#guarantee he will be Trouble

[cultivating-wildflowers]

struggling so hard to pay attention to this book because the ✨single attractive and friendly man in a sea of cold and distant nobles✨ is suspicious to me

[eddis-not-eeddis]

If you deeply desire something and it doesn't come into conflict with God's will and his word, don't give up on praying for it. Pray without ceasing for it, ask your friends and your family members to pray for it. Write it down so you can remember when you started praying for it. PRAY!

Last year I started seeing answers to prayers I began praying five years ago. This year hundreds of prayers have been answered. Prayers I forgot about were answered, and I see God's hand as he works to answer even more.

Don't stop praying because you don't see God's hand in your life immediately. God works in a lot of subtle and mysterious ways, and years down the road you'll discover how he has been working behind the scenes. He is not slow in the way we as humans understand slowness, but he sees the bigger picture and knows what will bring about his glory. His timing is perfect, and I can see that in my life.

[codenamesazanka]

Shigaraki/Tenko wanting to destroy the false sense of peace All Might and Heroes created

.⬇️.

Shigaraki/Tenko wanting to destroy everything that lead to the existence of that house, which he conceptualizes as the embodiment of rejection and injustice in the world. Be a Hero for the Villains.

.⬇️.

AFO basically literally created that house

.⬇️.

Shigaraki/Tenko helps defeat AFO

.⬇️.

Deku telling him 'you already destroyed it' is... apparently Shigaraki/Tenko having finally gotten rid of the true cause of (his) rejection and injustice? main antagonist's big problem that represents an overarching major issue of the story/in-universe society... solved? (main antagonist's big problem that represents an overarching major issue of the story/in-universe society not actually being the problem he thought it was but now also solved?)

.⬇️.

No longer a need for there to be a Hero for the Villains, Shigaraki/Tenko dies.

.⬇️.

Heroes not to be blamed in the first place. also fuck everyone else and all other 'actual' outcasts I guess.

[novadreii]

We were raised on cocktails of Disney movies that brainwashed us into believing our lives were not complete without our white knight coming to save us from a miserable, cat‐filled future as a solitary childless hag. That we could never hope to be happy unless we were worthy enough to be chosen by one of them. So it makes sense that these women cling to disgusting, vile practically dickless excuses for human beings who don't even make them happy. It's the thickest smokescreen in the world, but once a woman chooses to or is forced to disperse it, she will spend the rest of her life trying to understand why she was willing to settle for so fucking little, and barely recognizing that past version of herself.

[gay-victorian-astronomer]

big feeling insecure about my writing hours

wish I could write faster. wish I had more time to do it. wish I weren't so ambitious, so verbose. wish I weren't so perfectionistic and could embrace the "write the parts you want and stick it together with duct tape" approach. wish I could know that my fixation on this fandom would carry me through the process of writing this (and ideally my other fic ideas too). wish I could know that people will still care about this story when I'm done with it (wish I could know that people are interested in it now). wish I weren't still on chapter fucking three of this fucking eight chapter fic. wish I had the technical skills to pull it off.

wishing for a lot of things and feeling like I'm going to get none of them.

[mantisgodsdomain]

7 vi but instead of food (i get the vibes your vi just straight up doesn't refuse food) crimes or drugs whichever you prefer

(for this ask game)

7. Lots of people don’t have a favorite food drug or crime when put on the spot, but what’s a food or drink drug or crime that your OC would never turn down if someone offered it to them?

...listen the conditions under which our Vi would refuse food are extremely specific but they do exist. Depending on the variant, you might hit that faster or slower, though it varies on the person offering it to her and the circumstances surrounding it. Wereweevil Vi, specifically, will absolutely fucking not refuse food under any circumstances, but she is an outlier and most other Vis actually have a point where they'll say no.

In terms of crimes and drugs... listen, Vi has a sense of self-preservation, and people absolutely don't just hand out drugs either For Free or For No Reason. Getting her to accept doing it is the hard part, if you're not already someone she trusts - what are you, a cop? Gonna tattle on her if she takes your offer? She does, actually, have a fair amount of trust in most of the Underground Tavern regulars, and would probably take up an offer for Illegal Actions if offered, because she trusts they won't try to fuck her over and will probably be willing to back her up if worst comes to worst.

If she's being, like, offered something to try and do, and it's someone she knows, then she has pretty decent assurance that her friends won't deliberately try and kill her, but she might still want to question if it's safe for her species, whether in a "this open job offer might not actually be open to a bug where almost everyone seeing her will immediately assume she's associated with the Bee Kingdom and might report them back to the queen" way or a or "whoever made this drug has never accounted for her species in test runs and there's a solid chance of her experiencing adverse side effects from it" way.

She's not entirely naive - she knows what she's doing, she knows it might be dangerous, and she's only really willing to assume the Tavern bugs have her best interests in mind because of experience. Unless she's being paid for it, she won't take up an offer from just anyone, and she has decent confidence in not getting fucked for taking the offer.

That said... in terms of drugs, the one (1) thing that she might consider getting from Random Unlicenced Sellers She Doesn't Know would be Daydream. Chronic pain reasons, as per usual. If it's getting to autumn and times she Knows that she's gonna run into more Bad Pain Days and her usual dealer's not got enough she might go hunting for another supplier, and in that case - yeah, she'll take random handouts and shady offers, and yeah, she'll probably get fucked over for it. Probably better than lying on the floor unable to do anything due to her body swinging a fire axe into her spinal cord that makes it feel like there's a white-hot rod of metal permanently impaled into her chitin and through half of her vital organs. She might reconsider if it's particularly shady and she's with Team Snakemouth, but being in horrible pain has a way of making you abandon your previous convictions in favor of not having to endure part of your body trying to violently kill you to death by making your entire nervous system fry itself with chronic pain.

With crime if you pay her enough then she'll do basically anything but for profit-free mischief, uhh. Listen if you walk up to her in a bar and say "hey, wanna vandalize something" then she'll probably agree before asking any further questions. Some day this will bite her in the dick but she will probably only learn "plan more when vandalizing things" from it.

[kagakutsukai]

I think trans men are probably one of the most annoying flavors of people out there

[featherymainffins]

People be wilding, I hate when I ask for some dirty tricks to swindle my brain because therapeutic methods are slow and I would kinda like to do things even before they work, and people just recommend me what is essentially CBT coupled with exposure therapy.

[squishening]

HR lady at my dad's work please don't tell me he needs to download an app my dad doesn't even know how to call a number back please I am doing YOU a favor trying to schedule his days off. The minute you tell this man to do anything on a smartphone he WILL have an autistic meltdown in your office.

[echoesverse]

rhys and forest birthday blunt (to celebrate rhys’ bday)

[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.

[cinnamorollcrybaby]

Mama, I’m in love with a criminal

Tags: Sukuna x fem!Reader, no curse au, dead dove, violence described including murder, dark romance, use of y/n, descriptions of mental illness.

Synopsis: Sukuna’s talking to his therapist in jail about you. He’s incarcerated because of you, and his obsession is concerning.

An: Yeah idk i thought of this while I was driving to work one morning.

Session one. | Session two. | Session three.

His large frame laid lazily over the couch, clad in an orange jumpsuit. He had his feet propped up on one side, and his head was propped up on the other side in a far too casual manner. His naturally pink hair pushed up near the front, messily so.

He was still cuffed and shackled, but the therapist was still afraid of him. To the therapist’s credit, he had read the warrant that went into viscous detail of Sukuna’s crimes.

Normally, the therapist wouldn’t read the inmates warrants due to situations like these. He liked going into sessions with an open mind, but he had gotten warnings about Sukuna… how the man can fly into a blind rage like a switch on the wall.

He was brutal, unforgivable, inhumane.

Simple counseling wasn’t going to “fix” a broken human like Sukuna. The therapist knew this, but the state mandated that Sukuna undergo weekly counseling sessions per his sentence.

Sukuna could taste the therapist’s fear, and he let out an earnest laugh. “You don’t even want to try to fix me, do you?” He asked tauntingly with a lopsided grin. “I don’t blame you. Don’t feel bad~”

The therapist swallowed the lump in his throat, and he adjusted in his seat. “I can’t fix anyone… Counseling isn’t about fixing.. It’s about moving forward and learning how to live.”

“Bullshit.” Sukuna spits with shrug. “Counseling is about focusing on the past and letting shit hang you up for far too long. I guarantee you that you’re going to ask me about how I got here, is that right?”

The therapist is shaking like a leaf at this point. “Our past can help us navigate to a better future.” He murmured out weakly.

Sukuna roars in laughter, causing the therapist to nearly jump out of his seat. The pink-haired felon doubles over as he laughs hysterically. “You’re a funny guy. Fine. You really want to know how I got here? I’ll tell you.”

After a deep breath and wiping away a fake tear, Sukuna goes on, “You know, teachers always believe that pairing the troubled kids up with the good kids will inspire them to act right. That shit never works.”

“I think that’s when my ‘type’ developed. My bitch of a second-grade teacher assigned me to sit next to this frail meek girl after I got in trouble one too many times for terrorizing the other kids. She was a real stick in the mud.” Sukuna laughs fondly, a rare genuine smile on his face.

“Y/n?” The therapist asks, remembering your name from the warrants.

Sukuna’s red eyes snap over to the therapist with an almost predatory gaze. His hands visibly curl into fists. “Say her name again, and I’ll splatter your blood all over this room. The officers won’t be able to pry me from you, deeming you to be a lost cause.”

The therapist freezes as the breath hitches in his throat. His eyes dart toward his panic button, knowing he should probably press it now, but he’s frozen in fear.

“We’ll call her mouse.” Sukuna goes on as if he didn’t just threaten the poor guy’s life in brutal detail.

“Mouse was a real challenge. I for some reason made it my mission to get her to talk to me, but she always stayed silent — only answering me with simple head gestures.” He laughs again, lying his head back further as he’s replaying the memories in his mind. He can remember you vividly and how you looked back then. He yearns for that feeling again. The feeling of seeing you for the first time.

“I can’t exactly tell you when the challenge started to border obsession, but she slowly slithered her way into my brain. Even when I wasn’t in school, I thought about her. I wondered what she sounded like, wondered why she wouldn’t talk to me, wondered why she looked at me like that.”

The therapist furrows his eyebrows. Even though he doesn’t feel safe in this session, and he doesn’t trust Sukuna at all, he has a hunger for knowledge, and he loves solving things that have to do with the human psyche.

“Looked at you like what?” The therapist dared to ask.

Sukuna stayed silent for a moment, and he tapped his finger against the back of his hand. His face hardened as he found the words he was looking for. “She looked at me like she had no preconceived notion of me. Her eyes… were so big and round. Even though she didn’t talk to me, it was like she accepting of my presence.”

The shackles jingled as Sukuna rubbed his face in a stressed gesture. Remembering you was like a double edged sword. He loved thinking about you, but he hated being reminded that he was without you.

The therapist eased in his chair. There was actual emotions underneath all those tattoos, thick skin, and muscle. The media had portrayed Sukuna as a complete narcissistic sociopath, but this was proof that diagnosis was false.

“I bothered the shit out of her for years, continually getting myself paired up with her.” Sukuna grinned, shifting the conversation back in a direction that he was more comfortable with, “I remember those asshole kids always called me her shadow because I followed her everywhere. Jokes on them.”

The therapist shivered as be remembered a chilling detail from the warrants. Each time a victim was found, a message was written in the victim’s blood.

-ʏᴏᴜʀ ꜱʜᴀᴅᴏᴡ

His victim’s - their deaths were like an homage to you.

“Were the kids ever… assholes to mouse?”

Sukuna’s jaw visibly tightened. He loathed this therapist’s questions… thinking he knew everything just because you and Sukuna were misunderstood kids.

“They called her weird for not talking.” Sukuna recalled as he bit his inner cheek. His eyes glared to the wall in front of him. “Now look at who can’t talk.”

Sukuna’s first victim. He didn’t start out with murder. He started out with stapling your bullies mouth shut for taunting you. Everything was for you. Everything.

He held a kid down to the teacher’s in third grade, grabbing a stapler, and he pressed it down one by one into the kids lips, binding them together. The kid couldn’t scream or cry for help, or else he’d risk ripping the flesh on his lips.

The teachers found the kid and immediately knew the only kid sadistic enough to go through with such an act was none other than Sukuna.

“Did mouse witness you do that?” The therapist asked, genuinely intrigued by Sukuna’s narrative. For being a ruthless criminal, he was a wonderful historian.

“No. Why would I scare her like that?” Sukuna’s voice was tense as he eyed the therapist carefully, as if he was waiting for him to say the wrong thing.

The therapist clicks his tongue in surprise, and he looks like a deer in headlights. “Scare? No.. no, I thought you’d maybe just show off what you did for her.”

“I’m not the type to show off.” Sukuna answers flatly, and the therapist wonders if that’s the first time Sukuna’s lied during this session. He knows that Sukuna likes to show off. The warrants prove it.

“Anyways, I wore her down over the years. She didn’t speak to me until we were in sixth grade.” An eerie smile curls on Sukuna’s lip. “I can still remember her first word to me and how she said it…”

The therapist leaned in, curiosity getting best of him.

Sukuna smirks, knowing he has the therapist interested now. “Her first word to me was a plea. A word to show her undeniable want. Her first word to me was please.”

Bang! Bang Bang!

The therapist literally flinches out of his chair from the heavy knocks at the door.

“Ryomen! Your time is up!” The officer yelled on the other side of the door.

“Pity. I was beginning to have fun.” Sukuna remarked as he stood up from the couch. The shackles jingled as he walked toward the door, and the door buzzed, letting him out. “See you next week, doc.”

[akelafang]

Arthur sends Merlin on some job and wants him to take a knightly escort to keep him out of trouble. Merlin: I'll take Gwaine with me Arthur: I said "keep you out of trouble" not "guarantee you'll get into it". Take Lancelot with you, he's the least likely to commit treason with you Merlin: You say that like he's never committed treason with me

[yanderenightmare]

♡ TW: yandere, captive reader, minor wounds, shackles, mental deterioration

♡ GN reader

“I’m sorry,” he says, looking up at you sheepishly from where he kneels before you, your feet in his lap as he carefully unclasps the second metal cuff from your ankle—leaving roughed skin in its wake, cut raw and swollen as badly as the other. “But, you know, I would have taken them off sooner if you’d been good.”

You don't answer him—not feeling like nodding and agreeing, though not exactly feeling up to doing the opposite anymore either. Tired of it, you remain quiet, and you look away instead—flinching and hissing as he carefully handles the wounds with disinfectant, balm, and bandages.

When he’s done, he rests his cheek on your knee—stroking his hands up and down your claves tenderly. “I really am sorry,” he repeats—voice soft and silken, nuzzling into you with big puppy eyes looking up at you. “You’ll forgive me, won’t you?”

There’s a disturbance in your head—an indecision—toiling and swirling like a storm, making you sweat, almost shiver. Should you behave for once? Do what he wants and avoid another punishment—or do you still feel like fighting? Is your dignity worth it? Do you still wish to take the risk and run now that you’re unfettered and free to try again? Or would you like to finally give it up?

This is a test. You know it. No doubt.

He’ll surely catch you if you try. You know that, too. It’s been proven, and you’re not foolish enough to keep holding onto any such false thing as hope.

So then, why try?

Well, it’s a stupid question, and yet you find yourself contemplating it—whether you should try anyway, even when failure is guaranteed. You think, now that you're really thinking about it, the only thing keeping you going is sheer and hollow principle.

Yes, principle—one based on the understanding that if you try, even if you fail, you can at least say you tried—one where the simple thought of giving is detestable. Back then, even weighing the options was unthinkable. Do or die—no in-between, nothing more or less.

But that fire within feels faint now—a low flame just barely weathering the storm, all alone in the cold, in the dark, just waiting for a final gust to blow it out once and for all.

It's an ugly thought, but you think what you really want isn't to find the strength to keep fighting but for someone to say it's okay to stop. You just want a sanction—a blessing—someone to blow the candle out for you.

And acknowledging that, you might as well blow it out yourself.

If the point holds no value, then fighting for it must be even more empty—right?

You sigh.

“It’s not that bad." Lifting a hand, you run it smoothly through his tousled locks with a smile. “Actually, it already feels better.”

The worst or best part about it is how strangely freeing it is—now that you’ve let go. The trouble of remaining vigilant and hostile is an exhausting feat, and now that you’ve put it to rest, you’re left feeling unfettered—like you can finally breathe again.

He kisses your knee, then rests his chin atop it—giving you a similar smile. “I’m glad.”

♡ BNHA – Deku, Dabi, Hawks, Shinso ♡ JJK – Geto, Gojo, Naoya ♡ HQ – Miya twins ♡ BLLK – Reo, Nagi ♡ DS – Doma ♡ WB – Suo, Togame

♡ FEM x M INSERT masterlist ♡ GN x M INSERT masterlist

[ckret2]

So I wanted an excuse to imagine the modern characters meeting baby Bill and to do impossible sci-fi things to Bill's brain in Theraprism. And throw in an amnesia plot just because.

Since escaping Theraprism didn't work, Bill's decided to cheat. Unfortunately the only official way a patient leaves Theraprism is via reincarnation, which means losing his memories. But he's found a way to trick them into releasing him, AND guarantee he'll get his memories back.

All he has to do is REMOVE his so-called "traumatic" memories (which TOTALLY didn't traumatize him, he SWEARS), get cleared to leave, and then reabsorb his memories later.

And he does this by... physically separating his various traumatic experiences into separate people. With magic.

Each removed facet of Bill's past only remembers their own portion of his memories, with only hazy memories of anything before their assigned era.

In effect this means Bill's memory clones work as if some time traveler had plucked a bunch of Bills from different points in his life out of the timeline: a baby Bill with baby memories, a child Bill with child memories, etc. And one modern Bill who doesn't remember much of anything anymore.

It's totally working, though! This is the most mentally healthy Bill's EVER BEEN. He's. He's SO mentally healthy, guys. Menetally healthy. Mealthy. he's f ine.

Please believe him.

He's gonna convince the therapists there's nothing wrong with him in NO time.

(The irony is that, lacking the baggage of a trillion years of medical trauma, fear of captivity, and distrust of authority, he might actually go "Whoa, I think something's wrong with me. Don't discharge me, I need help." Another flawless Bill plan backfires!)

Meanwhile, he's smuggled all his memory clones out of Theraprism and they're just running around somewhere. It's fine! He can find them when he's free! Bill can't think of any reason why a bunch of lost children who look exactly like Bill Cipher would run into any trouble! Especially since he can't remember doing anything that would make a lot of people hate him or anything like that!

they'll be fine don't worry about it

[dreamescapeswriting]

So Whipped ~ BC

⤜WORD COUNT: 1.2K (Sorry its so short!<3)

⤜PAIRING: Chan x Fem!Reader x the boys? (platonic)

⤜GENRE: fluffy, falling asleep around the boys, the boys wanting to tease you but chan is being a cute protective boyfriend and steps in before they have the chance

⤜Copyright: © DreamEscapesWriting - July 2024

⤜MASTERLIST

The living room of the dorms was bathed in a soft, warm glow from the string lights draped around the windows, casting a cosy ambience over the scattered blankets and empty popcorn bowls. The credits of the final movie rolled silently on the TV screen. Still, the faint hum of the fridge and the occasional car passing by outside were the only sounds filling the quiet room. The boys stretched a little but Felix stayed perfectly still not wanting to move you yet. You were laid nestled on the oversized sectional, your head resting on Felix’s shoulder, your breathing slow and steady. 

"How did she even sleep through your screaming?" Jisung teased as he glanced over at the two of you. You'd fallen asleep somewhere in the middle of the sixth movie the 8 of you decided to watch, exhaustion finally taking over. Felix glanced down at you, a small smile tugging at his lips. Carefully, he adjusted the blanket to cover you a little better, making sure that you were as comfortable as possible before he slid out from under your grasp. 

Across the room, Chan stretched his arms above his head, letting out a yawn as he looked over at you. His perfect little girlfriend was already sound asleep, which meant getting you back to your shared apartment was going to be harder than ever since he wouldn't have the heart to move you.

  “Guess we wore her out,” he chuckled softly, trying not to disturb the serene moment. His eyes softened as he watched you snuggling into the blanket, letting out a soft whine as you realised the one you'd been cuddled up to was gone but it didn't wake you. 

Not that Chan blamed you, the two of you had been up until 4 that morning and then the guys had a full day planned of everything they wanted to do with their time off. Chan counted himself lucky he'd talked them out of dragging all eight of you down to the beach, if you had he couldn't guarantee you would have made it out of the car.

“Not surprising, considering we had a full day before this,” Hyunjin added, his voice a gentle murmur. He stood up from the floor, where he had been lounging and started to gather the empty snack bowls, Minho joining him in the task.

  “Should we wake her up?” Seungmin asked, looking over from where he was tidying up the mess of DVDs and Blu-rays they had pulled out earlier. Chan shook his head at him, there was no need to wake you up when you were sleeping so peacefully,

“Let her sleep,” Chan said quietly, his eyes never leaving your peaceful face, his hand outstretched a little as he ran his thumb along your cheek. 

“She looks so peaceful. Besides, it’s late. We can make her a bed here, she can take my room.” Seungmin nodded in agreement, already stacking pillows and pulling an extra blanket from the closet taking them through to Chan's old room. It wasn't as though the two of you had never shared that bedroom before but it had been a while since the two of you had squeezed into a single bed together. 

Hyunjin and Minho exchanged mischievous glances from the kitchen, the kind that only meant one thing: trouble. Hyunjin crept over to Minho, whispering, 

"What if we put whipped cream on her hand and tickle her nose? Classic prank." He said as he handed Minho the can of whipped cream, a devilish smirk taking over his face as he took the whipped cream into his grasp. 

"Or maybe draw on her face with a marker. Just a little moustache." Minho snickered, as he reached for a pen from the pot on the kitchen counter. 

“Good idea.” Hyunjin laughed from the kitchen making Chan turn around to see what they were talking about together. Minho was standing holding something behind his back with an all too innocent look on his face already letting Chan know he was onto something without even saying a word. 

After years of being the leader of their little group, you'd think the boys would know better than to try and hide something from the one man who knew them better than anyone else.

"What are you two planning?" He walked toward the kitchen door and they shook their heads, only making them seem more suspicious in his eyes. Before they could hide the items Chan darted behind them and took them from their hands, 

"No pranks tonight, guys." He chuckles, putting it all away and the two of them groan at him. 

"Aww, come on, Chan. Just a harmless little joke." Hyunjin pouted at him but Chan shook his head at them, his eyes serious. There was no way he was going to let them disturb you when you were asleep, besides, he didn't want you to wake up and regret spending the night because of some childish antics that they were going to be getting up to. 

"She’s exhausted. Let her sleep." He glanced over his shoulder to make sure you were still curled up in the chair. The others all cleaning up around you. Minho sighed dramatically, a smirk playing on his lips as he took the perfect chance to tease his leader. 

"Protective much? What’s the matter, Chris? Afraid she’ll be mad at you if she wakes up with a moustache?" He wriggles his eyebrows at Chan who merely crosses his arms, an amused yet warning glint in his eyes. As much as he loved playing pranks with the guys this was different, he didn't want anything to happen to you that might put you off coming back to spend time with the guys again,

"Very funny, Minho. But no. Just let her rest." Jisung, overhearing the exchange, couldn't resist chiming in. 

"Someone's whipped." He smirked, joining the others in the kitchen as Chan shot him the same look he'd been giving to Hyunjin and Minho but it only egged the boys on more.

"Yeah, Chan. You're going soft on us." Seungmin said with a giant grin on his face, reaching for the whipped cream Chan rolled his eyes, but it wasn't enough to hide the slight blush creeping up his cheeks at the thought of being whipped for you. 

“I’m not whipped. I just know she needs sleep. Unlike us.” He whines at them, the blush only deepening as the boys continue to snicker and stare over at him,

“Sure, sure. Whatever you say, hyung.” Jeongin smirked, unable to stop the laugh that came out after he spoke.

Felix, who had been watching the whole exchange with quiet amusement, chuckled softly and shook his head at them. Felix knew how deeply in love with you Chan was and how he would never do anything to stop that.

“Leave him alone, guys. He’s just being a good boyfriend.” Chan cast Felix a grateful look, but his friends weren’t done teasing him yet. Hyunjin, with a playful grin, leaned over and whispered loudly, 

“Does that mean we should start calling you ‘whipped cream Chan’?” Only Chan shoved him softly and laughed, walking away as he went back over to check on your sleeping form. His fingers gently run along your skin and smiling to himself. Even with them trying to do stupid pranks on you there was no other place he would rather be than right here with all of you around him. All his favourite people are in one safe spot.

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