#it's also why I changed the first comic page

[matcha-milkies]

WELL, YOU DID ASK

Summary: Aboard the Stan-O’-War II, Stan finds out and confronts Ford about his past relationship with Bill.

Alternatively: “Ford, why did Bill call you babygirl?”

Relationships: Sea Grunkles, Bill Cipher/Ford Pines (Mentioned)

Content Warnings: Implied/Referenced Sex

Tags: Humor, Light Angst, Banter

Inspired By: This Meme and This Comic

Word Count: 2,489

Link to AO3: Here

A/N: Yeah it’s been a HOT MINUTE five years since I watched Gravity Falls, and I’m still waiting on my copy of Book of Bill, so I’m sorry if there are any inconsistencies with canon in this. I was riffing hard off of secondhand material lol

Stan stares up at the top bunk as the room gently sways from side to side, a cabin cradled in the bosom of the ocean. He’s lying face up on his cot, hands on his abdomen, and he’s contemplating something very deeply. It’s unnerving, this thing. He almost wishes he could forget all about it. Almost.

He bites his bottom lip and deliberates over what to do about this. He could just leave it alone. Things have been good lately. Why rock the boat, so to speak? They could go about their day, have their coffee, cast their lines into the sea, fry that leftover kraken meat for dinner. Blegh, he’s so sick of kraken meat. He’s going to have to find a way to season that thing to spice it up a bit or else he’s gonna go crazy. Why do krakens have to be so enormous anyway?

Yeah, he could do that. He could be normal.

After all, if the answer is no, then there’s nothing to worry about in the first place. And if the answer is yes… does he really want to know about it? What is he going to do, where is he going to go from there? Ask for details? He’s racked by a fullbody shudder. As if.

But deep down, he knows he’s kidding himself. If he doesn’t confront his brother, then this is going to linger in the back of Stan’s mind for all of eternity. He won’t be able to look at his twin without pondering all the ‘why’s. Why him? Why didn’t you tell me?

Stan hauls himself to a sitting position and swings his legs over the side of his bunk. He stares at the wall for a little bit, mouth quirked to the side. The Stan-O’-War II creaks, as if it’s also pondering to itself. He can hear his brother rustling papers a ways away in the other room. It’s a small boat. Of course it is. There’s only two of them to man it.

Stan starts to walk into the other room, then turns around and changes course at the last second, heading above deck instead. Hopefully his twin was too preoccupied with his work to notice. Stan walks over to the port side and leans his arms against the railing with a sigh. It’s a nice day out, at least. The sun is shining high in the sky with only a few clouds drifting overhead. They’re somewhere off the coast of Canada.

Somewhere further south but still along the same coast are his great niece and nephew, going to school again. He wonders how they’re doing. He wishes he could call them. He misses them, but he also wants to take his mind off of this. He hears footsteps pacing below deck, probably to grab a book off a shelf or something, because they soon pace right back to where the desk would be. 

Stan lowers his head until his forehead is against the railing and sighs. He’s probably going to have to ask. The thing he’s dreading is knowing that it’s not gonna go over well. He gives it maybe another ten minutes to psyche himself up, then turns and tramps back down the stairs.

Ford is situated at his desk (it’s not anyone’s desk but really it’s Ford’s desk), sifting through some old creased pages that look like they’re about to disintegrate at the slightest breeze. On his right-hand side is a cold, half-finished cup of joe. Occasionally, he mutters something to himself and pens something in his new journal. He’s entirely absorbed. He doesn’t even seem to notice when Stan appears in the doorway and leans his elbow against it.

“Uh, hey, Sixer, how’s it goin’ in here?”

Ford starts. The pen drops from his hand and rolls around on the swaying floor. “Stanley, how many times do I have to tell you not to sneak up like that?”

“I didn’t sneak up on you. I’m notoriously loud. You’re the one with your nose glued to that journal.”

“I–” Ford’s breath catches in his throat before he lets it out in a sigh. “I suppose you have a point. I’m sorry, Stanley. I’m just frustrated at how little progress I’ve made with this. It’s unlike anything I’ve ever seen.”

“You know you say that, like, every time we find some weird thing, right?”

“I didn’t think we would encounter this many paranormal phenomena outside of Gravity Falls.”

“Maybe you’re the weirdness magnet.”

“Perhaps both of us are. After all, you were the one living in my shack for all those years pretending to be me.”

“Ha, yeah…” Stan musses his own hair. “Must run in the family.”

“Anyway–” after stooping to pick up the pen, Ford seats himself at the desk again– “you know I always appreciate your company, Stan, but I’d like to make some real headway before dinner if at all possible.”

“Uh, well, actually,” Stan says, and Ford glances up with a raised brow.

“What is it? Don’t tell me you accidentally dropped something overboard,” replies Ford, testing the temperature of his coffee. He looks displeased at the result but nevertheless continues to sip it anyway.

“Relax, relax, it’s nothing like that. Sheesh, are you ever gonna let me live that down?”

“It happened yesterday.”

“Ancient history!” Eh, might as well spit it out, right? “Hey, speaking of ancient history, what was going on with you and Bill?”

Ford makes some sort of choking sound and dribbles coffee back into his cup. He casts about for a napkin or a towel. “What do you mean by that?”

“Were you like, just a fling, boyfriend-boyfriend, married? What was going on there?”

Ford sputters, gives up and rolls up his sleeve to wipe his mouth on his bare arm. His voice cracks a little as he speaks. “What- What do you- What do- Why would you–”

“Look, don’t play dumb with me, IQ. When he was in my head, he said some things. And I didn’t think much of it at the time, but see, now I got nothing but time out here on this tin can, and I…”

His twin finally manages to school himself back into neutrality, although they’re both well aware it’s too late. He’s already shown his hand. All he can do is pretend, deny, for whatever that gets him. He spares Stan a glance over his spectacles, and it seems to last an eternity, before the man finally returns his gaze to his notes. “Now is not the time to talk about this.” Oh. Okay. So not even a denial then.

“Uh, right. Sure. And when exactly is the right time gonna be?”

Ford pinches the bridge of his nose and sighs with a kind of bone-deep exhaustion. “I don’t know, Stanley, any time I’m not trying to decipher the code that we found etched onto the side of that washed up precolonial artifact last week?”

“Well, I don’t know why it needs to be a whole song and dance, Einstein, it’s a simple question.”

“Yes, we were… romantically involved. Obviously. Now please leave me in peace.” Not that he had expected that answer to buy him anything, but he still finds himself chagrined when Stan stubbornly continues his line of questioning.

“Why didn’t you tell me about that?”

“I didn’t think it pertinent.” Ford closes the book on his left-hand side, resigning himself to the unfortunate reality that this conversation is happening, and there is no walking away from it. Where would he even escape to? They’re stuck on a boat together until they land at the next port.

“You didn’t think I’d wanna know you were getting… close with the literal demon that tried to kill us?”

“He wasn’t trying to kill us when I was getting to know him. Again, this should be obvious, Stanley. I don’t know why you’re making me spell it all out for you.” He strangles the air, vibrating with more frustration than he can dissipate. “Unless it’s just to torture me, which I wouldn’t put past you.”

“What is that supposed to mean? After all the things I’ve done for you, all I’m asking for here is a little honesty.”

Ford very graciously decides not to dwell on the “all the things I’ve done for you” bit and reopen that particular wound. Instead, he doffs his glasses, the better to massage his forehead.

“Oh, for the love of… We’re in our 60s, Stan.” He unfurls his arms on the table, palms upward. “What did you want me to do, honestly? You wanted me to sit you down and tell you about my crush like we’re still in high school?”

There’s something in the sincerity of his tone that throws Stan off kilter, disarms him.

“I’m not sayin’ that! I just— You’re makin’ it sound more unreasonable than it is! I’m still your twin and I thought you trusted me with this kinda thing.”

Ford pushes his glasses back up the bridge of his nose. He stares at a point just past Stan’s shoulder, mouth flattened into a line. “Oh, god,” he laments, as it dawns on him that the emotionally mature thing to do is to be vulnerable. He sighs, busying his hands by straightening all the papers on his desk. “It’s embarrassing. It was already embarrassing, don’t you see? And this just makes it so much worse.”

“What?” Stan pulls up a chair and sits across from his twin. “Sixer, come on. You think I came in here and brought this up just to laugh at you? I mean, don’t get me wrong, it is objectively very funny, hilarious even—” he grins in the face of Ford’s glare— “but the last thing I’m gonna do is judge you. Between you and me, I think your relationship with that freaky triangle was more stable than anything I’ve ever had with any human.”

“Stable is not the word I would use to describe anything that went on in that shack in the 1980s.”

“Yeah, that just goes to show how low the bar is. Anyway, my point is, while I’m not gonna laugh at you, I definitely will still laugh.”

The scientist raises an unamused brow. “With me, you mean?”

“No, I’m just gonna laugh. Ha! Ha-ha!” Stan reaches across the desk to nudge Ford with his elbow. “Come on, it’s funny! You had a relationship with a triangle! Oh, the kids are gonna be so traumatized!”

“Wh- D- Stan, don’t tell them!”

“Why not? Dipper worships the ground you walk on. This won’t change anything for him. And Mabel… well, Mabel will laugh too actually. Very hard.” He brings a hand to his chin and narrows his eyes. “Or worse, she’ll start shipping you.”

“What does that even mean? She’s going to ship me? Where? How?”

“Uh, not important, and for all intents and purposes, I do not know what that word means either. Look, I’m just pulling your leg, Poindexter. I won’t tell them if you don’t want me to. It’s your business.”

“You honestly mean that?”

Stan sweeps an arm through the air with finality. “It’s your own business and nobody else’s. Look, I’m—” He finds himself rubbing the back of his neck. “I’m sorry for pushing you about this. It’s not something you’d wanna look back on, I get it.”

“Oh.” Ford doesn’t really know what to do with that so he resumes straightening papers even though they’ve been straight for the past three minutes. “I’m not used to fights ending like this.”

“Yeah, me neither. It’s weird. It’s like we emotionally matured or something.”

“Something like that,” Ford agrees.

They lapse into awkward silence. That should've been the end of it, and yet.

“I guess I just don’t get it,” Stan admits.

“What don’t you understand, Stanley?”

“He’s a— Well, he’s a little two-dimensional, don’t you think?”

“It was an extremely intellectual affair, Stan. Physicality had very little to do with it.” Well, that isn’t entirely true but his brother doesn’t need to know about any of that.

“You know what, I’d believe that. I’m just having trouble envisioning what it… what it was like.”

“Why are you trying to envision that?”

“Because it’s weird, Ford! It’s weird and morbidly fascinating. It’s like a train wreck, I can’t look away.”

“Do you have any more questions? So that I can answer them and we can be done talking about this forever?”

“So you… you never… y'know…”

“No,” Ford says about five seconds too late. There’s heat rising to his cheeks and he smothers his face with his hands as Stan sits slack-jawed in abject horror.

“What? Wait, seriously? How did that even work?”

“Ask me something else.”

“Okay. For scientific purposes, hypothetically, in a hypothetical situation, how would a human with glasses and a triangular demon go about—”

“Oh, for God’s sake, Stan!”

“God had nothin’ to do with it, I know that much.” Stan leans back in his chair, then eyes Ford suspiciously. “Wait. He didn’t possess someone else, did he?”

“No!” Ford sounds genuinely horrified. “How depraved do you think I am? That would be tantamount to— I wouldn’t do that. Do you really think so lowly of me?”

“I mean, they could’ve consented beforehand anyway, right? That’s all I’m saying. Although, Sixer, I cannot stress this enough: You locked yourself in a cabin in the middle of Nowhere, Oregon and started drawing freaky symbols on the floor and communing with a literal demon. I think I’m allowed to be a little concerned.”

“Well– Sure, when you put it like that, it sounds more occult than scientific, but I can assure you my methodology was very sound.”

“Oh, okay, good. I’m glad your methodology was sound. That was the main thing I was worried about.”

“May I return to my cipher now?”

“Your Cipher, huh?”

Ford stares pointedly at his twin, trying to telepathically communicate how exhausting this conversation is.

“I just need to know how you did it. It’s gonna keep me up at night.”

“I fail to see how that’s my issue.”

“And then I’ll keep you up at night.”

“And then I’ll throw you overboard so that you can find that notebook you lost!”

“And then I’ll haunt you from the watery grave, you know I will. Besides, it’s laughable you think you could throw me overboard, Poindexter.”

“You really want to know?”

“For my own peace of mind, please.”

Ford sighs deeply, eyes shifting from wall to wall, as though afraid someone’s eavesdropping. Maybe he’s paranoid that a mermaid is listening in from outside. He gestures for Stan to lean in closer, cups his hands to his ear and whispers for a few seconds. Stan’s expression becomes unreadable.

“Oh. Wow. Creative. Okay. Welp. That answers that.” He claps his hands together as if to dispel dirt. “Say, you wouldn’t happen to have another one of those memory-wiping guns?”

[theodorhawthorn07]

Welcome!!

Hello everyone, welcome to my blog, my name's Theodor Hawthorn, or Theo07 in short, but you can just call me Theo.

you might be wonder why causes make this post? well this post are meant for easier navigation through my entire blog, So you just need to Click on the Hyperlink you want without the need for scrolling down for eternity just to found the post you looking for. just scroll down shortly and go to types of content you looking for and then click the hyperlink

For the other thing than those three most likely not be mentioned in this navigation post, but some could be featured in here, if its important enough.

◈ Its Over? : Memory Resonance

(cover is still remain hidden (i haven't make it yet XD))

Its Over? : Memory Resonance (Jsab IO:MR au) is a JSAB au is a story of a world that gone infected by corruption outbreak, this is a story of group of shapes in a journey to ends the Corruption outbreak once and for all.

i've made since my first career as an artist, exactly since the year 2020, "But why there are only several pages?" well the fact i've delete and then remake it again for 2 times because of story flaws, character designs, and some Custom Logic that i've made.

for not the story has been temporary froze because i'm pretty much busy

◈ Internal Logic Explanation

Internal Logic Explanation is series of Pages of Explanation of Logic that Applies to "Its Over??" Au. Some logics that doesn't do much impact in the story or The connection between logic is hidden Will pretty much be Explained here. but in the Comic when the story used the Logic also will be explained here. it will be explained right after.

▸ Chapter 1 : Common Logic

Page: 1-9

◈ Character Design Marathon (CDM)

(the cover also haven't been made)

Character design Marathon or CDM is a series of me Designs Characters for "Its Over" AU that i've started since the Year 2022. the Character that will be Chosen for the CDM sometimes Through pollings sometimes random as i wanted.

the other 38 previous CDM entries are located in my instagram

▷ Entry num. 39: Blix Lloyd

▷ Entry num. 40: Baracuda Orion

▷ Entry num. 41: Laura Lawrence

▷ Entry Num. 42&43: Azure Baker & Heli Skye

I'm Pretty much almost everywhere, you can keep in touch with me in these other social media Platform:

▶ Deviant art <- Recommended for easier Navigation

▶ Twitter/X <- on construction

Info: This post will surely it will be changed overtime. (especially during Profile construction)

If you Liked My content you can like and follow for more :)

[linkedspirit-fanartfunart]

[Image Description: A character sheet for Hero’s Spirit from the Linked Spirit AU, with personality, combat, and skills slider sections each with 6 segments from red to green. It is labeled with their nickname and game: (future) Hyrule Warriors. They have an equipment section with the Spirit Dagger. Under their name is an edited game model to match the au character design, and a headshot from the comic. Under equipment it’s shown they have the Triforce of Courage. A small details box reads: Worst Fear- Betrayal, Comfort Item- Scarf, Happy Place- (Shrug Kaomoji). Personality Section: Humor is 2 out of 6, Empathy 6/6, Discipline 6/6, Anxiety 3/6, Extroversion 3/6, Trust 2/6.  Combat Section: Strength 2/6, Agility 6/6, Stamina 4/6, Defense 1/6, Health 4/6, Magic 4/6. Skills Section: Survivalist 2/6, Creativity 3/6, History, 5/6, Social 3/6. End ID]

Alllllright, I can’t keep it to myself much longer, Hero is a younger version of Hyrule Warrior’s Link- They haven’t experienced the events of the game yet though. I was gonna hint at it in comic and let people puzzle it together but that was gonna take forever... So instead I guess I’ll let you all puzzle about all the rest of their backstory :3

I mostly made these sheets for my own personal reference (to balance out everyone’s roles in fights mostly lolol) and I made a bunch of screenshot edits for pure funsies so I decided to make something out of it lol

[keeps-ache]

i have done so many character redesigns this year. redesigns georg

[llumimoon]

Btw just changed up the page navigation layout for The Talk comic !! I’ll make a master post of all the pages after the comic is finished bc LMAO all those links increasing every page killed me

[szkicel]

so like 2 days ago I finally read one of the comics I bought blind a while ago with comics that I was actually looking for.

anyway Rat Queens is just mid, if not below average. I wrote a rant/review about it but before i finished it I realised this title is just not worth it lmao

After I read it I only wanted to start reading Dungeon Meshi so I can read sth actually good tbh and maybe i’ll sit down to do it today kjhkjh

[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.

[art]

Creator Spotlight: @mimimar

Hi! I’m Michelle (Mimimar), an illustrator born and raised in Venezuela, currently based in Italy. I enjoy making colorful illustrations that reflect the things I love: fairy tales, fantasy, tenderness and queer (especially sapphic) stories. Occasionally, I also make paper dolls, comics and animatics. I have a lot of interest in book illustration and I’m currently developing my own stories that I hope to share as an author-illustrator someday!

Check out our interview with Michelle below!

Did you originally have a background in art? If not, how did you start?

I always enjoyed drawing when I was a kid, but it only became a hobby that I did almost every day when I was around 11. At first I only used traditional mediums, but I decided to make a serious effort to learn how to draw digitally when I was 15, and once I got the hang of it I never stopped!

I didn’t go to art school so all of my learning was done through studying the tutorials and resources that other artists generously share on the internet and lots of practice / trial and error.

How do you want to evolve as a creator?

I want to do many things but what I want to do the most right now is work on books! I want to make art for other authors’ stories and also my own stories as an author-illustrator. I want to grow as a storyteller and create art and stories that will really resonate with people emotionally. I’m always striving to improve my skills as well.

I also really love dolls, so working on doll box art or as a doll designer is something I would love to do someday. I actually have been designing paper dolls on my Patreon for the past few months, it’s been a fun project that is still ongoing right now!

What is one habit you find yourself doing a lot as an artist?

Probably using a lot of purple! It’s my favorite color so I find myself using it a lot. If I can find a way to sneak a little bit of purple into an illustration or a character design then I will.

Congratulations on finishing your Ivy Comic! Did the outcome turn out like how you expected or were there some unexpected bumps along the way?

Thank you! It’s a project that I worked on very slowly in between other art because I wanted to really take my time with every spread and make each of them a fully detailed illustration. I thumbnailed the full comic before starting but I kept changing the sketch for the final spread until the very end! Overall I’m really proud of the end result. I sprinkled a lot of hidden details in every page that I hope some of the readers will notice. For example: the meanings of the flowers in each page represent what the characters are feeling in that moment, and the colors of their wardrobe become gradually lighter as the story progresses to represent their emotions, as well as the changing of seasons.

We’ve noticed that you have created some amazing cover art for TGCF. Is there another series you would like to do something similar with? 

That was another passion project that took some time to complete. Initially, I didn’t intend for them to be specifically covers, it was just a series of illustrations based on the 5 books/main arcs of TGCF. But since they were well-received and I had people telling me they wish they could use them as covers for their books, I decided to rework them into dust jackets for the english translation of TGCF!

I haven’t thought of any other specific series but I love doing cover art so maybe I’ll do something similar again in the future!

What’s your favorite part of your style? Why?

I’ve heard from other people that there’s a delicate quality to my art, this is something that I like a lot! I like pretty things, fairytales and vibrant colors. I think all of these things probably reflect in the art I make as well.

If there is one thing you want your audience to remember about your work, what would it be?

I hope that they remember how it made them feel. Feelings and colors are the two things I give priority to in my work. Most of the time I like depicting tenderness, softness and emotional intimacy. If that could reach the viewer and stay with them it would make me very happy. 

I make a lot of art with queer (mainly sapphic) themes because they’re the kind of stories I personally like and want to see more of, so whenever people tell me that my art has helped them in their journey to discover and accept themselves, or that they see themselves and their partner in my art, it is always extremely meaningful to me. When art that I made to give myself comfort can provide comfort for others, no matter how small, it reminds me once again that despite any hardships art is genuinely worth pursuing.

Who on Tumblr inspires you and why?

So many artists! To name a few:  I love @sakizo’s amazing eye for fashion and detail,  @paneeps’ gorgeous style and striking colors,  the sweetness of @bevsi’s art,  @vickisigh’s pretty colors and concepts,  @idledee’s warm and heartfelt art,  @littlestpersimmon’s dreamy wonderful art,  and @loish has been an inspiration for as long as I can remember.

Thank you so much for stopping by and sharing, Michelle! Be sure to check out their Tumblr blog over at @mimimar.

[krysmcscience]

It’s finally done, guys – five whole pages of Narilamb AU comic AND MORE be upon you! (If you have trouble reading any of the text, view the full-size! These pages are huge!)

Yeesh, this took forever. <:)

There’s probably a ton of inconsistencies and anatomy/perspective wonkeries, but this was mostly just comic practice, so Oh Hekkin Well, Lol <:D

(Yes, I am aware the Gateway’s door isn’t present in the Afterlife, and the actual way in is just a pentagram portal. Yes, I put the door in there anyway because Artistic License, i.e. it felt more impactful for there to be a prison door of sorts to walk through to freedom, rather than just a bland boring portal on the ground. 😠)

anyway, i hate backgrounds so much lmao

Alternate ending and a buttload of bonus art under the cut, followed by goofy AU rambles and headcanon stuff:

I’m calling it the Revival AU. It’s not all that creative a title, and someone else has probably used it already, but I am too lazy to really care, LOL

Alternate ending page, which you will Definitely need to view the full-size for, Whoopsie Daisy:

The alternate ending was actually the first ending I finished things off with, because I had a brief badbrain moment where I forgot the emotional beat I initially wanted the comic to end on, and I tend to write comedy, anyway. I later remembered and drew out the proper ending, but I preserved and finished this one, too, because it still makes me giggle.

They had to go back for the followers off-screen in the AU’s real ending. And by ‘they’ I mean just the Lamb, because they weren’t about to ask three newly freed cats to go back into what used to be their prison. The Lamb DID spend some time watching Narinder and the bois enjoying the outdoors first, though:

In other news, here’s the Lamb and me making fun of my anatomy-drawing ‘skills’:

Meanwhile, if you’re wondering why the Lamb is just a-okay with how things went down vis a vis Their Murder, this bonus comic should answer at least some of your questions:

Ah, yes, also this is how they get engaged outside of the alternate ending. Forgot to mention that bit. XD (I already refuse to believe that Narinder is capable of flirting normally, so why would his initial marriage proposal be any better???)

Oh, and before any of them get a chance to actually head back to the cult grounds, there is one potential problem:

And by ‘problem’ I mean something Narinder intends to ignore for At Minimum a thousand years. Cuz he’s a petty bitch like that. :D

what do you mean i drew the lamb too tall compared to the background? clearly they’re standing on top of baal and aym lmao, why else would you think those two aren’t in this one??? (aym and baal got way too excited about finally being outside, you see, and their silly modes are nothing to sneeze at)

And, speaking of heading back to the cult grounds, I’m sure y’all would love to know how the Lamb’s followers felt about the brand new change in management:

It all went better than expected. <:D Tiny ramble now, feel free to skip down to the next comic.

Before you ask, no, the Lamb does not have any actual powers anymore, other than the immortality Narinder definitely grants them. The Red Crown just thinks it’s funny to suggest otherwise, and Narinder does nothing to discourage this. Also, the Lamb and Narinder aren’t actually married here yet, but, uh. Pretty safe to say that particular ritual directly follows the events of this comic. XD

Given how quickly he mellows out in canon, Narinder probably chills out a lot in this AU once he’s in charge of the cult, too, if only because 1.) He’s finally free, and 2.) He’s equally smitten with and distracted by the Lamb. He’s definitely in charge at least 95% of the time, though, because the Lamb never actually wanted to be a cult leader and, now that their time as a vessel is done, they just want to be a normal(ish) sheep who’s wholly devoted to their hot new divine husband.

Some followers do still have some valid concerns about these two being together, though, which I’m sure at least a few of you might share…

Unfortunately for any such concerns, the Lamb is a bonafide masochist in this AU. :D

They’re also 100% a sub, obviously

Anyone at all: Your relationship is problematic and potentially toxic

The Lamb: fuck yeah it is, it’s so hot~ OuO

Here’s just the last panel, made transparent for whatever nefarious purposes y’all might have for it:

Additional exchange Narinder and the Lamb have at some point, probably after the Lamb does a fatal whoopsie while out on a mission trip or in response to things getting a little too sadistic in the bedroom, ahaha:

Look, there is a very important distinction between life and death, and if you don’t understand that, then you’re probably not worthy of being the God of Death, anyway. (At least, according to Narinder, and ONLY Narinder.)

Last but not least, have these shittens:

~Such creative naming conventions I have utilized, lololol~ :D Anyway, there's a few deets on them in the rambles down below.

The rest is all ramble, so before I get to that, I’ll just say – likes and especially reblogs are very much appreciated!!! :D If you happen to really really REALLY like my stuff, meanwhile, I do have a link in my bio to my ko-fi page, where I’m accepting commissions and donations if you’re especially generous… ÓuÒ

Now, BE FREE IF YOU AIN’T DOWN FOR READING MY GOOFY RAMBLES

First ramble is re: Baal’s question of ‘Did it really work?’, since I didn’t feel like expanding on it in the comic proper, and it’s arguably pretty vague? He doesn’t ask because he doubts Narinder or his capabilities, exactly, but because neither Baal nor Aym have ever actually seen their god at full power before (he’s still technically not at full power here, either). It’s not expressly stated how soon the brothers were brought to Narinder after his imprisonment, but whether it was early on or after a length of time for Shamura to (somewhat) recover from his attack, he must have already been weakened, since I have no doubts that there was a huge battle that accompanied the Bishops working together to trap him. So, between that fight with all four of his siblings, sharing his power with a variety of vessels over time, and being chained immobile for a thousand years, he must have been severely weakened by the time he lent the Red Crown out to the Lamb, which would have only weakened him further.

I like to think this is how the Lamb is able to defeat him if they refuse to be sacrificed, despite how it took all four Bishops working together to subdue and chain Narinder in the first place.

All that aside, the three cats have been trapped in the Afterlife for so long that Baal also wanted verbal reassurance that they are all, indeed, actually able to leave it now – something that I headcanon isn’t possible without a significant amount of power (i.e. the Red Crown’s cooperation with its bearer/vessel).

(On a semi-related note, I don’t headcanon Aym and Baal as twins. I like sweetheart big bro Baal and snarky little goth bro Aym too much to have them be that close in age.)

Ah, teeny thing: If you noticed I switched up the art style for Narinder on the second page, that was intentional. It's sort of a visual indicator that there has been a Big Change for him - that being, how much power he has after sacrificing the Lamb. As for why I changed up his arms in the grass rollin' pic, I don't really subscribe to the notion that his arms are spooky bones because they're horrifically injured (beyond chain-chafing scars, that is), but rather just because he's the Bishop of Death, so he can change how normal-to-spooky they look at will. At some point I might doodle out how I imagine his appearance to range between least to most eldritch... 🤔

Next ramble, regarding Narinder’s feelings towards the Lamb...he was initially too focused on being freed from his imprisonment to form any real attachment to them. They were a tool for his use, first and foremost, but he did notice their intense devotion towards him. It was impossible not to notice, because the Lamb was always very happy to see him, even if it was because they died during a crusade (yet again). He wasn’t originally planning to revive them once he was freed, either, because he saw no real point to it – after all, they were already dead when they first met him, just as any other mortal would be when meeting him in the Afterlife, so death has very little real consequence in his eyes. But, once the chains were off, and it really sank in that he stood to lose the most devoted follower he’s ever had, he decided…why put their soul to rest for good or leave them stuck in the Afterlife when he could just as easily revive them again? And why not reward them for their hard work, anyway? Not only would it cost him nothing by comparison, but the future devotion that could come of it would surely make up for his (bare minimum) effort in reviving them.

He wasn’t expecting to get a full dose of that devotion and a smiling face so soon after killing them, though~ :3c (because the Lamb is a bonafide freak, and not-so-secretly into the fucked up power dynamics going on here, lol)

I should mention here that I am firmly of the belief that any non-god/vessel who crosses through the Gateway and into the Afterlife just straight up dies. So, Aym and Baal? Also straight up dead, from the second Shamura brought them through. Their souls were just never put to rest so that Narinder could have some company – if only according to Shamura. Narinder kept the two around mostly out of bewilderment, because honestly, who are these kittens, and what is Shamura’s game here, anyway??? They never even explained anything, they just tossed these kittens into the Afterlife and LEFT!!! At any rate, Aym and Baal being dead is how I explain why their souls apparently become lost in the void if they’re killed, along with the added complications required to revive the two because of it.

So, with those deets in mind, and given a bit of time, if Narinder hadn’t chosen to revive the Lamb, and also hadn’t chosen to put their soul to rest, they still would have woken up at some point, despite being as straight up dead as Aym and Baal. Who, don’t worry, were also properly revived while Narinder was waiting for the Lamb to wake up. Because I am also firmly of the belief that, first, the dead cannot leave the Afterlife without the use of a ritual/relic (and can't stay in the living world for long regardless), and second, dead followers’ devotion isn’t anywhere near as potent as that of the living, given how much more the living stand to lose.

Final ramble, regarding the Lamb’s feelings towards Narinder, and why they’re so devoted to him…

Well, you don’t spend most of your life on the run with your steadily-dwindling herd, trying to evade the ongoing genocide of your species, without becoming a little fucked up in the head. Maybe a lot fucked up in the head. Life is suffering, so might as well have fun with it, right? Maybe start finding death and pain to be kind of hilarious, even a little bit hot, once everyone you know and love is dead and gone, leaving you all alone? And maybe after that, there’s something comforting in how, despite the cold, cruel uncertainties of life, at least you can always count on the inevitability of death, patiently waiting for you until your very last breath? Who knows. Either way, as soon as the Lamb was killed, and they learned that the literal God of Death was offering them a second chance at life and vengeance via effective immortality, they were 100% ride-or-die-devoted all at once. Turns out death is kinder than life – go figure. (Of course, it helps that Narinder is 100% their type.)

They weren’t put off by Narinder’s thinly-veiled sadism or manipulations, either – they’re not too different in those regards, albeit opting for vastly different methods. It’s a very ‘two sides of the same coin’ sort of deal. In order to stay alive once they were made the last of their kind, the Lamb had no qualms with using others to their advantage, and that did not change once they were revived and expected to run a cult. They didn’t care for the position of authority, though – being a sheep and all, they’re much more of a follower than a leader, and thus greatly appreciated Narinder’s need for control. With how they had to keep on their toes for so long, the Lamb was also pretty good at reading people by the time they died, so they could recognize that a lot of Narinder’s posturing was just that – posturing. Dude’s 95% bluster and only 5% bite. He could obviously be vicious when he wanted or needed to (the Bishops' injuries were clear proof of that), but underneath his outer layer of cruelty was a generous layer of tsundere, and underneath all THAT was a soft squishy middle sibling velcro cat in desperate need of attention and affection.

(Which, for the record, he Did Not feel comfortable getting from Aym and Baal – Narinder still has no idea why the fuck Shamura sent them to him, beyond acting as keepers at best or trying to sabotage his attempts to escape at worst. Which, he thought HE sabotaged in turn, by guiding the kittens into being his devoted disciples instead. He thought he was very clever for it. ‘I outsmarted Shamura!’ he thought, despite that there was never anything there to outsmart. ‘What do you mean, Shamura sent your kittens to me for company?’ he demands of Forneus later. It may or may not lead him to pull Shamura out of Purgatory just so he can shake them and scream about how they should have Fucking Explained that!!!)

But, getting back on track as to why the Lamb was so willing to be sacrificed, I cannot stress this enough – if you pay even a minimal amount of attention to what he’s saying, Narinder is REALLY NOT SUBTLE about his intentions. ‘Death is of little consequence.’ ‘Followers are for you to use to your advantage.’ ‘Sacrifice a follower to absorb more power.’ So, yeah, the Lamb knew exactly what would be expected of them once the other Bishops were dead. They knew Narinder would expect them to die for him one last time. But, after all, death is of little consequence (not to mention hot), so when the time came, they wanted to see him freed, even if it meant oblivion for them in the end.

He’d given them a second life, and the ability to avenge their kin, and they felt indebted to him for that – so, while they were still pretty glum about the possibility that they might not get to see him free of his chains, nothing beyond their devotion and debt to him mattered. They never wanted all the drama and expectations that came with the Red Crown’s power, anyway, so, better for Narinder to have it back so that he could deal with it. What he did with the Lamb afterward would be up to him, and seeing as he was their god, they’d accept his decision gladly.

Were they in love with him by that point? Oh, obsessively so, but only in the devotional sense – romance was nowhere on their mind nor radar. That is, until he unexpectedly revived them again, told them he still needed them, and then offered down his hand to help them up.

The Lamb fell HARD for him in that moment. :3c

And now, a tiny shitten ramble. Lu and Li are twins, because sheep tend to have those a lot, and are conceived not long after the Lamb and Narinder’s marriage ceremony. Lu is the minutes older one, but Li is much more mature. I have put no further thought into these two, other than that they are utter menaces, birthed by the Lamb, cling hard to both their parents but especially Narinder (who spoils them rotten), and they are both genderfluid, using whichever pronouns/names they feel like at any given time. They are also both intersex, same as the Lamb, who was initially infertile up until Something Something Vague Magic, which I have also put no further thought into ¯\_(シ)_/¯

oh, and before anyone tries to suggest i headcanon this AU’s lamb as trending more female due to them giving birth or whatever, no, no, a thousand times no, they might have a vag, but they've also got a dick, and even if it's not as big as they'd like, they still know how to use it

Finally, the very tentative name for the Lamb in this AU is Yazdi, which is really just another name for the Baluchi breed of sheep XD (Not that the Lamb is this specific breed, I just didn’t like any of the other sheep-related names I found, ahaha...)

THAT’S ALL FOR NOW (collapses into an exhausted pile of goopy limbs)

[akanemnon]

TWIN RUNES MASTERPOST

Because of the limited amount of links you can put into a post, you can find the links to each page in these sub-posts:

To be continued...

FAQ under the cut!

TWIN RUNES MINI COMICS

Glasses - Fallen down - First steps - Press [C] - Frisk Dance - But nobody came - Whatstheirface - An acquired taste - Eye opening - Smalltalk - Connection issues - Not-To-Do-List - All You Can Eat - Beach Episode - Salute the Frick - Morning Routine - The Universe is a Hologram - Normal Human Behavior

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TWIN RUNES - FAQ

What exactly is this AU about? Twin Runes is essentially a comedic crossover AU between the universes of Deltarune and Undertale. No fancy nicnacs. Just the characters being their chaotic selves. But there might be some darkness lurking up ahead... ____________________

When is the next comic? The comic updates most Sundays at 6:30 PM Central European Time. ____________________

Why is this AU called Twin Runes? The name is more or less a play on the typical naming format of most AU's by featuring the "Runes" part. There are no literal Twin Runes. The whole name is more of a stand in for Undertale and Deltarune as parallel worlds. Hence the "Twin" part. ____________________

When does Twin Runes take place? This AU takes place between a hypothetical Chapter 3 and Chapter 4 of Deltarune. On the Undertale side of things, it takes place post neutral route just as Frisk was about to deliver Undyne's letter to Alphys.

How many pages are there going to be? The script for this comic estimates that the comic is going to be 137 pages long (if I don't make any major changes). ____________________

Is the Player a thing in this AU? The Player(s) lost control over both human children as soon as Frisk entered the world of Deltarune. Essentially, the reader takes the role of the Player. You have no influence on the outcome of the story anymore. All you can do is watch. ____________________

Is there going to be a Weird Route? Due to the lack of Player, all choices made by Kris are now their own. How to engage in battle all depends on Kris, and not the Player. Because of that, there are NO DIFFERENT ROUTES. There is only one route and that one is based on Kris' choices. Because of the lack of save points, there is no "what-if" scenario. ____________________

When Chapter 3 and 4 are released, will it affect the story? Any chapters after Chapter 3 won't affect the story in the grand scheme of things. Twin Runes created a new timeline so to speak. ____________________

How old are the characters in this story? Frisk appears to be around 9 years old. Kris thinks they're 14. (Both Frisk and Kris don't know their actual age.) Chara died when they were around 10-11. Susie is around 15-16 (she was held back once) Ralsei appears to be the same age as Kris. ____________________

What's up with Kris' and Frisk's hair? The red bits of their hair is more or less a representation of their souls. That in turn is also why Chara doesn't have that feature. They are soulless. It's a stylistic choice. ____________________

What's that thing on Kris' chest? It's a scar they got from tearing out their soul.

And why do they have weird lines all over their body? Both Kris and Frisk's anatomy resemble that of ball-jointed dolls. They appear just as markings across their bodies. Think of them as elaborate birthmarks. Kris and Frisk are still made of flesh and blood, but are in fact hypermobile. The reason as to why they do is still a little secret :) People here like to refer to these markings as "puppet limbs". You can get a better look at them and the scar in this artwork

Why does Kris have braces? This is why:

Why is Dark World Frisk green? Frisk changes their main sweater colors with Kris when they enter the Dark World.

Can other ghosts see Chara? (pre Darkner transformation) No, only Frisk and Kris are able to see Chara. ____________________

IS KRIS NOW FRISK'S COUNTERPART OR CHARA'S???? :) ____________________

So, was Chara in the locket all along? No, Chara possessed the locket to become a Darkner. ____________________

Where are Jevil and Spamton? Are they in Castle Town? The Fun Gang have already fought these two in the previous chapters and added them into their inventory. Outside of that little dream sequence, neither will be making an appearance. ____________________

Is anyone from Undertale Yellow gonna make an apperance? Outside of a tiny cameo from Clover (that has no greater bearing on the story) no one from Undertale Yellow is going to make an appearance. ____________________

Is (insert character here) gonna go to the Dark World/underground? With the way the story is going to play out, only the main group will be heading to this new Dark World. The rest of the story will be taking place there. ____________________

How did you come up with the idea of Twin Runes? Twin Runes is an offshoot of a separate script I wrote. It's a similar concept but turned on its head. The funny moments in that script made me just continue what now is the start of Twin Runes. I pretty much just wanted to see if I am actually capable of drawing a comic to begin with. So... in a way Twin Runes is my first attempt at a comic ever. If I ever finish Twin Runes, then I know I can tackle turning that mammoth project of a script into a comic too. In the grand scheme of things these two projects are sister series. They have A LOT in common and even share similar plot elements. When Twin Runes is over you will automatically also know certain mysteries of The Other Script. ____________________

What is The Other Script? As of this moment I call The Other Script: "Lost in the In-Between". At its core it's an inverse of Twin Runes. I.e. Kris falling into the underground and being aided by Frisk on their quest to return home. The story and jokes are a considerably more grounded than in Twin Runes and so are the characters. Though they do have their moments from time to time. The overall mood of that script is a lot darker in nature and it's a 200+ page passion project of mine. ____________________

Am I allowed to make fanart? ABSOLUTELY! You are very welcome to make fanart if you feel like it. Please let me know if you do by tagging me, so I can share it with everyone to see so that you get the appreciation you deserve :) ____________________ Can I use the funny faces you draw for memes or for stuff like memes or for profile pictures? That's what they're here for :) ____________________

Is there x ship in this comic? The focus of the story is not on shipping. If it's in the game it will very likely be mentioned or brought up, but that's about it. ____________________

What pronouns do you go with for the human children? I try to stick as close as possible to the games so I use THEY/THEM FOR ALL OF THEM WITHOUT ANY EXCEPTIONS.

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ABOUT ASKS

Asks will open for 24 hours after a new comic has been released. Your questions will then be answered over the course of the week.

Try not to submit multiple asks. If necessary, just keep everything in one post.

Keep in mind that I receive AL LOT of asks, so not every question can be answered...

Questions containing spoilers will not be answered on principle. Wouldn't be as fun if the surprise was ruined, right?

Before leaving an ask (mostly for everyone who's new), please make sure to read the FAQ section above. A lot of times your question might have been answered already :>

I love memes and dumb jokes as much as the next guy, but try not to spam

It probably goes without saying, but please stay civil. I want to give everyone the respect they deserve, and naturally like to be treated the same way.

Please be mindful about drawing requests. It is understandable if you're eager to see a certain character drawn in my style, but I do not like to be bombarded by requests. The more it happens, the less likely I am to do it. Be kind and ask nicely.

I don't take unsolicited comic ideas.

Don't use other people's posts that I reblogged to ask me questions! It has happened before and I do not wish to see this!

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ABOUT SUBMISSIONS

The submission box is for FANART ONLY!

It is meant for those who do not want to submit their fanart to their own blogs, in case they feel scared or intimidated to do so.

ASKS AND REQUESTS THAT ARE SUBMITTED THIS WAY WILL NOT BE ANSWERED.

Please wait until the ask box opens. You can read more on how asks work in the section above.

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REFERENCE SHEETS

The following are ref sheets of characters that don't have established Dark World forms yet (as of writing this comic). The list will be updated as soon as a new character enters the Dark World. Here you will also find references of characters that might appear as surprise cameos, or maybe even completely new faces...

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FULL ART

[abbyshands]

THE LAST OF US, and the israeli themes surrounding it

i'm very glad that people were able to see one of the previous things i published, where i complied a series of links that you can use to learn more of what's going on in gaza, how you can help, places you need to boycott, etc. however, at the end of the post, there is a large part of it that is DIRECTLY meant for people who play or watch the last of us, or play the last of us 2.

the last of us 2 in specific is not at all elusive in displaying the chilling themes we are seeing before us today. what boggles my mind, is that a select few individuals are choosing to keep publishing fics, reblogging them, uploading content that has NOTHING to do with what's going on, etc. also, you can't reblog one thing about palestine and claim that you care, then flood your account or people's home pages in fanfiction, especially during a media blackout. it just doesn't work like that.

i took the time to make a post discussing all of the israeli/palestinian themes that the games as a whole, but mainly the second one, display. if you are my mutual, a friend, a fan of my work, or a fan of the game or show, then i 100% demand you read this. if you can read fics for hours, you can spend time to read a post discussing the universe those very fics came from.

a lot of us are now aware of the last of us's nature in regards to the ongoing genocide, but not many people know the specifics of it. after seeing this post last night (the person who made this, you are an angel), i decided to take the time to dive into the specifics of the last of us 2's israeli nature, on a logical level, but also a moral level, using a list of sources to help me along, which will be linked at the end of this post. i will link the sources along the way so you know which sources i got my information from.

regardless of if this changes anyone's mind about ignoring the media blackout, or not giving a fuck about what's going on period, know this: regardless of how you feel, regardless of what you believe, from the river to the see, palestine will be free. at this fucking point, the people who are on the right side will keep speaking out and spreading awareness, regardless if you are here to do it with us. that's it. now, let's get into this.

UPCOMING DISCUSSIONS: neil druckmann, the last of us 1, the last of us 2, the last of us show and zionism in the show's cast, boycotting the game and show, and conclusion

NEIL DRUCKMANN

45-year-old neil druckmann, who was the co-director and co-writer for the last of us 2, was born in tel aviv, israel in 1978. according to the above source, druckmann was raised in a settlement in the west bank, where he was surrounded by violence on a daily basis. comics, movies, and most of all, video games, became an escape for him as a child, before he and his family moved to miami, floridawhen he was 10 years old.

to water down the full story that you can, again, read here, druckmann went to college to major in criminology. however, when he was in college, druckmann took a compsci course, that later lead to his major becoming coding as opposed to criminology. soon after, he knew he wanted a career that related to one thing: video games.

in the summer of 2013, the last of us part 1 was released, and it was renowned as one of best video games to have ever been made. in 2020, druckmann and nd released the last of us part 2, followed by the 2022 release of HBO's show based on the first video game. druckmann played a huge part on set, being not only the co-creator and co-writer of the show, but also having directed an episode himself. druckmann will remain involved in the second season of the show.

bringing up neil druckmann’s background is a crucial aspect of what’s upcoming in this post, hence why i wanted to discuss it at all. druckmann growing up in israel is one of the sole reasons the last of us was ever made at all, and not only that: it is the reason why the second game is the way it is, because neil druckmann planted his israeli ideologies right into it.

so, let’s speak on it.

THE LAST OF US 1

on the official the last of us podcast, neil druckmann himself discussed the last of us' link to the israeli-palestinian conflict, and now, genocide. the general consensus was that people will go ridiculously far for the people that they love. this idea of druckmann's was revealed when he discussed the first time the main character of the first game, joel miller, kills somebody to keep his daughter, sarah, safe from harm. this is one of the first scenes in the game prior to the time jump, where the pair's neighbor becomes infected, and attacks them. joel uses a gun to kill him so that the neighbor doesn't harm sarah.

the following is a quote i would like to copy from this link word for word: "Druckmann said he follows "a lot of Israeli politics" and compared the incident to Israel's release of hundreds of Palestinians prisoners in exchange for the captured Israeli soldier Gilad Shalit in 2011."

the plot of the first game, as neil druckmann explained, is based around a moral dilemma. he discusses how if joel had to kill a man to save a random kid, would he have done it? druckmann himself says, "but when it was his tribe, his daughter, there was no question about what he was going to do."

while the first game, in my opinion, isn't as heavily centered around israeli themes as the second game is, regardless, it is heavily crucial to note that the basis of the first game derived from a real-life incident involving israel and palestine, where hundreds of palestinian people (edit: i believe it is more than 1,000) were released from imprisonment, all in exchange for one israeli soldier. in the second game, the israeli-palestinian themes, if you look closely enough, scream out at you.

let's talk about it.

THE LAST OF US 2

"There is a common saying that if you seek revenge, you should dig two graves. Playing The Last of Us Part II is like being made to dig those graves with your teeth (Zacny)."

nd's 2022 the last of us part II is described down to the last letter in the above quote, albeit the game's utterly obvious israeli nature. in this post, the creator, rob zacny, goes on to discuss the game's theme of a "cycle of violence," and how the game reminds you in each grotesque encounter of the cruel ideology behind that. due to what occurs in the last of us 1, joel, basically, reaps what he sows when he is murdered for killing a surgeon who, along with the group said surgeon was a member of, the fireflies, was planning to perform surgery on ellie, who joel had since grown close to, in search of a cure for the infection that has plagued their world for decades. four years later, the second playable character in the game, who is introduced in the first half hour or so, abby anderson, kills joel to avenge the surgeon who was murdered, who happened to be her father. from then on, the game follows what, again, can only be described as a "cycle of violence." joel kills abby's dad, abby kills joel, ellie kills all of abby's friends, aims to kill abby in the final battle of the game, but spares abby when ellie's conscious morally attacks her for her decisions.

throughout the 24 odd hour gameplay, the player is allowed to play as ellie and abby, abby's parts of the game being arguably longer than ellie's. the idea this, i believe, is meant to introduce, is one of perspective: the player is meant to be loyal to joel miller once the first game has been finished, so when he is killed, they are inclined to make abby pay for it. however, abby's perspective, both in the past and as the present course of the game goes on, is meant to make the player understand why she did what she did. thus, the moral: there are no good guys in this game. every person is as equally bad as the following, and no one is innocent. however, when we consider the israeli-palestinian nature of this ideology and how it is presented in the last of us part 2, it simply doesn't work like this.

“I suspect that some players, if they consciously clock the parallels at all, will think The Last of Us Part II is taking a balanced and fair perspective on that conflict, humanizing and exposing flaws in both sides of its in-game analogues. But as someone who grew up in Israel, I recognized a familiar, firmly Israeli way of seeing and explaining the conflict which tries to appear evenhanded and even enlightened, but in practice marginalizes Palestinian experience in a manner that perpetuates a horrific status quo (Maiberg).”

when discussing the last of us part 2’s plot, one could 100% argue that there really aren’t good guys on the dual sides of the game. if you compare ellie and abby, you know that ellie went on a murder frenzy to get revenge on abby for killing joel. on abby’s side of it all, you know that abby wasn’t all that great before coming across lev and yara, and even then, she killed people to do what everyone in said world aims to do: survive. prior to finding lev and yara, abby had killed numerous people before, and did, as the player sees, handle joel very cruelly before she ended up killing him. here’s one more example, one that’s more random (but it’s simply to compare abby vs. ellie’s people, if you will): joel and manny. joel went on a cross country murder spree to keep ellie safe, and killed a building full of people at the end of the game to save her life. in regards to manny, if you recall a discussion that manny and mel had in the beginning of abby’s parts of the game, the pair are discussing a happening where a group aside from the wlf, the seraphites (which we will discuss later) attacked them because the wlf killed children who were a part of their (the seraphite’s) group. manny voiced how he would prefer to keep their people (the wlf) safe, and challenges mel, implying that those “kids” weren’t really kids, because they were the ones who attacked their guys (the wlf) in the first place. as a general consensus, manny kills several people throughout the course of the game, which can be inferred or seen by the player, making him, for the sake of what i’m getting at, a bad guy.

we see in the game how ellie and abby’s people are unanimously bad. the last of us is set in a world where laws and morals are thrown out the window for the sake of survival, so this is no surprise. however, this dual perspective, “no bad guy,” ideology simply doesn’t apply in the world today. you may compare ellie vs. abby, or joel vs. manny, or bring in more characters in the game, such as tommy, nora, etc, claiming that all parties are bad. that makes perfect sense. but think about it like this: if this is meant to represent the israeli-palestinian perspective, and i give you the scenario of a five-year-old child versus a full-grown IDF soldier, what would you say? isn’t there an obvious answer as to who is in the wrong and who’s not? maiberg is 100% right in claiming that the game marginalizes the real-life palestinian experience. abby, ellie, joel, manny, etc, are not real people. but the thousands of innocent children who have been killed for the ridiculousness and inhumane israeli regime are. you can’t say each side is equal in awfulness, not when one side is full of innocent men, women, and children, some of which could never make it into a year of their lives. not when if one side pauses their battle, there would be a ceasefire, but if the converse pauses their battle, they would all be dead.

“And then they cheered afterward,” Druckmann, who grew up in Israel, recalls. “It was the cheering that was really chilling to me. … In my mind, I thought, ‘Oh, man, if I could just push a button and kill all these people that committed this horrible act, I would make them feel the same pain that they inflicted on these people.’"

remember how i said discussing neil druckmann's background was crucial? it is. druckmann, who, again, was born in israel, told the Washington Post that the game's cynical themes of revenge and suffering is linked to the 2000 killing of two israeli soldiers (tw, lynching), who were killed by a mob (maiberg). allegedly, some of the incident was remembered in film, that druckmann watched, and in his interview, he explained his angry nature that came about in response to the video, and how he desired vengeance.

the last of us part 2 is mainly set in seattle, washington, where secondary main character, abby anderson, resides in with a militia group named the wlf (which we will also delve into later, alongside the seraphites). maiberg brings out how seattle, on a visual and mechanical level, is based around "a series of checkpoints, security walls, and barriers (Maiberg)." he notes: "[seattle] looks almost exactly like the tall, precast concrete barriers and watch towers Israel started building through the West Bank in 2000." here are side by side images for comparison:

now that we’ve discussed this, let us discuss one of most prevalent aspects of abby’s part of the story: the wlf, and the seraphites. the seraphites are a religious group, nicknamed “the scars” due to the scars the members of said group carve into their faces to display their membership, who the wlf, a makeshift militia group, runs into conflict with following the fall of FEDRA, the country’s former military. in a note in the game, a fedra commander explains that the city of seattle has been lost to the wolves (the wlf), who he names as terrorists. maiberg brings out the following: “Here, there are parallels to early Zionist organisations that fought British rule in the region. These organizations were also described as terrorists, and leaders of those organizations later became leaders in Israel, much like how Isaac, the leader of the Wolves, came to control Seattle. Other in-game notes, scenes of urban ambushes, and the bodies of executed FEDRA officers laboriously walk the player through the cliche "one man's terrorist is another man's freedom fighter (Maiberg).”

maiberg also discusses a series of manners in which the fictional seraphites resemble real-life palestinians. here are the three ways he specifically discusses in his original post, but there are much more:

“The same note from the Seattle FEDRA commander that bitterly says the Wolves are in charge explains that it's now their responsibility to not only feed and shelter the people of Seattle, but deal with the "religious fanatics," referring to the Scars.

Later in the game, Ellie finds a location called "Martyr Gate," where the Scars' spiritual leader apparently died, indicating a religious significance of a specific and disputed location, and emphasizing the notion of martyrdom as central to their culture.

The Scars are able to get around Wolf patrols and various barriers around the city via an elaborate, secret system of bridges between skyscrapers. These function as a kind of flipped version of the underground tunnels Palestinians use to bypass Israeli blockades and other means of limiting free movement in order to get supplies and carry out attacks on Israel.”

one more post i would like to link is this one, the very reason i decided to make this in the first place. it captures the zionism in the last of us 2, along with the wlf vs. seraphite conflict, perfectly. i very much recommend you read it, as it explains it much better than i can.

the general consensus is this: the idea that the seraphites are equally as bad as the wlf, which implies that palestinians are equally as bad as israelis, simply doesn’t apply in 2024. as i said before: what is so vile and cruel about a newborn baby? a pregnant woman? an innocent man? NOTHING. part of the reason the last of us captures this so poorly is due to the apocalyptic nature of the world the game is set in. obviously, people would go rogue if their lives were put in peril by not only animalistic infected beings, but also humans. however, we live in a real world where laws and morals do, in fact, apply. this isn’t a video game where those are simply discarded. what the wlf and the seraphites did to each other in the last of us 2 could be any other day for them: but what israel is doing to palestine right now is a war crime, a genocide, and plainly vile.

THE LAST OF US SHOW, and zionism in the show’s cast

i don’t think i need to spend a lot of time here, because if you have made it this far, you are well aware of the real nature of the last of us and the last of us 2 already, so you must understand that the show is HBO’s take on the game’s story (which, need i remind you show-wise and game-wise, neil druckmann played a huge part in). i simply bring it up so that people are aware of the fact that the 2022 show is ALSO linked to the ongoing genocide, and the cast is a major part of that (however, if anyone would like me to delve deeper into the show, let me know, and i 100% will).

for the following season which is a sequel to the last, theorized to center around the happenings of the last of us 2, members who are set to play a few crucial characters in the game have been announced. this includes isabela merced, who will play dina woodward, ellie’s romantic partner for most of the game, alongside kaitlyn dever, who will play abby anderson.

many people freaked out when they realized kaitlyn dever will be playing abby, but not for the reason they should have been. if you are a last of us fan, you are well aware that abby’s muscles are a central aspect of her persona. yet, kaitlyn dever is on the skinnier side, and according to some, does not resemble abby.

but this is not the issue that is most crucial to discuss.

kaitlyn dever is a zionist, and so is isabela merced (i am under the impression that both of these claims are true, but i had trouble finding a source i deemed reliable enough to link here. if i do, however, i will). now, while i’m not here to riddle you with conspiracy theories, people believe this (zionism) is the reason kaitlyn dever in specific got the role of abby anderson (there is a separate actress, shannon berry, who more closely resembles abby, but made a post in solidarity with palestine. this is theorized to be the reason why she didn’t get the part, and why kaitlyn dever was announced shortly after this particular actress made said post). let us not also forget that ellie’s actor, bella ramsey, is also in support of israel, which can be seen here.

(edit: i was informed since making this that bella has a story on one of their social medias, showing their alleged support of palestine and calling for a ceasefire. i’m going to link this post where i spoke on it, so you aware of what i think on that front).

all of the previously provided information brings me to my final part of this post: boycotting the games, and boycotting the show.

BOYCOTTING THE GAME AND SHOW

i could go on and on about why this is so crucial, but we would be here forever. however, i’m going to paste in what i wrote in this post surrounding the topic of boycotting, as i personally believe i got it down quite well in regards to the last of us (the show and game). it reads:

"DO NOT BUY TLOU, TLOU REMASTERED, TLOU2, TLOU2 REMASTERED, OR ANY GAME FROM ND! neil druckmann has donated money to the IDF in the past. & where do you think he’s getting his money from? yeah, you got that. watch gameplays, pirate these games, or buy them secondhand. several shops sell used games. & for those of you who went and purchased the game anyway, knowing about all of this? fuck you.

if you think your $10 doesn’t matter, then think about this: okay, one person spends $10 on the game. whatever. but when 100,000 people do it? that’s a million dollars, going into the hands of a zionist, who is using YOUR money to help kill innocent men, women, and children. put that in your pipe and smoke it.

it is not just the games you need to boycott. HBO’S show also needs to be. follow this link to learn of more movies and shows you need to boycott, & the reasons why, including the last of us. let’s also not forget that dina & abby’s actresses are in support of israel, and BELLA RAMSEY, ellie’s actress, has also shown support.

boycott. the fucking. show. there are a million websites where you can pirate it, so you are not giving any of your support to it. resist."

what it comes down to is this: purchasing the game or watching the show directly from nd or HBO is not a must. spreading awareness and speaking out about palestine is. you are more than capable of not purchasing the game, or watching playthroughs, or buying the game secondhand, etc. you are more than capable of pirating the hbo show so that money is not made off of your engagement. it's not that difficult. i have said it once, and i will say it again: boycotting is a form of resistance, and that is the least we can do for those suffering in gaza as you read this. resist. people openly admitting that they went and purchased the game anyway simply make me sick. i hope you know what an awful thing to brag about that is, and how despicable of a human it makes you.

CONCLUSION

there's so much to discuss when it comes down to this topic, and it's possible that in the future, i will make a second part to this. however, for now, i really hope this does suffice. i believe knowing of the game's israeli nature is a step. but knowing the specifics is a leap, one that i need everyone engaged in this fandom to take, hence why i wanted to make this post at all.

i'm not saying anyone needs to quit liking the games or the show or whatever. i'm not saying you need to delete or throw away a game you spent $60 on. i've seen so many people who are way too dense to understand that. what i'm saying is that it's crucial you are at least AWARE of the content you are consuming. aware of why it even came about at all.

in my opinion, you can't separate the game from the roots. but you can remain aware of the inner workings of this world you've grown to love. you can keep spreading awareness about it, and you can do right by the people in gaza by discussing the ongoing genocide, and using your voice as much as you can.

i'm so lucky to have been able to gain a following on here in such a short amount of time, even if that following has gone up and down because i've chosen to post more about palestine as opposed to my previous content (granted, that fact won't deter me at all). i will keep using said following to keep speaking out for the people in gaza, and i encourage you to do the same. keep reblogging. keep speaking up. keep using your voices. the people in gaza need us. be there for them.

FROM THE RIVER TO THE SEA, PALESTINE WILL BE FREE 🇵🇸🍉.

LINKS AND RESOURCES:

neil druckmann | the official the last of us podcast | the not so hidden israeli politics of the last of us 2, by emanuel maiberg (i highly recommend you read the full post. it discusses several crucial details i didn't discuss in this post) | galid shalit prisoner exchange | Neil Druckmann Speaking on the Washington Post | 2000 killing of two israeli soldiers (TW: LYNCHING) | 'The Last of Us Part II' Is a Grim and Bloody Spectacle, but a Poor Sequel | Veiling Colonial Violence: The Last of Us Part II, Israel and the Erasure of Power (full disclosure, i did not read the full post. i merely needed the quote in the very beginning of it) | zionism in tlou2 | isabela merced | kaitlyn dever | bella ramsey's support of israel

PALESTINE LINKS

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[weirdmageddon]

the shift in lore literacy in homestuck’s fandom

i was thinking about how the people who got into homestuck after it ended—whose interactions with the comic are in a static, archived state, not an ongoing thing—missed out on information that was more common knowledge in the fandom at that time. i don’t know if this is true since i’m not on tiktok, but i wouldn’t be surprised if it was. the fandom certainly isn’t the same as it was before.

ive found that many people reading homestuck now simply do not understand things in homestuck that were common knowledge back in the day, with calls for “homestuck literacy classes to become mandatory” in response to baffling takes because so many people just now seem to have glazed over the comic without absorbing important plot points, and i think i know why this may be. i ended up writing a post reflecting on my time with the comic, my perspective and how ive seen this change. i still think and write about homestuck because it still fascinates me. earlier i quote retweeted that call in my thread talking about the temporal relativity of dave and rose’s god tier ascension in the green sun, saying “my homestuck literacy is 100% so guess im doing my part as a teacher by pointing out whatever i think is really cool about it”. this post im writing now started out as a reply to this tweet i got in response.

i joined the fandom in 2013. i was 11. i had been aware of it since at least late 2011, early 2012 when my friend ryan in fifth grade told me to read it but i couldn’t get past the first few pages. i remember writing a journal on deviantart around this time (late 2011-early 2012) that was mocking people who typed like gamzee, which ironically was very karkat of me. and i remember someone on flipnote hatena i was following was making flipnotes with the alpha kids.

i dont know what caused me to flip the switch into reading it but 2013. i got into it somewhere between april (i think closer to april—i remember it being quite a span of time between the last update before HOMOSUCK dropped.) this was the most recent page the comic, meaning there was no > [S] ACT 6 ACT 6 at the bottom.

i got into it during a pause in updates, which looking into it, was the year 4 megapause. i wasn’t sure of the month until seeing the news post detailing the reason for the hiatus and the status report of the comic’s development at that time. pretty cool i could narrow it down by referencing the dates of those updates and the news post to correspond with the pause!

according to readmspa, the year 4 megapause was a 59 day hiatus from Apr 14, 2013 ==> (EOA6A5) running to 12 Jun 2013, [S] ACT 6 ACT 6. then for a few months there were the first updates that i was apart of the fandom for.

and what an exciting time during the story get into the webcomic! when the updates resumed in june, part 4 of homestuck had begun. here was a glimpse of the updates in that span of time before the next hiatus began in october.

that hiatus was none other than the gigapause, the longest hiatus in the comic, which started october 2013 and lasted for a YEAR, and i already posted about what happened on the date of return.

but here were the main events happening in the story at the time i first actually got interested in it. i wasn’t aware of the full context of them then like i am now, but i was looking at the most recent updates anyway with interest:

the alpha kids just emerged as god tiers from their slabs in derse and prospit, blown up by the condesce and caliborn / lil cal-possessed b2 jack noir.

the journey to the new session started 24 hours after jack called an early reckoning in descend—for context that was about when dave entered around midnight central time and before jade even entered. it’s pretty easy to forget that side 1 of homestuck basically happens within the span of a single day—and at this point in the story, the 3 year journey (which was also 3 real life years) had just ended. john and jade emerged from the other side of the yellow yard through the fenestrated plane on LOMAX. john’s real body was asleep upon arrival in the new session, while his dreaming projection out in the dream bubbles came across vriska’s ghost ship to learn lord english lore with vriska and aranea, and go on the treasure hunt where they found the ultimate weapon at the X mark out in in the furthest ring. in the dream john stuck his hand in the juju, started warping all over canon which removed his real body from the ship on LOMAX. he zapped around for a while but eventually zapped back to LOMAX, now awake, completely out of the loop of what everyone else is up to, and bored as fuck. what was everyone else getting up to while john was asleep?

jade was now once again within the domain of the green sun. im pretty sure her space god doggy essence comes with the power to sense what was anywhere within the domain of the session since her face looks like she arrived at that spot with intent (and she literally has jack noir’s exact powers from bec’s prototyping. also this panel). she immediately dispatched b2 jack to the edge of the incinisphere, defending the newly god-tiered jane and jake. i think even if they weren’t in any danger, she would have warped to them instantly anyway because she COULD now, and i can imagine she wouldve been sooooo eager to meet everyone. even davesprite comments about her rapid departure.

the pre-scratch refugees arrived during the only time serious shit ever went down in the nobles’ months-long inert void session. the condesce used her freak psychic bronze-cerulean powers to commune with jade’s bestial side and mind controlled her, which is super dangerous as someone with the powers of a first guardian. she then used jade’s powers to corrupt jane with the tiaratop. no funtime meetup allowed!

the trolls’ meteor with rose, dave, and the remaining trolls was pulling up into the new session with no way to slow it down. grimbark jade warped there once it was in the incinisphere and took active control. she warped everyone off the trolls’ meteor and sent them to LOMAX.

as john was losing his mind on LOMAX waiting for everyone, the meteor crew warped in. after 3 years he finally reunited with rose and dave, and at least saw the trolls in person. close curtains, end of A6A5. this was the newest [S] flash page at the time, one of my first impressions of this comic, and still one of my favorite flashes. knowing the context of the flash in the story only enhances the retrospective joy i have at getting into the comic at the time i did because it’s such an anticipated moment in the story for everyone, while for someone with no context of the story it was still enjoyable.

so that’s what was going on plotwise when i joined the fandom.

from this time, through those few months of updates and through the gigapause, i was familarizing myself with the characters in the story and overseeing the state of fanbase, getting myself acquainted with the story and wrapping my head around everything.

at that time i found that a new-ish group called colab HQ who were producing a let’s read homestuck series on youtube. hearing the voices and the pacing of it like that really, really eased me into it (maybe it was my adhd that gave me trouble actually starting it?). i caught up to a certain point using lets read homestuck and from that point was able to continue with the comic on my own, and by the time the gigapause came to a close i was fully caught up. i remember the rebranding of colab hq into voxus about a year and a half after i discovered them.

but.. back to the main point of my post. even these posts from hussie’s tumblr exist in archived states. how many new fans know about hussie’s old tumblr? i don’t know, unless theyre a new fan that must scour the internet for more deep more dives on homestuck and its fandom as a whole. but since hussie deleted his tumblr (it exists archived now on homestuck.net which, alongside from the unofficial homestuck collection, has nearly singlehandedly kept the most important relics of the fandom and lore archived), that page is not an active part of the fandom now, because it’s gone. it’s a pile of bones. it’s not living and breathing. it’s in an archived state. the whole thing is already there. homestuck and its fandom history is something you now binge instead of slowly consume and meld with as it comes out. it’s now this rapid information intake that you might forget about if you read it now instead of engaged alongside it. you’re not surrounded by people actively talking and theorizing about developments anymore. the ability to have those sorts of conversations during the ongoing development of the story reinforced concepts, ideas, and lore over and over as we tried to make sense of it.

being in a fandom when the author is still delivering the story is like nothing else. it allows you grow alongside the characters and engage meaningfully with the media and people in the fandom space around you. it feels like you’re participating IN the media itself, especially if you’re interfacing with the creator. it’s in always having something to theorize or talk about and speculate. and people become very aware of these sorts of forgotten story facts because they were applying the logic of the newest official post from hussie into making their sburb ocs or something and share resources and discussion posts about “what just happened in this update?? recap????” it was this cultural osmosis thing. i think this is why homestuck literacy is now at an all time low, at least from what i can see on twitter.

reading homestuck then vs now is like the difference between serialized shows with spaces between episodes to discuss stuff and time to reflect and learn and become attached to the story, narrative, worldbuilding and its characters, vs the netflix model where it’s all dropped all at once and people forget about it after binging.

at this point in time im getting the sense that “homestuck elders” now are no longer just people who were there since 2009-2010, but now also people who were there while it was still updating, probably stretching into 2014-2015. there are many sources of lore that were common knowledge in the fandom at the time that, since becoming susceptible to the deletion of content and link rot, and with the thanosing of mspaforums, are no longer accessible at the source. and a lot of people moved on after it ended, especially following the epilogues, the kate drama, and the whatpumpkin-sarah z drama, leaving a void of information behind if not for archivists and people such as me who continue to keep old facts relevant in discussions. my friend has called me a fandom scholar before and seeing this post i think i get what they mean.

EDIT: there is a series of video essays ive watched multiple times (because theyre that good) and they are exactly what modern fans need to see more of. they really help contextualize the comic and the themes present in it help you appreciate the basic fabric of homestuck a hell of a lot more. i highly recommend them and encourage any fan of homestuck to watch them, or someone considering getting into homestuck to watch the first one.

i think this is arguably as close to the “mandatory literacy class for homestuck” that person was talking about as you can get, especially the first video.

additionally, there is also the website https://rafe.name/homestuck which is essentially a sparknotes for homestuck and can help you follow developments in the comic itself.

[sinnabum45]

Link to help Palestine and other resources! 🇵🇸

[Plain text: Links to help Palestine and other resources! (palestine flag). End plain text.]

[Image description: gray toned digital comic of Ace Attorney characters Franziska von Karma and Miles Edgeworth.

Page one: Franziska has her right arm in a sling due to being shot. She is quickly walking with an angry expression. She has a memory of when Miles and her were kids. She is giving Miles her cat doll and Miles is flustered, embarrassed. Manfred is smiling fondly behind them. Then she remembers studying intensely and being frustrated when she didn’t meet her own standards. Text throughout the page: “Nothing I did ever mattered. Nothing ever mattered…! Nothing… Nothing!!” Miles calls out the Franziska and Franziska’s face contorts with anger. Miles: “Where are you going… Franziska?”

Page two: Franziska turns toward Miles and says, “How did you know I was here…?” Miles looks worried. They start talking to each other, but there are no text. Franziska is thinking, “You…! How dare you show your face to me?!”

Page three: Memories of Franziska being left behind are shown. First, Miles is nine years old and covering his eyes, crying. He’s walking ahead of Franziska while she tries to catch up to him. She reaches her left arm to him. Second, Miles is twenty years old and Manfred is walking next to him with a hand on Miles’ shoulder. Miles is frowning and Manfred is smiling. Franziska is thirteen and she is left behind in disbelief. There is a big split in the middle of the page, separating Franziska from them. Text in the split represents Franziska’s thoughts: “All you’ve ever done was leave me behind… Don’t act like you care now! I’ve always hated you!”

Page four: Franziska is back to being depicted as the present Franziska. Now she is standing in the middle of darkness alone. Franziska: “I can’t change who I am. I can’t throw away everything I’ve been until today.” Miles responds, shocking Franziska, “I believe you can. Today, you chased after me, after I’ve left you behind all these years.” Franziska looks up at him with wide eyes, but still skeptical.

Page five: The page is in color. Miles and Franziska are facing each other. Miles: “And that’s why we’re standing here now, side by side.” Franziska: “…!”

Page six: The page is gray toned. Miles looks at Franziska with a determined look. Miles: “But I have no intention of stopping. If you say you are going to quit your walk down the prosecutor’s path… Then this is where we part ways, Franziska von Karma.” Franziska is listening, dumbfounded.

Page seven: Franziska looks down, clenching her jaw. Franziska is facing away from viewers and Miles is facing her. Franziska: “I… I…”

Page eight: Page is in color. Franziska is facing the viewer and she is crying. Franziska: “I am Franziska Von Karma. Don’t think I’m going to walk in your shadow forever…”

Page nine: Page is in color. Franziska loses her eyes, still crying and facing Miles. Franziska: “Our battle… Begins now… So you had better prepare yourself, Miles Edgeworth!” They are both facing away from the viewers, walking together toward the future. Franziska is wiping her eyes with her left arm.

Page ten: Page is gray toned. A memory of Franziska when she is two years old and Miles is nine. Miles is crying and walking ahead of Franziska. She is reaching out to him, but she is left behind. She starts crying by herself. A hand is extended towards her and she looks at it, surprised. Franziska becomes happy that Miles came back for her and she holds his hands, smiling. Text: “Thank you for being here…” End description.]

The scene that made me cry 🥲 I have so many thoughts about it— 🏃🏻‍♀️🏃🏻‍♀️🏃🏻‍♀️

HC (TW// suicidal ideation): I love that they added this scene to show how Franziska was also going through it, too. She was also hurt by what Manfred did and the pressure of the “von Karma name”. She’s literally a teenager going through all of this bs. I also loved that Miles related her to Adrian because YES. The similarities between Adrian, Franziska, and also Miles throughout the case- they were all dependent on their mentor and tried to act “strong” to cope with their self perceived weaknesses/failures. I personally think Miles was also suicidal and that Franziska was going down that same path. Her throwing away her whip is a hint at that HC. Her whip represents her strength and being a prosecutor- AKA her life, since that’s all her and Miles lived for at this point. Unlike Miles tho, Franziska had someone there to stop her and help her before she went down that path. I also like to think that because they were so caught up in their pain, they felt alone when they had each other the whole time. I don’t blame them cuz Manfred made it so they were only “worthy” if they were “geniuses” like he is. They put being the best prosecutor over EVERYTHING else. That’s going to mess anyone up, especially children who just wanted their dad to love them. AHHH I LOVE THEM 😭😭😭

I took out so much dialogue cuz it was already getting too long. I think the Adrian line could make for it’s own comic 🥺 (I love that they directly relate them so much SKLKJGK😭)

[incorrectbatfam]

Types of obnoxious batfam stans

Written by an obnoxious batfam stan

Not really a rant but something I've noticed over the years interacting in different spaces and I've decided to make your problem now.

Please note that I'm not saying there's any "right" way to be a fan because we all suck by virtue of being comic nerds, but there are certain kinds of batfamily fans that stick out to be in particular.

Anywho, here are 12 kinds of annoying batfam stans that you've probably run into and you better get a laugh out of it *points gun to your head*.

1) The Newbies Who Never Heard of Google

There's no shame in being new to something. It's a phase that we're all guaranteed to go through, whether we're 11 or 101. However, in this day and age, so many things can be easily googled that you don't need to shout every question you have into the VVorld VVide VVoid. If you need comic recs or a reading list, google it. If you wanna know a character's origin story, google it. If you need to know the color of Batman's underpants in a particular issue in 1965... well that's probably too specific for Google but Reddit will definitely have an answer.

2) The Middle School Authors

Before the 13-year-olds get up in my notes, I'm not saying everyone that age writes like this. Middle school is a state of mind. These fanfic writers usually stand out in a few ways.

They're oftentimes first-person POV or reader-insert. Give Y/N a break, she's tired.

The grammar is stunningly atrocious. I get if you're inexperienced or if you're writing in a second language, but we are in the prime era of autocorrect. If you need help, it's right there. Also, fuck c*nsoring b*d w*rds and fuck "unalive."

The characters do things that are out-of-character because the author is projecting their own personality. Bruce Wayne is a lot of things but he does not listen to the fucking Mountain Goats.

There's a lack of experience or research when it comes to certain topics. That's not how physics works. He can't walk that injury off. And that's definitely NOT how you do the horizontal hokey pokey.

3) The Neckbeards

Unfortunately, these basement-dwelling mouth-breathers tainted the image of what a comic fan is, though that's been changing recently. Still, we've all seen them. They gatekeep via pop quizzes, 'cause obviously you're not a real fan unless you know what page 10 of Batman #138 smells like. They give unsolicited commentary on people's cosplays, nitpicking the guys and being gross toward women. And heaven forbid the comics add a little diversity.

4) The Moviegoers

Nothing inherently wrong with getting into the fandom via the movies, nor is there anything wrong with sticking to that. I just feel like we're two different species of Galapagos finches, you know?

5) The Christopher Nolans

Separate from casual fans of the Nolan movies. I'm calling them the Christopher Nolans because these people have a tendency to reach for the grimdarkest thing possible. It's like they cannot fathom Batman having any other emotions besides punching and gargoyle brooding.

6) The Canon Purists

Wanna share a fun headcanon? NO, because Stephanie Brown never used cherry lip balm in the comics so therefore that must be the absolute truth. These people are a stickler for comic accuracy to the point where it's like... why bother interacting with the fandom in the first place? The worst part is when they're adamant on following a single continuity and refuse to consider anything else. This is comics we're talking about. Everything either has been or will be canon at some point.

7) The Fanon Worshippers

On the opposite end of the spectrum, we have the people who base their entire perception of the characters on something either they pulled out of their ass or that their mutual with 16 followers came up with, despite evidence directly contradicting it. I love WFA, but I feel like that's partially responsible for further perpetuating certain popular myths. Also, these fans tend to focus solely on the batfam/their ships. It's one thing to have some people in the foreground vs. background, but put some respect to Bart Allen's name you goddamn cheesecakes.

8) The Golden Age Dads

These guys aren't really obnoxious. I actually find it kind of cute how they think Jason Todd is still dead.

9) The Chronically Online

I have a rule of thumb when it comes to discourse: if it's not something I'd hear about at a bar, it's not worth my mental energy. Some people haven't gotten the memo, though.

These are either the well-intentioned but misinformed teenagers or grown-ass adults beefing with children because they don't have a life. They have takes that are oversimplified, rage-inducing, TikTok algorithm attention-grabbers that no one cares about in real life.

Don't get me wrong, we've got a bunch of issues in comics and fandom that are worth discussing. However, there comes a point where you're splitting hairs and need to go the fuck outside. I'm not gonna link the post 'cause I don't wanna call them and their 7 notes out, but the other week I saw someone saying Stephcass was a racist ship because something something colonialism parallel. You gotta be Elastigirl to have that kind of reach.

10) The Corporate Simps

I love comics. I appreciate the writers and artists. However, you will find my carcass in a ditch before you catch me licking the boots of DC/Warner Bros. Basically, these fans, fewer as they are, can't seem to fathom that their favorite franchise can (and does) put out some steaming motherfucking garbage.

11) The Hot Cosplayers

Not actually annoyed, I'm just a little jealous. Stop being hotter than me, please and thank you.

12) The One With A Punchline For Everything

Wait–

[lenny-link]

In regards to the SU x TF2 AU:

I have been racking my brain over here trying to understand the decision to make RED Spy a ruby and BLU Spy a sapphire. Nothing about his portrayal seemed to line up with canon depictions of rubies or sapphires, and RED Spy's gem isn't even faceted like a ruby. Also the obvious joke of making him a Bixbite, like the corrupted gem who was a giant crab, seemed obvious. Then it dawned on me.

He's a color-change sapphire, isn't he? That's why his RED version has a sapphire cut despite supposedly being a ruby? And also potentially why he's the only one we've seen RED and BLU variations of (though I get the impression that's also so one can be paired with Scout's Ma and the other with Engie) when all the others have been RED(-ish) isn't it? Or am I completely off base with this theory?

i LOVE your theory i wish you shared your thoughts before i elaborated the ‘lore’ of the au

but since ive had lots of questions about details id like to mention that:

1. i originally had not planned to make any story behind the su au, so if there’s things that dont make sense, don’t align with canon and stuff, it was not planned soo im working with what i have :p

2. i was hoping no one notices the mistake i made of swapping the gems ruby/sapphire lol its because at first i had drawn Blu(sapphire) Spy in that page, but i thought it was confusing since there was RedSpy x Scout’sMa and Scout next to him, so i just changed the colors and i didnt change the gem bc i was lazy :P

3. the main reason i put both Blu/Red Spy was to create fusion, i thought to add an extra merc with a blu color would be cool for the fusions that isnt from ClassicTeam, and idk i couldn’t think of a better merc to have as a pair than Spy and i thought there is more potential with 2 Spies to work on a story than any other merc idk

(yes i didnt put garnet as the fusion so as not to make confusion with Demoman being a Garnet, and we don’t have an Amethyst anyways so ¯\_(ツ)_/¯ )

4. it is IMPOSSIBLE to align each TF2 character with a SU character, there’s nothing in common between the two medias whatsoever, so the dynamics that im gonna be making for the TF2 au are gonna be a bit mixed, for example: RedSpy and BluSpy having Ruby/Sapphire’s dynamic (kinda), but also they have the same dynamic as Rose/Pearl, for the part where Red would go with a human (Scout’s Ma) and Blu would be jealous (just like pearl), HeavyMedic also would be having Ruby/Sapphire dynamic (the part where they fuse for the first time just like Ruby/Sapphire in the show, im still working on comic about this btw)

5. also im mixing with well TF2 canon story + trying really to make an original story too, soo its a whole mess ik :p im trying just bear with me ^^"

but thank you for pointing that out, it makes me happy knowing people actually pay attention to details thats super fun! ill make sure to not miss any details next time! :D

[bubsmiraculousau]

These are my OT5 brainstorm pages. Elaborations on how I got to these below! I reference concept pages so if you see any pictures you don't recognize that's why. <3

First up is Cat Noir who I think is already perfect lmao. For my version though I wanted to lean closer to his PV design because I love it, like his larger triangle nose (you can't really see it at the angle in my drawing but it's there I swear!), the bigger bell, the more elaborate belt, etc.... so basically everything ... just in my style instead.

With my designs I think that whenever someone transforms into their miraculous persona it's based on what they think a hero looks like or what they think is cool. I think Adrien reads a lot of comic books and is a fan of characters like Batman (relatable for him LOL), Catwoman, and Nightwing, so his suit reflects that kind of vibe.

Extra: I decided that Ladybug and Cat Noir's masks go all the way up their foreheads because it looks nicer in my 2D style with their bangs haha.

Next up is the one and only Ladybug! Unpopular opinion but I actually like the all red suit! My hypothetical series would be a webcomic, and I feel like in action scenes the red differentiates her from Cat Noir esp at a distance, and more red style keeps their color ratios even.

I like the ladybug designs with a bunch of black sections they're very cute! Just not for my au. (I think it's just me but I find drawing the ladybug designs with inverted red dots to feel sacrilegious in a way,,, just my neurodivergent brain lol)

And I am a long ribbons truther, I love them and they can be very expressive. Also I knew I wanted Marinette to have a more vertical circular eye shape because her shape vibe is definitely a circle (Adrien's is triangle) and it reminded me of the eyes for the main girl in princess jellyfish (I've never seen it, love the style tho)

Her hair is a more bright blue to contrast her hair against her suit, and make her look more cartoonish. I imagine her idea of a superhero comes from kids shows and some magical girl anime. So her hair has a plastic shiny texture to it because when she thinks 'superhero' she thinks of kids toys. Also I just like color! The blue kinda gives comic spiderman vibes imo (the version with the light blue instead of the navy)

Queen Bee definitely changed the most throughout the design process. I really like her in-show design so I just tweaked it to be more my vibe. Adding a crown because she's a Queen.

Something that I've noticed is that Alya and Chloe actually share a lot of traits (There's even some old concept notes where I believe Alya and Chloe either switch names or roles at some point?? The miraculous concept info rabbit hole is real y'all) and I think this comes through in their final designs.

Like they both share a middle part, which bothers me for some reason, so I decided to give Chloe a little Ariana Grande side part into a ponytail.

I wanted each character to have a cool little piece on their costume, so I tried these little hip things to make her more commanding and girlboss, but currently her weapon is similar to ladybug's (but more like one of those hair ties w the little disco balls on them) and it would sit on her hip and would clash w her hip thingies, so I just decided to make her weapon the hip things instead, combining the two.

Something else that bothered me a lot was that Rena was the only one with white on her costume. Everyone has black but she's the only one with white... my brain says that this cannot be. So I tried to give Bee some fun white fuzzy bits but the texture just was too different...

And then I had the mega-brain idea to make her hair white to tie in the white from Rena. Her and Cat Noir both having blonde hair irked me as well LOL so this hit two birds with one stone. I wanted her hair to be sharper and more aggressively drill shaped because of her abrasive personality haha.

After that, is Carapace. I had an idea for him from the start because I felt like his in-show design just doesn't match his personality... I couldn't make his outfit all loose because I wanted to stick generally to the miraculous suit formula, but I feel like 'skin tight suit' just isn't his vibe. So he has a kind of hammer pants situation.

I think they capture Carapace's b-boy ninja turtle vibe while still looking like a miraculous outfit. Though I decided later that I wanted the pants to be a lighter color for contrast and the visor to be white (to tie in that Rena Rouge white).

Lastly is Miss Rena! Something that bothered me (back on the similarities to Chloe) was that they both have ponytails (yes I know I'm crazy). Even though they have very different textures I just wanted each of them to be distinct from each other. So I put her hair down and just dramatized her regular hairstyle.

Also her and Queen Bee both have black gloves to their upper arms, which, you guessed it, bothered me. So I shortened Rena's to just reach her elbow.

I wanted her to look like a magic-man, her illusion powers evoke a showmanship energy to me. I imagine her and Cat Noir are quite the dramatic theater kid-esque duo.

So, for drama I tried some flowy arm bits, which I think ended up just looking a little strange, so I'll pocket that idea for something else. Then, I tried to add her coattail from the show, but it ended up looking a little frumpy, not the drama I wanted.

I ended up making her coat more triangular in the front, to give off the vibe of a magician's vest, and changed it to solider red/orange double coattails, which I think makes her more magic-man-ish. And I think the white ends made it too busy.

So those are my hero designs! I'm still working out Hawkmoth and Mayura, esp Hawkmoth because I am not good at drawing masculine older men...

If y'all want LESS of the artistic process let a girl know lol! I know some ppl like it but this is very long,,, all my drawings will not have text this long! thx for reading if you did tho xx