#ignore the fact the series is over

[mettywiththenotes]

Future Tomura character design: Friendship bracelet from Izuku on one wrist, several on his other wrist from Eri and Mirio, comfy hoodie that he buries himself in when he falls asleep anywhere he wants, baggy pants, red shoes (he insists it's not so he matches with Izuku. Kouta thinks otherwise) and I can't decide whether he has his hair in a ponytail, has it short or just as long as it was in the final war arc. He wouldn't care but Toga, Ochako and Eri mess with it regardless and give him different hairstyles. He always carries his phone and/or nintendo ds in his hoodie pocket, sometimes invites Spinner when he's around to watch him play or play with him

I believe Tomura should get to look and be at his most comfortable and have visible proof of the care people have for him worn on his body (hence the bracelets and potential hairstyles)

[sodaequalsbubbles]

Okay this is going to be a long ass negative Dragon Age the Veilguard post. So don’t read if you don't care about negative opinions on this game.

First of all, I should have never looked at the veilguard art book. I shouldn't have looked. WHY DID I LOOK THROUGH IT ughhhhhhhhhhh.

Before I just felt disappointed about this game. But now it's a genuine bitter sadness after seeing all of the art book.

I had a feeling that this game was probably frankensteined together, because datv felt so half-baked with chunks of story missing from it. Honestly parts of the game gave me the same sensation as when you skip a cutscene or speed run an area, it felt so off sometimes. So I knew there was probably a lot of stuff that was removed or altered until it was unrecognizable, but I didn't realize how bad it was. We were actually robbed. BioWare stabbed us in the middle of an alley way, made off with our wallets, and stepped on our hopes for this game on the way out. (Dramatic I know, but you get the point)

And before people start saying that it's unfair to criticize this game from its concept art because, "it’s just concept art and ideas. A lot of those concepts don't end up making it to the final game. Especially with the development of a triple a". I know that, but veilguard doesn't feel like they just cut out some characters, levels, game mechanics, etc. etc.

It feels like a whole separate game was cut out, and we were left with the glued together scraps of what could’ve been.(Sorry for the poor screenshots, it was difficult to find online scans for the art book )

What? The South of Thedas was actually going to matter instead of being nuked? Who was chosen as the Divine, and maybe even the rulers of Orlais and Ferelden were going to have more impact on the story? Yeah probably.

______________________________________________________________

The agents of Fen'Harel were originally going to be a part of the game like it was hinted at in the end of Trespasser. And constantly be sabotaging your plans to stop Solas. And instead of elves giving the biggest possible meh response, to the fact that the ancient elven gods were back and trying to restore their empire, by destroying the current world. They actually react as one should in this situation lol.

And many end up joining Solas ( and probably Elgar'nan, and Ghilan'nain as well). Because it kind of makes sense for enslaved, oppressed, and abused people that have been suffering for centuries to throw their lot in with those that promise to free them.

______________________________________________________________

Another cut idea made it seem like the first act of the game was going to start with your party sneaking into Tevinter, to get ahold of the red lyruim idol from DA2. But Solas and his agents are one step ahead, and he takes it before you can. Then turns the idol into the purified lyruim dagger he uses in the ritual at the actual start of the datv. (Better than Varric just telling you where the dagger came from, ah this game really loves telling instead of showing.) So that probably means the scene of interrupting Solas's ritual was going to be further along in the story. Instead of Rook just being air dropped into this mess, with even less of an explanation than the concept art lmao.

______________________________________________________________

Rivain was going to be a trading post, kind of sleazy and a melting pot of different Thedas cultures. Instead of an endless sandy coast with ruins strewn about.

______________________________________________________________

The real Tevinter was going to be seen. Its opulence, pride, and strength built off the backs of slaves and magic. Because believe it or not, outright ignoring slavery in Tevinter is worse than showing it. Instead of giving us the chance to confront it, and put a stop to it like the Shadow Dragons, Maevaris Tilani, and Dorian have been trying to do for years, the game just outright acts like it’s not happening basically. Making me feel like no one in the game gives a damn about these people that are suffering. Pretending it’s not there doesn’t change anything.

A little section in the book shows that we maybe could have started a slave revolt in Tevinter as well.

______________________________________________________________

Whoever was left behind in the Fade after Inquisition, was going to appear when Rook gets trapped there.

______________________________________________________________

Isabela was intended to be an advisor, perhaps alongside Morrigan and Dorian (like Leliana, Cullen, and Josephine were in DAI). And provide you a ship, and a captain for your journey. Instead of being a glorified WWE announcer for a fighting ring. She was also going to have a proper outfit; unlike the absolute mess we got in game ugh.

______________________________________________________________

In the concept art there was more politics. Such as gaining allies from opposing sides, like the Qunari and Tevinter.

______________________________________________________________

There were also perhaps plans for more divisive and conflicting sentiments within the companions. And events where they could betray you depending on choices made in the game. (Real conflict and consequences, in my Dragon Age?!)

______________________________________________________________

The Inquisitor probably was going to have more involvement in the story.

______________________________________________________________

You could ride a GRIFFON while hunting dragons.

So yeah, the art book brought more sadness than curiosity out of me. I will now go into the salt mines, to mourn the game we could’ve gotten instead.

[parasitic-anomaly]

Guess who’s back with another drawing after 2 months of being gone

Re-draw of this lovely comic panel

[beesgav]

I like the idea of the Toa Mata being... around when needed, but for the most part just kinda going off and doing their own thing since they're not really beholden to any rules. It's a very special thing to actually see one of the Toa chilling out somewhere

[ardienothesieno]

i am so normal about the life series

[stolligaseptember]

chosing to live in a world where the kpts characters are their actor's ages simply because that would mean that kim is only one year younger than porsche which is Hilarious

[no1ryomafan]

I love how I binged arma in a day-again-with the same friend I binged it with the first time I ever did binge it all and I didn’t have strong brain rot but now that the anniversary has passed and I’m in the mood to rewatch shin vs neo with my server SUDDENLY I get flashed with a bunch of au ideas for it 💀

[wronglennon]

i think the tree scene in the last episode of flowers is one of my main points for believing in the possibility that shun doesn’t shoot himself (aside from the turn). i think it shows how flowers talks him out of jumping (the most drastic action so as not to bother anyone) and goes to get the ladder but shun, still set on not bothering anyone, makes his own way down, even though it is difficult. and then he sees maurice coming with the ladder, and even though it’s late, its a sign that help was coming, and he would have been okay if he had waited too. i think that moment is mirrored when maurice tells him he’s family, and you can see how much that hurts shun to hear because he’s never stopped grieving and has never told any of them about it, properly. he’s set on getting down from the tree on his own, even if it kills him. but i think the hesitation in the final scene of episode five where he turns signals that knowledge that help is coming, as it has come before, and maybe if he just waits, he won’t need to get down from the tree alone

[c0smicdaisy]

WINTEAM Pantone Palette: Food

[heckitall]

guys

pls its too much

[4giorno]

so hard when you dont know if the drawing youre working on is a case of "trust the process and it will be great" or "just delete it and start over and itll be great on the next attempt"

[foggieststars]

actually given that i’m rereading the throne of glass series rn i actually feel nothing but pure disgust at the amount of grown men who read the first book and hop on reddit to say it’s the most trite annoying thing they’ve ever read. like first of all are you a fourteen year old girl? no? then maybe learn some common empathy and use it to understand that a book series written by a teenage girl for teenage girls isn’t trying to be High Literature and it isn’t fucking for you…..

like omg why am i getting so heated. i just cannot read one more post from a grown man wading into a discussion about genre fiction and throwing all of their toys out of the pram because it’s not catering to their tastes? it’s not fucking FOR YOU!!!!!!!!!!!

[zolo-san]

I know I just rambled in the tag, but if you took the time to read all that, might I direct you to this post & my ramblings there as well~

Something about Zoro being one of the most misunderstood and mischaracterized characters in One Piece is funny (not haha funny, funny sad) to me because?? That’s literally how his introduction starts?? With people misunderstanding him and thinking he’s some big, monstrous demon who kills with cause and cannot be trusted or tamed.

Meanwhile the actual Zoro is a driven guy who is often both literally and figuratively directionless in life and found his goals in life through good people (first Kuina and then Luffy). He's tied up in the Marine base not due to those actual crimes he commuted (well not inherently anyway) but because he ‘disrespected’ a Captain's son and stood up for a little girl. He accepts the challenge they present to him and because Zoro himself is a guy that puts his money where his mouth is he assumes the Marines will uphold their end of the deal and let him go (note the actual shock when Koby tells him the truth)

He joins Luffy's crew but also outright says he’s not gonna let his goal take second place to Luffy or anyone else's for that matter, he bears the weight of two people's dreams, his heart isn’t going to be swayed by some pirate.

Speaking of Kuina, her impact and influence on Zoro's life isn’t talked about enough for my liking. She was Zoro's first friend, his first rival, his first goal. He looked up to her so much and his reaction to her passing cracks my heart in half every time because you can seem him just..go numb. Kuina, dead? Kuina, the strongest person he knows, gone? Kuina, who swore to him just yesterday they’d race to the top of the world together, doesn’t exist anymore. His blank face only cracking within the privacy of his sensei before he begs. He begs on his knees, tears streaming down his face please please please let me take Kuina's sword with me. Let me take our dream to a high neither of us could imagine. I won’t let her name die here.

On top of gaining the Wado Ichimonji that day Zoro also gained…fear. Not of death, well at the very least not his own, he gained his fear of not being enough. Kuina kicked his ass every way a person could and still died, what could someone like him do? So he trains…and trains…and trains some more. Overly, obsessively, constantly telling himself he’s not enough, he’s weak, he can’t protect anyone like this and everyone's death would be on him.

As for Zoro being cold and stoic that’s just…not completely true? He’s not stone, he can be excited or sad or angry just as much as most characters he just sucks at showing it canonically (Kuina thinks he hates her before their final fight after all). Sure he’s not as forthcoming about it as some of the other Strawhats but Zoro's more of an action guy anyway, he'll show his love with his protection and unwavering faith.

In conclusion, Zoro is a ridiculously stubborn, incredibly loyal, mildly emotionally constipated, do what you say/say what you mean kinda guy.

(Also that whole ‘Zoro would kill the whole crew if Luffy asked him to’ thing? Top ten stupidest things I’ve ever heard from the fandom and that’s saying a lot. He’s loyal not brainless and heartless guys if Luffy asked him to do that, he would never but I digress, Zoro would square the fuck up with him so fast. DPMO.)

[kurooh]

I’MA MAKE U SCREAM ★ S. GOJO & S. GETO

⊹₊˚. a series of unrelenting, mysterious phone calls late at night leads to you being sandwiched between two hot ghostface slashers who’ve got you fucking for your life.

warnings. 18+ content — mdni, fem! reader, ghostface! gojo & geto, threesome, knife play, landline phones, mentions of death, oral (f receiving), double penetration, anal/fingering, tongue piercings, pussy slapping, biting. 5.2K words whew (pls read anyway 🧎‍♀️)

xoxo, juno. happy halloween!! thank you to my dearest wolfy anon for beta reading <33 comment & rb if you enjoyed!!! 🎃

“hello?”

“why don’t you wanna talk with me?”

“who is this?” you roll your eyes, unimpressed by the cheery voice coming through the phone. “it’s like eleven at night, what do you want?”

“ya tell me your name, and i’ll tell ya mine,” that voice lilts into a teasing tone, words dripping with persuasive sweetness.

“nah, i’m heading to bed. nice talk.”

“aw, bedtime already? you’re not even gonna watch a movie before you sleep?” the question has your brows furrowing in aggravation, but you sigh, choosing to answer anyway.

“i didn’t have anything in mind,” the caller lets out a laugh, straight into your ear. “what, you’ve got a suggestion?”

“do you like scary movies?” and you can hear the smile in the caller’s voice; he’s amused, probably laughing with his friends over the prank call in the moments of muffled silence.

“i suppose so.”

“don’t you have a favorite? why not watch it?”

“well, i won’t be able to sleep,” you reply simply, twirling the phone cord between your fingers. “but the longer we talk, the more sleep i lose out on. so, have a good night!”

“wait!” the caller snaps, demanding as ever. the sudden outburst sends chills straight down your spine. “don’t hang up on me.”

“and why shouldn’t i?” the blatant defiance has the caller letting out a laugh that sounds rather menacing . . he clears his throat, seemingly returning to his more even tempered tone.

“we’re not done talking,” he says simply, sounding a little crackly through the phone. “so don’t hang up, you’ll—”

a rational person with an interest in talking would certainly call during the day, and only once or twice before quitting altogether to wait for a call back. an irrational person would have your house phones ringing off the hooks while you were in the shower, calling nonstop and then getting far too arrogant once you finally picked up. just as you slam the phone back down, it starts to ring again.

you decide to leave the room, figuring that the caller will tire himself out quickly, but he doesn’t. in the time that you left the phone to go to another room, there wasn’t a single beat of silence. furious, you race toward the phone, fingers sliding on the kitchen counter as you snatch it up.

“fuck you! listen to me, you’d better stop—”

“no, you listen to me,” the caller snarls, and the harshness of his voice has your heart kicking hard against your rib cage. something in your gut tells you that this isn’t just a talkative caller. “don’t fucking hang up on me again, got that?”

you recover some of your composure, goosebumps rising on your skin. the cool breeze blowing through a nearby window adds to the chilling feeling that’s washed over you in only a matter of seconds. “w-well, what do you want, then?”

“i wanna see your insides, dummy,” is the crazed response, and you can’t stop the way your face immediately twists in horror. a clicking sound is heard as the second phone in your house—the one upstairs—is picked up, and another person hops onto the call.

“now, now,” this new voice is smooth, immediately drawing your attention as you listen attentively through the phone. “that’s no way to talk, you’ll scare her silly.”

“what the fuck?” you ask aloud, although you hadn’t meant to. all you can think about is the fact that two weirdos have you almost . . cornered on the phone.

the crazy voice scoffs, ignoring your mumbling. “well, you heard her! trying to hang up and shit,” he clicks his tongue in disapproval before sighing. “anyway, where were we?”

you don’t even say anything, and the other voice exhales into the phone. “see, look at what you’ve gone and done now. our girl’s too scared to talk to us, isn’t she?”

“look, i-i’m just gonna go to bed. goodnight.”

“you’re not going anywhere, honey,” the calmer one of the two says, but this time his voice is much clearer, almost as if he’s standing beside you. you take a step backward, trying to shake off the weird feelings and relentless goosebumps spreading across your skin.

you might as well be wearing nothing.

the satin slip dress you were planning to sleep in is as thin as plastic wrap; you’ve backed up into someone’s strong chest and thanks to the thinness of your pajamas, you can feel each sharp ridge of muscle. the pecs are strong, firm to the touch, and the abs are hard enough to cut diamonds. fear races through your body, so overwhelming that your lips part to let out a scream—but the noise is muffled by a large palm that pulls you back, flush against the muscles. separated only by a few layers of clothing, you can feel the warmth of their body and the casual rise of their chest as they breathe. if you weren’t being silenced, this would be comforting, in a way.

“promise you won’t scream, baby?” that calm voice has a dangerous edge; you nod immediately, frantically, desperately — as you feel a few tears gather in your eyes. this . . does not look, feel, or sound good in any way imaginable. who even are these people? and why you? a seemingly normal thursday evening had gone entirely downhill, and you didn’t even know why.

“good girl,” the person hums, dropping their hand from the lower half of your face and instead replacing it with the sharp edge of a knife. “let’s head upstairs, shall we?” as you ascend the steps, the blade drops lower, until it hovers over the tender skin of your throat. you can’t even turn around and see who the person is, for fear of getting cut over the simple action.

“could i at least turn around?”

“what for?” he asks, nudging the bedroom door open. you’re met with the frightening sight of a person in robes lounging on your bed, against your pillows. they have a spooky, ghostly mask, but you know who it is the second their mouth opens.

“you took the knives out that quickly?” the figure clicks his tongue, raising a hand to his face to pull off the ghostface mask. so this is what this is—some kind of ridiculous scream roleplay . . but the feel of the knife and the way it gleams is too real. “what happened to playing around, suguru?”

“it’s—it’s you! from the phone.” you say, straining against the man behind you, who pulls the knife a few inches away from your throat.

“careful now, doll. you’ll hurt yourself.”

“if you let me go, maybe i’d—” the man on the bed sits up then, pulling off his mask. you can’t see who he is just yet, the shadow from his hood obscuring his face. in a moment, he grabs hold of your face with a gloved hand, fingers squeezing cruelly at your cheeks.

it’s utterly nasty, the way feelings of attraction twist in your stomach. heat rises to your cheeks and you swallow, looking into diamond blue eyes that have your heart fluttering despicably. how is it possible to even be focused on your grim reaper’s looks, almost entirely forgetting their intentions as you lose yourself in those eyes?

“cat got your tongue? i said i wanna see your insides and you didn’t even look fazed.”

beneath the robe, you can see the tips of snowy hair, along with a face that’s far too handsome to belong to some kind of murderer. you shake your head in disbelief, sucking in a breath. “uh . . huh? sorry, i didn’t hear you.”

he drops your face with an annoyed scoff, stepping back to plop down on your bed before fully pulling off his hood. “y’know what—suguru, you deal with her.”

the man behind you pushes you forward, and you awkwardly take a seat beside the sighing killer. suguru tugs off his mask and inspects the knife closely, running a gloved finger over the edge before nodding. “might as well use the knives on you. maybe you’ll hear us then?”

“what’re you—why’re you doing all this?” you ask, the words sputtering out of your mouth nervously. “is there any way i can convince you not to cut me open?”

suguru looks at his literal partner in crime, pushing his black bangs away from his eyes as he speaks. “oh? trying to cheat death, sweet thing?”

you shrug, casually flopping onto your back. the satiny fabric of your dress flips up, and you unintentionally give both of them a great view of your panties. now that they’re deliberating how to move forward with you, the fear of the situation has dissipated greatly. “i just wanna go to bed and live to see another day tomorrow. name the price for my life and i’ll pay it.”

“those are fighting words,” suguru remarks, “don’t you agree, satoru?”

satoru nods, eyes glued to the thin fabric covering what’s between your legs. his mind runs wild as he imagines what he and suguru could impose on you. they’re practically in sync—suguru looks over just as satoru looks up, the two of them sharing a knowing look.

“hmph. sit up and listen.” satoru nudges your thigh, and you do as he says, looking bored. the whole night has done one too many 180s, giving you the most severe case of whiplash in your life. you’d initially been annoyed, terrified, then mildly attracted, and now . . almost indifferent.

“you’ve got my full attention.”

“we’ll let you live, on one condition,” satoru raises a finger before you can object, while suguru’s eyes covertly sweep over your body. “think you could handle us at the same time?”

a proposition for a threesome is something you certainly did not see coming! you bite the inside of your cheek, willing yourself to maintain composure. suguru spices it up with a smirk, dragging that sharp knife of his along the edge of your jaw.

“you’ll have to fuck like your life depends on it.”

it does. tension weighs the air down, filling the room with a thickness even suguru’s knife couldn’t cut through. sweat beads along the skin of your spine and you exhale in defeat. being between these two would be hard—in all ways possible; but one mistake and they’d probably end up slitting your throat.

truthfully, you’re willing to risk it. most girls don’t usually cross paths with two men that are each extremely attractive and willing to share you between one another. you squeeze your thighs together, an action that doesn’t go unnoticed by either of them.

“y-yeah, okay. i’ll do it.”

“atta girl,” satoru praises, the corners of his eyes crinkling. a wicked smile finds its way onto his rosy lips, but you don’t back down, instead spreading your legs. you look between them, a silent invitation extended in one glance.

“lie back for us.”

“you were the one who told me to sit up—” perhaps the unnecessary snark isn’t a good idea, not with the way suguru eyes you warily.

satoru leans in hastily, connecting his lips with yours to effectively shut you up. his body barrels into yours, pushing you into suguru, who catches you and cages you against his strong chest. the knife is abandoned as he strokes his fingertips along the tender skin of your neck, sighing into your ear while satoru occupies your lips.

“so pretty. heh, you’re pretty every night.”

suguru’s touch has you letting out a moan that satoru eagerly swallows, his gloved hands roaming your body. however, he seems to remember he’s got gloves on; without pulling away, he snatches them off.

“her tits, suguru—play with her tits.”

the mumbled words are audible only to suguru, who complies with a chuckle. unlike satoru, he makes no move to do away with his gloves. you moan, his hands squeezing at your tits while his fingertips stroke over your nipples until they grow hard.

“s-suguru,” you mewl, pulling away for a moment to suck a breath into your deprived lungs, “keep touching me there—just like that.”

satoru’s palm comes down hard against the side of your thigh, and he grips your face, forcing you to look at him. “focus on me, got that? wouldn’t want him to stop, would you?”

you shake your head, and in a split second, satoru’s got your upper lip between his teeth. he bites down playfully; the impact makes you gasp, and he seizes the opportunity to slip his tongue into your mouth. arousal pools in your panties, and you fidget in your spot between them, hoping that you’ll finally get the attention you’ve been craving sooner rather than later. suguru’s tongue drags against your neck while he takes in the scent of your body wash from earlier’s shower. there’s a cool sensation coming from the center of his tongue—you can feel a firm ball of some kind.

it’s a little shameful, getting this hot and heavy from a simple kiss. only, his tongue rolls against yours, and any semblance of embarrassment melts away. suguru’s fingers pinch both of your nipples at the same time, sending shockwaves right to your pussy.

“fuck,” you sob into satoru’s mouth, practically lightheaded from how overwhelming it already is, as well as the lack of air. “i-i need more.”

suguru hums, continuing to toy with your hardened nipples. “already slutting yourself out for us, sweetheart? that was fast, wasn’t it?”

satoru finally draws back, a glossy string of spit connecting your lips to his. he doesn’t move just yet, savoring the moment like a piece of special candy—you’ve practically got hearts in your eyes, all hot and bothered because of him. well, suguru is a factor, but he didn’t put in nearly as much work as satoru.

“lie back for us, babe.” this time you don’t fight them on it, scooting off suguru so you can comfortably prop yourself up on the mountain of pillows.

“tsk. this dress ought to go.” suguru brandishes his knife, and cuts through the satin material of the slip as easily as a stick of butter.

“hey!” you snap, the remains of your dress sliding off to the sides of the bed like rags. “what about you two!? you can’t just cut up my clothes like that when neither of you are naked!”

satoru rolls his eyes, tossing your legs apart. meanwhile, suguru clearly isn’t done with that knife; he trails it along the slopes of your naked body, the edge of the blade sharpened in a way that has you gasping. he applies a little bit of pressure, and your skin splits like it would after a paper cut.

“a-are you cutting my skin open?” you ask incredulously. you know the answer, but for whatever reason, you don’t pull away from him.

“maybe,” he replies breezily. “‘s nothing deep. you can handle it, can’t you, honey?”

“would you look at that?” satoru wolf whistles, and heat rises to your cheeks as he gathers your legs together, tugging them up. the knife pauses at your collarbone as suguru leans backwards to take a look, and his eyebrows raise immediately.

“she’s fucking soaked.”

“put the knife down ‘n come give it a taste.”

satoru’s request is breathless, but effective. the knife falls onto the blankets, and for a moment you use your head to consider what might happen in the future—someone could sit on that thing, lie down on it. satoru’s tongue rips the thought out of your head and replaces the words that were on the tip of your tongue with a sweet moan of bliss. your clit throbs at the prospect of more, and their balmy puffs of breath fanning over you only arouse you further.

their faces press together, side by side as they start to eat your pussy in a way that immediately has your back arching and hips bucking. satoru focuses all his attention on your clit, flicking the tip of his tongue over it while suguru slurps up all of your slick. there it is again, that cool sensation—he’s got a tongue piercing. the moonlight shines through the flowy curtains, illuminating the killers in an almost angelic glow . . maybe they’re actually pussy killers.

“‘s like fucking candy,” satoru moans, tongue dipping down to gather up your slick. it bumps into suguru’s, and he only lets out a laugh that sends vibrations through your entire core. “sweetest pussy i’ve ever tasted, shit.”

the room fills with the lewd, nasty sounds of their slurping and licking as they devour your pussy together. you slip a finger between your teeth and bite down once one too many noises threaten to escape you, and suguru pulls back to land a smarting slap on your pussy.

“ah ah. do not try to go quiet on us.”

“sorry, ‘m sorry,” you stutter dumbly, mind and body reeling from the delicious sting of the slap.

“we want you screaming,” he emphasizes, spitting onto your cunt and watching as it flutters, the glob slipping down more rapidly due to the movement. “and you will be, by the end of all this. understand, doll?”

you nod hastily, and his eyes flick upwards to your face, the hardness in them a simple warning. “yeah, i understand.”

satoru’s drawing hearts and letters on your clit, each one making you shudder more than the last. each drag of his tongue makes him moan as he takes in more of your taste. beside him, suguru’s dips his tongue between your folds, the sensation nothing more than a tease. they plan to split you open on their cocks, and getting you desperate for it is only the first step of their plan.

“ngh, t-that’s so fucking good,” you cry, thighs quaking on either side of their heads. “please, i’m gonna cum.”

“give it to us,” satoru is the first to speak, his voice clear as it cuts through the lewd sounds in the air. he’s got one hand on the side of your thigh, holding you open just for them. “on our tongues, like a good girl.”

satoru’s ministrations on your clit grow more insistent; he’s working to pull your orgasm from you, while suguru continues to slurp at your messy pussy, his eyes falling shut. a familiar and overwhelming sensation coils in your tummy; it’s one that has your hands flying to both suguru and satoru’s heads, fingers finding purchase in their hair.

“i—i think ‘m gonna cum,” you cry, back arching off the bed while your hips jolt forward into their faces. after hearing the first word of your delirious warning, satoru replaced his tongue with his finger and moved beside suguru, the two of them slurping all your cunt has to offer. to them, it’s like drinking ambrosia.

you’re pulling hard at their hair, only encouraging them to groan against you. suguru speaks, eyes rolling back from just a little hair pulling. but it makes sense, with hair like that. of course his scalp is very sensitive.

“cover us in your cum, baby.”

obedient and right on time, your pussy gushes, hole fluttering around nothing while your clit throbs beneath satoru’s finger. the intense orgasm has left you twitching from the aftershocks, gasping for breath, and overly sensitive. of course, satoru and suguru take advantage of the aforementioned sensitivity with smirks on their faces.

“no, wait, i-i just came,” is all you can sob, your hands smacked away once you try to tug them off your aching cunt. “satoruuu, suguruuu.”

suguru only laughs, mimicking your tone with a roll of his eyes. “aw, babyyy. that’s too bad, isn’t it?”

with how sensitive you are, it’s not hard for them to drag a second orgasm out of you. this time, a few tears cascade down your cheeks as you fall over the edge with a pitched cry. satoru spanks your still twitching cunt and laughs at the way you gasp and recoil, legs still trembling.

“suguru, whatcha think? you wanna take her mouth ‘n i’ll fuck her pussy?”

“that’s far too considerate, satoru.” he shakes his head, talking about you as if you’re not in front of them. “c’mon,” suguru purrs, gesturing for you to get up as he slips off his robe and boxers. “lie on top of me.”

you can’t help but ogle, a little starstruck by his body and the thrill of everything. he sticks out his tongue playfully when he notices you staring, the metal ball in his tongue gleaming. his abs flex and his cock bobs as he lays down on your bed, beckoning you over with a gloved finger. satoru gulps, panting softly at the sight. following his best friend’s lead, he slips off his matching clothing and mounts the bed, which sinks under his weight with a creak. part of you wonders if the bed frame will give out by the end of this.

“hand me the lube,” suguru grunts, catching the small bottle in his larger hand. the liquid is cool, even through the leather of his gloves. he rubs his fingers together to warm it up a little for you. his fingertips prod at the tight ring of your asshole, and you let out a squeak of surprise.

“c’mon. relax for me, doll.”

you take a breath, body sweltering with arousal. this is certainly new for you, but you don’t complain—and anyway, the slight coolness of the lube feels good against your hot skin. satoru bites down on his lower lip as he watches his best friend prep you to take both of their cocks at the same time. something wicked has the corners of his lips curling up into a smile as he pictures you screaming for them.

likely picturing the same thing, suguru tongues at your jaw, kissing the tender skin wetly before nipping hard. you can only cry out, his lips serving as a simple distraction while his fingers push inside and stretch you out.

you gasp, and he feels you squeeze down hard on his fingers, hips jerking away. “come now, don’t run from it,” suguru coos, twisting his body beneath you to angle you the right way again. he ignores your whining, and satoru silently strokes his cock to the sight. “i know, i know. just breathe for me, ‘kay?”

slowly, your body accommodates the new stretch without any more sting or discomfort. in fact, your hips begin to rock into his fingers, chasing them when he starts to pull out.

“i-i think she’s ready, suguru,” satoru finally speaks up, clearing his throat. his voice is a little choked, and you can clearly see the flush on his cheeks even in the dark. “for both of us.”

“you hear that, honey?” his warm breath fans over the shell of your ear, making you shudder against him. “let’s see who can make you scream the loudest—me or satoru.”

“as if,” the man in question huffs, pushing your thigh to the side and looking over your dripping pussy with an obvious hunger. “fuck, baby. i’m gonna ruin you.”

with that, satoru grasps his cock and guides it inside your needy cunt. suguru does the same, pushing his length into your ass. the three of you moan collectively, a harmony if ever there was one. you sob, tears burning at the corners of your eyes from the intensity of the stretch.

satoru grits his teeth and grips your hips for support, then pushes all the way inside you. he bottoms out easily, his cock sliding against suguru’s, separated only by a thin layer of tissue. so thin that they can feel the shape of one another’s cocks through you.

“fuckin’—shittt, oh my god,” satoru’s easily overwhelmed, heart pounding in his ears while sweat covers his entire body in a sticky sheen.

suguru bites your neck hard, but the pain registers as pleasure despite the fact that he tastes a few irony drops of blood on his tongue.

“do either of you plan to move?” you complain, lips parting in an ‘o’ shape around a whiny moan. “or are we just gonna sit here—”

“shut the fuck up,” suguru groans, clapping a dry and gloved hand over your tits before squeezing them. “we’ll move when we fucking feel like it.”

waves of almost euphoria wash over your entire body, leaving you breathless and panting. when you’d first met these two, you’d been sharp and aware of your surroundings, but now everything is hazy and your body burns as though you have a fever.

the bed creaks dangerously as satoru jumps into action, slowly rocking his hips into yours with a few choked, wanton moans. before long, he’s more confident, fucking into you with a tight grip on your skin and at an invigorated pace. you’re so hot and oh so tight—satoru fucking loves it—you feel perfect. he loves the way you squirm on top of his best friend, hips canting forward eagerly to meet his. the evidence of how good he’s making you feel is painted all over your face, apparent in the wobble of your lower lip and the tears in your eyes.

you hear a sigh from behind you. “can’t lose the bet,” suguru’s voice is laced with faux sympathy. it takes him a few seconds, but he finally starts moving, groaning in approval at the shake of your body and gasping, ragged breaths.

above you, sweat rolls down satoru’s face, the snowy tips of his hair sticking to his forehead while others fall in front of his eyes. “y-you like it like this, baby?” the question is rhetorical, but your whimpering tells him everything he needs to know. the corners of his lips curl into a smile that’s soon wiped away by overwhelming pleasure. “you’re taking us so fuckin’ well, sweetheart . . driving me insane, goddamn.”

“i second that,” the metal ball of suguru’s piercing clicks as he sweeps his tongue over his teeth, panting hard into your ear. “really, baby . . feel like the luckiest fuckin’ guy in the world right now, heh.”

as if you’re not the luckiest girl—being sandwiched between these two is a dream you didn’t even know you had. inside you, their cocks throb against one another, dragging in and out of your holes ruthlessly. the tempo only speeds up, becoming too much too quickly.

you nudge a weak, clammy hand against satoru’s waist, arching your back on top of suguru and nearly nailing him in the face with a reverse headbutt. before the latter can say anything, satoru snatches your hand and intertwines your fingers with his, then pins it down to the bed. he advances forward, his chest now against yours to keep you still.

“ah ah,” he tuts, his nipples hard as they press against yours, “move your damn hand, baby. this is what you wanted, remember?”

“i certainly do,” suguru titters, nipping at your earlobe. “don’t be like that. you can take it, can’t you?”

his words are convincing; he’s got you nodding in acceptance. he’s right, of course. this is what you wanted earlier—you’ve been taking both of their cocks so fucking well. just as you tell yourself you’ll make it through this, satoru’s fingers ghost along the soft skin of your stomach. despite the exhaustion that’s setting into his body, his hips don’t even stutter as he focuses on your swollen clit.

“oh . . oh my god,” the words are torn from your throat, which only grows more sore with all the noise you can’t seem to stop making. a familiar shakiness settles in your voice, and you’re fighting to keep the breath in your lungs, but it escapes you far too easily. “i’m-‘m gonna cum for you, ‘m—”

as you hurtle closer to all encompassing euphoria, the sounds of skin slapping against skin fade out and grow foggy. yet, you manage to hear their voices eagerly spurring you on, the two of them in the same boat as you.

“yeah, ‘s right. fuckin’ cum for us, baby.” satoru’s own orgasm creeps up on him, his head tipping back as your pussy starts to flutter around his cock. of course, suguru can feel the throbbing of his best friend’s cock and the quavering of your needy pussy. he releases your tits, seeing the bruising he’s left before squeezing his eyes shut in concentration.

“ya heard him, honey,” he utters after a long groan, his voice low and husky. “take all of our fucking cum.” you gasp out, nodding your head frantically as you teeter over the edge.

everything happens fast, and all at the same time. satoru cums inside you, his broad shoulders shaking as he rides it out while your pussy practically milks him for more. your cunt spasms, hips jerking upwards from the intensity of it. the movement pushes out suguru, his cum leaking out of your bruised ass and spilling in white puddles on his pelvis.

satoru looks down, biting down on his lower lip as he pulls his cock from you. this is quite the reward, seeing cum pour from both of your spent and twitching holes. your shuddering, sweltering body finally begins to cool after what feels like hours. suguru’s exhausted, but he kindly lifts you and lays you down on the bed beside him. satoru flops down beside you with a heaving sigh, only to lay on the knife from earlier.

“ow, fuck!” he jolts, sitting up and tugging the sharp blade from where it’s tangled in the sheets. he unceremoniously hurls it to the floor, laying back down with a vengeful huff.

you’re too tired to laugh, but a small smile plays on your lips. “do you still wanna kill me?”

“not right now,” suguru throws an arm over his face, gesturing in the direction of the floor. “the knife’s down there, anyway.”

you sit up, craning your neck to take a look. from what you can see, the floor is littered with their dark costumes and two masks, the knife completely out of sight. “i don’t see it.”

“hm, remember we talked about making you scream for us?” satoru speaks up, and in your dizzy haze, you don’t notice that glint in his eyes.

“uh, yeah, i think so? i thought you already did.”

“don’t you watch scary movies?” suguru scoffs, looking at you from beneath his forearm. “you should know what happens next.”

you laugh, rolling your eyes. “yeah, whatever. what happens next, you kill me? very funny. let me convince you again,” and you clear your throat. “no, please don’t kill me, mr. ghostface! i wanna be in the sequel!”

satoru simply shakes his head, and the knife plunges into your back. with a gasp, you sputter out a few garbled words, blood pouring down your bare back as you fall backwards onto the bed. you writhe on the mussed sheets, blood spilling from your lips and trickling down your chin in vermillion rivulets. beside you, the blood covered suguru and satoru let you struggle aimlessly until your body stills; then they slip their masks on again . .

“andddd cut!” the director jumps from his seat with proud claps, and the production assistants rush in from every direction to help clean up the mess.

“satoru, fuck! that knife was so sharp,” you sit up, sending a glare his way as you wipe the fake blood off your skin. despite being a fake knife, the shiny plastic point was rather jagged.

“excellent performances, the three of you! our halloween special is sure to be a hit!” the director is gushing as he praises the three of you.

“yeah, yeah,” suguru says, his cheeks flushed a rosy pink. “i’ve gotta take a shower. seriously, the corn syrup is so fucking sticky.”

[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.

[nightingale-prompts]

Lay Me to Rest- DCxDP Prompt

Warning: Blood and gore

There has been a series of murders across the country. Each death was varied and self-inflicted. At first, they all seemed like suicide but each had a strange range of symptoms before death.

Sudden paranoia, incoherent mumbling, screaming or yelling, going in and out of their homes sporadically, random fixations, and finally self-harm.

The victims were teachers, parents, businessmen, truckers, and even a crime novelist. All unrelated and in different states.

Each victim didn't seem to have a connection until an investigation discovered that each one had been an active serial killer. The body counts ranged from as little as 5 to as much as 23. The killer was named the Serial Serial Killer which wasn't creative but it was catchy. Some called them the Angel of Vengeance but most thought it was cringy and overdramatic. Many people didn't want them to be caught but others hotly debated letting a killer dispense justice when their crusade could easily turn into them killing people for innocuous things.

The police were still questioning whether this killer even existed. One thing was clear, there was a trail and it led straight to Gotham. A goldmine for them. Naturally, Batman had gotten a hold on the case and began an investigation.

The biggest question was how the killer found their victims and how they knew that they were killers.

The answer was obvious. They didn't need to figure it out. They just needed to wait. Why just in the effort to investigate when a serial killer tries to convince you to leave with them? So bars are the obvious place. But that's shaky at best since there is a period of torment that takes place that allows the victims to return home. The killer doesn't care if the victims could call the police, perhaps because they know their victim won't.

Bruce started to build a profile. He saw a pattern here. Each of the victims had a preference for their victims as well. They targeted young people, mainly boys. Odds are the Serial Serial Killer matched that description or age range. So bars weren't the hunting ground. So parks were more likely to go unnoticed and boys tended to hang out there longer after dark.

The killer was more than likely a victim himself so he may have a few scars but probably not noticeable enough that his would-be assailants would be turned off. There is no ignoring the predatory nature of the victims. Each killed children for gratification in some form. It's not that the boy is attractive but he probably has traits that the victims found attractive in children. So babyfaced, short, native, and polite.

There was much else Bruce could get. There was nothing concrete and he still didn't understand the method that was used. So far this was guesswork.

It wasn't until a few weeks later while he tracking another killer that he found his answer.

Dr.Kinder a Biologist by day and a killer who experiments on his victims at night had picked up a promising new lab rat a week ago. He had intended to slowly dissect the boy. He had gotten so used to the screams he stopped using anesthetics besides he wanted to see how the fear response caused the organs to shift.

To his surprise the boy didn't fight, in fact he seemed to jump to the table and say he didn't need restraints. Disturbing. But he was restrained anyways.

As the doctor cut him open the boy didn't react, only humming to himself as he watched the doctor.

"What are you hoping to find?" He asked. "I'm getting bored and this bearly hurts."

The boy annoyingly never stopped talking and never missed a chance to ruin the moment. There were never any screams or cries but incessant talking.

Dr.Kinder found the boy disturbing so he simply took an axe and chopped the boy into pieces. Not once did he make a sound. The doctor thought it was over but the next day the boy was back. He sat on the autopsy table kicking his feet in nothing but his bare skin.

"What the hell are you?" The doctor gasped in horror.

"I'm bored. Play with me again." The boy purred.

Bile crawled up his throat as the doctor restained this...thing again.

This time the boy spoke differently.

"You cut me up last time. Did you do that to the last boy. After you...you know." A sick grin spread across his cheeks.

The doctor cut open his neck this time and let him bleed out.

Everyday he came back and every day the doctor killed him until the time between his death got shorter and shorter. The days began to blur and he had no idea how long he had been doing this. But that thing kept talkimg to him.

Dr.Kinder stared down at his desk at the papers trying to think of anything but-

"I wonder what people would think about what you've done. You're a disgusting and depraved man doctor. Look at what you've done to me." The sing-song voice of that demon called out.

He could feel those blood-soaked arms wrapped around his neck.

He flinch as he pushed the thing away.

"Oh, are you going to beat me or stab me this time? Ooo, or are you going to put me through the woodchipper again?" The demon asked as the doctor wrapped his hands around his throat.

He just kept squeezing until the boy went limp. It never ends. The blood never goes away. It covered every surface of the room. Dripping, conjugating, and spreading into every corner. Whenever he turned his head he could see body parts spread across the room in the pools of blood he could they the faces of the others that he had killed. Each face wretched in agony.

"You hold on better than the others. I've been eaten, torched, and disemboweled before but after coming back a few times they usually end it after a few words. But every time they don't feel guilt. They just don't want to face consequences." The boy said. "Do you even remember my name? The one I told you when you picked me up on the side of the road or was I just another body to use and discard? I used the name of your first victim. I hoped you'd notice."

The doctor knew he couldn't kill the boy but he could end himself. He had tried it once but just like the kid he came back without a scratch.

"Not yet. This is your life now. Come on, let's taste death together. Again and again and again and again and-" he repeated over and over.

This was hell. This was his hell.

But it came to an end eventually. Dr.Kinder put an end to himself in a gruesome display.

Batman had only caught the tail end as he faced a young boy standing an a pool of blood.

****

"Yeah, that thing is like a worse version of a revenant. Doesn't really have a name yet to describe it. It's undead for sure. You kill it and it just comes back." Constantine said "Why did you bring it here?"

After a long bath and some new clothes, the kid looked normal as played on a phone given to him.

"Look, I didn't know what else to do." Bruce explained.

"You leave it alone!" Constantine said exasperated "Look they are harmless to anything they don't bear a grudge towards. Think of it as a force of nature." Constantine said.

"I just want to know how to stop him." Bruce said.

"Well you can't kill it but you can't bring him back entirely. You can just soothe it 'till it stops targeting its victims. It must have died pretty gruesomely to go to these lengths. You need to find where it died and lay it to rest. Properly." Constantine sighed knowing that appeasing this soul would be more than just difficult.

"Danny, come on. Let's go." Bruced said putting a hand on the boy's head as Danny stood up to leave.

"Okay. Bye!" Danny waved to Constantine.