a short rest period. Kirk fights off the thrall, and the fight is interrupted by the “providers,” who purchase them and make bets.

After some action on the Enterprise we return to the planet. The three of them take care of their thralls—Kirk with a kiss and a punch, Chekov tying his up. And Uhura’s is off tattling because she complained about the food. I would preferred something more violent for him. Ah well. They escape, but are caught and punishment collars activated as a warning. The Enterprise finally arrives (after some really interesting tension and disagreement among Spock, McCoy, and Scott.) Uhura is largely background through the rest of the episode as Kirk gladiator-fights for their freedom. He kills Uhura’s attacker; if she reacts we don’t get to see it. I will say, every time we cut to her, she is at a very stiff Starfleet parade rest and completely stone-faced. Which is how I’d act, if I were suppressing trauma:

That is the face and posture of someone who is not okay. This episode. Let’s acknowledge the racism and callbacks to slavery. Let’s acknowledge the sexism—Uhura was “selected” and sexually assaulted, while the implication that someone might be “selected” for Kirk and Chekov is played with a wink. Let’s acknowledge that Uhura was repeatedly put in a position of helplessness. This episode sits weirdly for those reasons. I won’t call this a “good” Uhura episode, because I hate what happens to her. But it is fantastic to have so much content with her in the main storyline. She has an important role to play, and a storyline that (although never addressed), is something for us to think on and turn over in our minds, something to add to the list of Uhura’s significant life experiences. If this was modern Trek, this would be a storyline revisited as a part of her arc. So a fascinating episode. But also a very, very raw one. I don’t know exactly what happened to her. But it was bad. I hope she’s ok. I’m afraid that what happened after they beamed home is that she put on a brave face, and smiled at people while she walked to her quarters. And then she got in the hottest shower she could stand and fucking wept.

[cf8wrk4u-us]

@sonicasura

The way i see it, Arcee would attempt to try to follow the humans inside but have to stop at some point given the entrenched of the factory were just too small for her and the fact that most of the journey into the factory required stealth and despite being her specialty, even she was too loud and attracted some hostil toys.

The rest of the bots are forced to wait outside or at the base, maybe watching the whole experience through a hacked monitor if Raf ends up staying behind. Still possibly purging at the information Raf manages to dig up or from what they hear over the comm signals.

As they explore more of the factory more of Jacks memory starts to come back.Especially when he was showing Miko how to use a Grabpack or showing the others to the Gamestation. He and the others are startled at his knowledge and become worried as with every memory Hack recovers he becomes more frantic.

As for Mommy Long-Legs, she could become an ally when seeing Jack and the other kids. Seeing them could soften her to try to help them escape or at least survive the rest I'd the factory. Though at the same time I can see her seeing Jack and becoming more erratic.

When meeting June again, after finding her at the Waka-Wuggy station and helping her fight off the mini terrors, immediately after, before June and the others could properly reunite, Mommy Long-Legs immediately stretches through the vents and snatches Jack and potentially the other kids.

Mommy Long-Legs: My Baby! My Baby! You Came Back To Me! You Came Back To Mommy!

June: Let him go!

Mommy Long-Legs: Why? He's with his Mommy now....besides the children should be with me, safe, we all know all you adults do is hurt them.

June: That's not true! I love my son!

Mommy Long-Legs: Your son....HahahaHahaha! You stole him! Took him from here just like the rest of the children! Leaving Mommy to die alone! But I remember my children, just like I remember you....you used to work here, didn't you? So if anyone deserves to die alone, it's you....

Now the stakes are higher, with June and Fiwler having to work together to defeat Mommy Long-Legs and rescue Jack and the kids, who are stashed away in a webbed up room by Mommy Long-Legs.

Once Mommy is defeated and Jack and the others are found, June is going to have to answer to a lot of questions. Especially to an angry Jack whose memories are starting to rush back at a nauseating speed.

Fowler is full on between the verge of throwing up and freaking out, especially when he reads and hears all the notes of the scientist about their "Bigger Body Initiative" and the "Hour of Joy". There was no way the government didn't know about this! So why keep it from most staff? From him?!!!

Speaking of the Hour of Joy, if we're following that June husband and Jack father was also once an employee, learning the truth of what happened really both horrified and upset June and Jack. The former having hoped that he was maybe alive still only to learn he was probably eaten by the toys.

Some toys maybe could be befriended, notably ether or both Bunzo Bunnies, one from Musical Memory and the poor unfortunate Bunzo or Egg-Bunzo from the games comics. Maybe PJ Pugapillar himself or the Wuggies, mostly to the fact that he like Bunzo recognizes Jack. Bunzo especially when he recites Jack's birthday date correctly. Going to add Dogday into the mix too

I can see Miko being Miko really loving the toy designs, even if they were a little creepy. But not being much of a fan when some attack her. Not to mention getting on Jack's nerves for always wanting to press the buttons to the cutouts of the poor toys who ether have depressing or distilling messages to give.

But she’s great for breaking into vending machines.

TFP HORROR SCENARIOS

Transformers Prime X Poppy Playtime Crossover Potential

Based on a post I read from @sonicasura , I thought of a possible scenario where these two worlds could possibly meet.

What if one of the TFP humans had a connection to PlayCo. before the factory shut down and most of the staff mysteriously disappeared?

Specifically...June Darby.

June Darby was hired straight out of nursing school to be an onsight nurse hired by PlayCo. for its sponsored orphanage Playcare to see to the health and wellness of the children staying on sight.

While the idea of working at an orphanage based out of a toy factory seemed strange to a young June, she had a high amount of student debt and the company offered her a rather high salary despite her inexperience. So she applied and was taken in as both a nurse and caretaker for the children.

It was a comfortable position for the last few years, but still during that time June noticed things that began to unnerve her.

1. The amount of children seemingly going missing within the orphanage and the dismissive or defensive attitude the other staff and upper management gave when she gave her concerns. Stating that the children were obviously adopted out or just been assigned to another part of the orphanage😥

2. The appearance of the giant toy mascots that began to roam about the factory and the orphanage, who despite having a rather friendly attitude with the kids gave her chills at how animated they moved and spoke. Almost as if they were alive 😰

3. Than came the reports of strange creatures seen after closing and near death experiences from malfunctioning equipment, all of which the factory management ignored.

June would have left much sooner if she wasn't still trying to pay off her debts and save up for a car or house. Not only that she felt guilt over the thought of leaving the children. She promised herself she leave Playcare for good if anything major happened.

That choice was made for her though. As one day, an "incident" happened on a day she didn't show up for work . One that closed the factory forever and where June lost contact with her coworkers and the children who lived in the orphanage for years later.

With no idea what happened....until a letter arrived asking her to return to the factory if she wanted to find out what happened to everyone.

Maybe wanting answers and trying to dissuade any guilt she had for the past June decides to go, telling Jack and the others she was attending a work conference out of state. Giving a two day period of her absence. June didn't want Jack to learn this part of her past, so kept it hidden from him, leaving her son in the care of the Autobots.

Jack thought nothing of it...that is till June still hadn't returned at the agreed time period.

Unable to call her and frantic to know where she went, Jack looks around only to find the letter that June received. Determind Jack decides to travel to the old factory, with Miko demanding to go along. So reluctantly, he is joined by Miko, Raf, and Agent Fowler to try and find his mom. The bots lend their support where they can but unfortunately are too large to fully enter the factory, even Arcee could only manage to squeeze into the main lobby.

What awaits the group as they enter the factory are clues to a struggle, a chase, and to their horror clumps of blur fur and blood 😰

Additional/Potential Extra Angst:

1. Jack was born around the time June worked for PlayCo. between herself and another employee she married. And as a toddler was looked after at the Gamestation with the other staff of the children by Mommy Long-Legs. Given the same sinister test that helped the company decipher good canadit for their experiments. His assigned toy would have been Boogie Bot to keep with the TFP them, or potentially Bunzo Bunny. The day June didn't come into work, being sick at the time, his father took Jack with him for what was supposed to be an ordinary day of work and daycare.

That is till the "Hour of Joy".

By the time June heard about the incident that day and rushed over to the factory, she found Jack outside the lockdown factory with the few other children and staff who managed to get out. Catatonic and unable to speak, Jack couldn't tell her what happened and, in fact, blocked out the memory all together to save his mind from the trauma. The both of them never saw Jack's father again.

2. Jack was originally an orphanage in the factory who June was helping care for. June made the decision to steal him when she figured out Jack was chosen as a subject for the companies next upcoming experiment. Stealing him away from Playcare just before the night of the "Hour of Joy".