#this is the beginning of the Main arc but I will not talk much about it on the next shenanigans

[irenereru]

What about IDW Stone?

What would happen in the metal virus arc?

Well, well, well...

I think this depends on if Stone works for Eggman before the Metal Virus arc, or if he's introduced with the Metal Virus arc.

Let's explore both, shall we? ;D

If Stone had been present before the Metal Virus arc, we first need to tackle a few things: 1- What happened before this? 2- How does Starline fit into all of this? I think Stone would've found Eggman around the same time as Sonic and Shadow. However, upon finding out he has amnesia, Stone simply stays near him and makes sure he's safe.

But... Once Tinker makes Belle, she and Stone start to bond a little. Maybe Belle asked Stone to take her somewhere to get more wood for their workshop.

And that's when Rough and Tumble take Tinker away.

Upon finding out Eggman's away, he tells Belle to stay at home safe, and that he'll go find him.

And Stone reaches the base Starline's keeping him around the same time Metal Sonic does. Eggman recovers his memories, and the Metal Virus arc begins.

Now, let's talk Stone and Starline, cause I think this would be very interesting.

Starline shows up, seven Chaos Emeralds in hand, praising Eggman non-stop. For some time, Starline takes up Stone's place as Eggman's main assistant, which does kind of upset Stone, but he still keeps doing his job and all that.

Eggman begins his Metal Virus attacks, Sonic is infected, chaos is spread... And then we reach what would be IDW's issue 23.

Starline feels disappointed about Eggman, and how "the man simply doesn't meassure up".

Sonic jumps out at Eggman to try and infect him, but in that moment, instead of falling off, Stone interveens, kicking Sonic away in order to protect Eggman, and falls with Sonic.

Of course, Eggman quickly grabs Stone with a claw extending from his EggMobile, and the trio fly away, leaving Sonic to be consumed by the hoard.

However, upon getting back to their base... Stone finds out he's infected, and tells Eggman.

Now comes the big riff:

Starline insists on just kicking him out of the base, and how he's a liability to them.

Eggman, however, refuses.

Stone has been there for him for who knows how many years (Let's say, since Sonic Adventure 2, Stone being introduced as a G.U.N. agent that jumps ship and is who gives Eggman all the information about Project Shadow and his grandfather), and if Eggman does have something, is that if you do not betray him and stick by his side, he will stay by your side too (See, once again, SA2, and how he tells Shadow to continue their plans if anything happened to him in his confrontation aboard the ARK with Sonic and Tails).

So, Eggman takes Stone and puts him in a capsule, and promises to actually find a cure for him. Starline, however, gets worried that Sonic and friends could get a hold of said cure, making their efforts unnecessary (I am guessing Starline came with a reasoning as to why Eggman hadn't made a cure yet).

They, however, still have the issue that they can't control the Zombots. So Starline brings over the Zeti.

From this point onward, the story stays relatively simmilar (Starline loses control of the Zeti, Eggman fires him as his assistant, Eggman and Sonic team up to figure out a cure), with just a small change at the end: Instead of Eggman being zombotified by Froggy, it's a fully infected Stone the one that does so (Zavok is just that much of an asshole and knew that would hurt Eggman extra, specially due to the fact that Eggman never saw Stone fully zombotified, just partially).

Sonic, Metal and Silver team up, get rid of the Metal Virus, happy ending.

Stone does ask about Starline upon regaining conciousness, wondering where he was. Eggman just says that "he betrayed them" and doesn't mention Starline again.

That's for Stone being an established character before the Metal virus arc.

Let's now talk about Stone being introduced in the Metal Virus arc.

Taking the idea of the Sonic world being occupied by just animals (Since we don't see any other human in IDW), Eggman and Starline just move forward with the Metal Virus plans.

Things, however, make a slight change in issue 23.

Upon falling into the zombot hoard, Eggman is surronded by them. However, just as he's about to be touched by one...

BAM! A human just appears in the middle of nowhere. He calls out to Eggman, and makes his way through the Zombots, keeping them at bay as Eggman follows the stranger into a house.

Eggman is surprised to find another human, but more so that someone would help him in the midst of the Metal Virus crisis.

Stone introduces himself, and explains how he has been on the run for many years, being treated poorly by the towns and cities populated by animals, and having to hide most of the time.

As he explains this, though, he plumets down in excruciating pain. Eggman is about to try and tend to him, but noticed that he's infected.

Stone, however, mentions that it's already been several days since he was infected. It seems like the Metal Virus, for some reason, spreads slower on humans. But, it causes an inmense pain as it does.

Eggman decides to try and help Stone if he allows himself to be a guinea pig to further their research into the Metal Virus, in an attempt to figure out how to control the Zombots.

He agrees, and it's then that Starline calls out from outside the house. At first, he lets Eggman get on to his ship, but refuses to allow Stone anywhere near. In the end he gives in to Eggman's wishes and just takes Stone tied to a rope, dangling off his ship.

From this point on, things remain relatively the same (Stone is taken into a capsule, Starline brings in the Zeti, Sonic and Eggman team up, Sonic/Metal/Silver save the day).

This time, though. Stone was never taken out of the capsule. So when Eggman returns to his base, he finds the man there, cured. Stone, not knowing what had happened, simply believes Eggman when he tells him that he's obviously the one that created the cure, and how they wouldn't have made it without him and Metal Sonic.

Now that he has also fired Starline, he offers his position to Stone, and he excitedly agrees, becoming a main staple in the story.

And that's what I've got! I hope you liked my small idea, anon! <3

[annabelle-creart]

Disney, True Heroes Au. Shenanigans, part 1

---

*On a star-shaped island, between the tiny soil roads, a round shaped table was present, made of wood and marmble and containing the map of the world the owners of the chairs protect. There, a woman waited, of round shape and short white hair with purple skin. Another woman, with a big coat of white and black color, approached from behind, with large nails and evil smile, she came close and-*

Ursula: GOT YA!

*Ursula took the woman from her waist with one tentacle and lifted her up*

Cruella: WAIT WAIT WAIT- I WAS JUST KIDDING!!

Ursula: HAHA! Why made you think you would scare me? I am the Lady of the Oceans and Seas, Nobody can scare me-

*But a roar from aside Ursula, made her jump from her seat and fall to the floor, releasing Cruella by accident*

Cruella: The Lady of the Oceans and Sea can't be scared, eh? What do you think about that affirmation, Scar?

Scar: Kind of arrogant, but brave thought, nonetheless I assume that information isn't true

*Both man and woman started to laugh loud as a thunder*

Ursula: Haha, you're sooooo funny

Cruella: Oh, don't use sarcasm with me, dear! I invented sarcasm

--: Correction

*A column of flames from the other side of the table interrupted the trio*

Grimhilde: I invented it, you just use it on your favor against my permission

Cruella: Since when do I have to ask permission, Quennie?

Ursula: Hello there, Grimmy-Grimm

Scar: Greetings, majesty

Grimhilde: Talking about kings, where are the rest? Is it too early?

Scar: It is, indeed, but Cruella and I wanted to give Ursula a little surprise

Ursula: Little you say?

Grimhilde: Oh, you two act like a pair of kids, I'm pretty sure not even yours do that

Cruella: I don't have kids

Scar: Mine are too young yet, they need to learn to be funny while they can

Cruella: Is your wife actually okay with that?

Scar: Who do you think had the idea of Zazu's false surprise birthday

Ursula: It was Zira? I thought it was you!

Scar: I couldn't stand the idea of my wife being took as the joker one, nobody would take her seriously

Ursula: Pff- I bet you did because you couldn't stand the fact she's better prankster than you

Cruella: PFF HAHAHAHAHAHA!

Grimhilde: Ursula, stop! You're hurting his feelings

*Notice the Queen's sarcasm*

Scar: Oh, Grimhilde, I can always count on you...

*A strong wind interrupted the friends, accompained with a big thud of claws against the dirty ground*

Cruella: Mali!!! Honey!!!

Maleficient: Cruella! You came early!

Cruella: Of course I came! Come here, dear!

*A muscular man fell on his feet to the ground with presition, then, the dragon transformed again in fairy*

Gaston: Guys, I have the biggest thing to tell, and I need you to help me get Mal convinced!

Maleficient: there you go again... is this cotton on your coat?

Cruella: Yes! Remember the cotton Scar gave me for birthday? I was in the mood of a beautiful coat and made it myself

Maleficient: The furry texture is so smooth I could sleep here!

Cruella: I'm sorry, you were supposed to test it before but my dogs already tested it when I was distracted. But sit! Now I'm curious why Gaston is so interested into something

Maleficient: please, don't. It is something I still don't want to share

Gaston: Come on! Hades is not even here yet! And this will stay only between us! Right?

Grimhilde: you know I'm like a tumbstone, but I'm not a fan of secrets either

Scar: Gaston, don't make us pursuit gossip, today's reunion is important, I don't think Magnifico called us for nothing

Gaston: Come on! Mali! Is actually a good thing

Maleficient: mmm... fine

Gaston: Try to guess who came from North when usually comes from Southest!

Scar: ...

Ursula: What's your point?

Cruella: honey, is that make up?

Maleficient: ...yes

Cruella: But you never use make up for these reunions! And you don't come from your house, right?

Cruella: wait! Were you into something and didn't told me?

Maleficient: don't take it personal, Cruella. I actually didn't told anyone

Scar: Not even your daughters know?

Maleficient: no... Cruella, do you remember that curious man in that travel Grimhilde invite us?

Grimhilde: The coffee man? The one of the cappuccino that ended up being a big, powerful gargoyle? What with him?

Maleficient: ...he invited me on a date

Cruella: NO!

Maleficient: yes

Scar: Wait- really? Like a REAL date?

Maleficient: yes

Cruella: AHHHHHHHHHHH!!!!

Grimhilde: Did you like him? Was he a gentleman?

Scar: Who would say! Maleficient, Protector of Fairies and nature, on a date!

Gaston: I told you you could tell us!

Maleficient: But please! Don´t tell anyone! Specially Hades

Cruella: Don´t worry! Your secret is secure with us!

Ursula: I dare to say Mal doesn´t know about this yet

Cruella: We will be EXTREMELY careful! Oh, honey, you did it!

*But Cruella was interrupted by a bunch of sand that fell near the table, a pair of men now were at the floor with sand even on their ears*

Cruella: the heck?

Facilier: PFF *cough* By damn... ahg. I'll do the spell next time-

Jafar: NO YOU WILL NOT! Last time Hades had to get us out of hell!

Facilier: THAT'S WAY BETTER THAN EATING SAND!

Jafar: I WANT YOU TO ASK HADES TO GO TO HELL WITH HIM AND COME BACK BY YOUR OWN!

Scar: Jeez- ladies, slow that temper level, we don't want another magical duel

Gaston: were you two on Arabia?

Facilier: *cough* no. This stupid thought it would be funny to have a short travel through the desert

Jafar: It was fun until this idiot thought it was a good idea to "take a panoramic route"

Maleficient: Basically, you got lost

F&J: yeah...

Gaston: weren't you friends?

Facilier: we are

*He said while the two friends sat on their respective chairs at the table, Facilier almost lying down on it with both feet at the table while Jafar put his bag and his cobra-headed staff aside the chair, both tired and maybe dizzy*

Facilier: but it is my sacred duty as best friend to tell my best friend he's stupid when he is

Jafar: Facilier, don't start with that. I think I got a headache

Facilier: how not? That teleportation spell almost kill us!

--: Someone said...

Scar: There goes the drama queen!

Facilier: The blue flames weren't neccessary! I'm burning!

Hades: Kill of fun?

All: ...

Ursula: with That humour do you want your daughter to like you?

Hades: yeah, yeah, I understood, you don't like my humour, is too old for you, oh! Youngs at these times don't understand the true essence of comedy!

Grimhilde: Hades, please, your sarcasm is so overacted that makes sarcasm itself boring

Hades: thanks. So, how are my besties? Eh?

Jafar: we are not friends

Facilier: I actually like you, but your humour still needs lots of polish

Cruella: lots? He needs the entire industrial process!

Gaston: talking about industrial! Scar, do you remember that book you gave me for birthday?

Scar: you finally burned it?

Gaston: No, I read it. And I LOVED it!

Scar: did you actually read it?

Cruella: Did you ACTUALLY read it?

Ursula: no no, did YOU actually READ IT?

Gaston: Yes I did! I'm not ignorant! I just get bored easily

Claude, from behind Gaston: In that case I can start recommending you some good clasics

Gaston: Man! You're here! Come and give me a hug, granpa!

Grimhilde: Frollo, you came!

Facilier: yes! What happened with your undefined retirement?

Gaston: I'm sorry I couldn't go to the party, but things got kind of... how to describe it?

James: Twisted?

Gaston: HOOK! MY MAN! Wait- Claude, did you came on boat with Hook? How? You get dizzy so easily!

Claude: I have my methods

Ursula: Hook! Man!

James: Ursula! My fave mollusca!

*Between laughter, Ursula got up from her chair as Captain Hook came after her, suddenly, they took the other's hand and put themselves over the table, stopping with great strenght the other's arm, armwrestling*

Ursula: Ah! You DO remember our last encounter!

James: I'll make you wish you lost that time!

Ursula: I'll make you wish that crocodile ate your other hand!

Hades, sitting on his chair: ahg! Just kiss or kill already! This teasing game is starting to get boring!

Scar: Let them be! That's part of the romance

Gaston: Between all my reasons, that's why I never got married

Claude: Wasn't it because of certain lady?

Gaston: In part, but women are so complicated sometimes!

Cruella: Same thought

Gaston: Talking about women! How are Esme and Vivi?

Claude: Vivi still can't say a word but has lot of strenght, and her eyes are so curious, she has my son's eyes! And Esme is okay, tho' children are not easy deal

Maleficient: I'm thankful to hear that, but you should be with them now, what are you doing here?

Scar: yes! If I could I would be home right now, and of all, you're the first one to go because of that

Claude: I want. But I find quite intriguing and worrying why Magnifico called us all with no warning and out of schedule

Hades: That's right, he's not the type of improvisation

Cruella: But what could have been happening? All lands are on peace as I now

Facilier: All except these two *refering to Ursula and Hook*

Maleficient: By Earth. Ursula, Hook, you're acting like kids

Cruella, Gaston, Scar, Hades and Facilier: WRESTLE, WRESTLE, WRESTLE, WRESTLE!!!

Maleficient: I'm surrounded by kids, it seems

Claude: Nah, let them be, someday you will notice these are the things we will miss the most

Maleficient: Claude, I know you're just human and have your years, but don't talk like that! Is goosebumping

Claude: I'm just greeted, Maleficient. We will not have this forever, but yet I thank God because I am here

Maleficient: hm... you know, judge? You're right. I actually like these moments a lot, despite I'm surrounded by kids, hehe

*As a ray of light came to the ground and Iluminated the table, the wrestling duo made a look at each other as an re-schedule and sat on their places, same did Judge Frollo, Hades and Facilier were sitting properly now, while Cruella and Scar made sure the wind didn't messed up their hairs. From the brillaint light, one finally came*

*Magnifico, standing in front of his chair as everyone got up, started to count from his left*

Magnifico: Hades, God of the Dead. Dr. Facilier. Mage Jafar. Mother Queen Grimhilde. Judge Claude Frollo. Marine Captain James Hook. Lieutenant Gaston. Lady of the Ocean and Sea Ursula. Protector of Fairies Maleficient. Ambassador Cruella Sangrial. King Taka of the Sun Kingdom. And...

*Magnifico Stopped, looking at the now empty chair at his right, the chair that was supposed to use the Queen of Hearts, a sour recordatory of their mistakes of the past*

Cruella: She was a really angry woman... but she was also a good friend

Jafar: Is still hard to say we are thirteen reflections of kindness when there's only twelve of us

*Which was still hard for Jafar was that the piece of the glass she took as part of the oath to the thirteen was still incrusted on her chair, instead of her home as it was when she was alive, a deep memory of something he could change, but yet failed that horrific day*

Gaston: Magnifico. This melancholic behavior is expected, but you are not like this, not always, same your citation

Hades: yes, what's happening, old man?

Magnifico: ...

Magnifico: the Seven are back

*And as frozen and cold as the sad days of Arendalle, the table became pure silent*

Magnifico, moving his hand over the table to introduce a magical code that expanded the table's magical force field, which started to show the pictures Magnifico got out of a suitcase with papyruses and other things: there has been reports and other unexplicable things, but at Rosas we assume something is not fine. Ultimately, people at San Fransokio's prefecture and Rosas had been dissapearing, there's also at least three comfirmed stolen artifacts at the Monster world, and on the United Galactic Federation had also reported some homicides of their ones here at Earth. All followed by the same dynamic, no evidence at first and then big chaos-

Jafar: THEY ARE DEAD!

Facilier: Jafi?

Jafar: IRACEBETH DIED TO MAKE SURE THEY WOULDN'T GET OUT OF THEIR PRISONS!

Magnifico: Prisons, not deads. I got worried by all of this but didn't thought on the similarities

Maleficient: and what happened with Tartarus? Hades! They're supposed to be there!

Magnifico: I asked Hades to give me all Tartarus' jurisdiction and his silence about this long time ago, he didn't knew anything all this time. I knew something was off when no new or notification came to me yesterday at midnight. I don't know how but the guardian was shattered. In Ice

Cruella: Holy shit- you can't be serious! Right?!

Gaston: We need to start now then! We can't lose more time! In any moment they will search for Ariel!

Ursula: Ariel has a contract, any communication, hint or any kind of trick with the Seven will be punished, but they will go for the castle!

Gaston: And Genie?

Facilier: Aladdin and he ended up in really bad terms, and Jasmin's lamp is still on the Cave of Wonders- JASMIN'S LAMP!!

Cruella: Timon and Pumba- Scar?

Scar: we haven't found them yet-

Hades: Ish! That damned fat pig!

Scar: I'll activate the Hyena protocol

Ursula: We'll activate ALL protocols! And Magnifico, we know last time things got hard, but we MUST tell the people now! Any information will be useful!

Grimhilde: ENOUGH!

*And silence was made*

Grimhilde: We can't panic like this. First we need a plan, and then we'll activate any neccesarry protocol. Okay?

Magnifico: I'm so sorry...

Magnifico: It was my duty, and I didn't accomplished it. And now Asha and the others-

Claude: Magnifico. Stop blaming yourself. I understand your feelings, but right now we're on an emergency, and now more than ever we have to act, we already passed through this, and maybe is not the same, but we have ideas of how they will move, we still can do something

Grimhilde: Frollo is right. We, together, are still stronger than them, and is our duty to protect our people

Scar: ...you're right

Cruella: hmp, let's do this then. Again

Maleficient: you can always count with me

Gaston: And with me!

Ursula: and with me

Hades: Yes, again to action, wuju... but let's do this

James: I didn't missed any of this, but yes, count with me!

Facilier: I'm neither happy with this but we can do it! Right, Jafi?

Jafar: ...

Facilier: ...Jafar?

Jafar: I don't know-

Facilier: Hey! Jaf! This is hard, I get it, but people need us, they need us, the world need us! And needs you! Man, I know that day still hurts, but we are protectors, that's our job, let's not make her death be in vain, okay?

Jafar: ...fine

Facilier: That's the Jafi I know!

Magnifico: In that case. Welcome again, Reflections...

[sskk-manifesto]

MITCHELL AKUTAGAWA EPISODE!!!!!!!!!!

[swiftsaltsweet]

Me: Good news! I wrote like....12ish pages yesterday! :D Brain: Was it all attributed to a single chapter. Me: *walks away* Brain: WAS IT A SINGLE CHAPTER OR DID YOU JUST JUMP AROUND?! Me:

[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.

[kiramarien]

If I got a nickel every time a cartoon I love

based on a book

based on mythology

about a teenage boy

who stumbles upon an ancient artifact that gives him powers

that's being sought by this cocky guy with daddy issues

who's right arm is mechanical some of the time

and his Dad is this massive guy with big horns (and sometimes glowy blue eye(s))

who's being manipulated by a powerful woman

that he freed from her centuries old prison

who may have had noble ambitions in the past, but now has been consumed by power

and the woman possesses a young girl in order to get what she wants

and sacrifices the lives of her minions in order to unleash her ultimate weapon ->

(Dozens of Gum Gums) (Spider Queen, Huntsman, Syntax, Goliath, Not- Mayor) You know what I'm talking about :(

and she's got this indentured servant *cough Slave cough* (with pretty gold eyes 😘)

who she refers to as "Her Champion"

who travels using shadows (I could not find a single picture of Angor Rot using his shadow staff)

who was really sweet and kind in his past but then... well... stuff happened

and has lost his right eye

and he's been killed before

but the big bad restores him back to life so she can use him

and he gets a redemption arc at the end of season three

and the main character doesn't have a bio Dad, but he attracts plenty of father figures throughout the course of the show

and he gains a non-human form that makes him even more powerful

and him and the others gain an armor upgrade at the same time

and the girl of the team has short black hair with dyed stripes

and you know the guy with daddy issues who wanted to steal his artifact in the beginning? He becomes one of the protagonist's closest friends

and there's this gentle giant character

who becomes one of my most beloved characters of all time 💕💕💕

and he has a history of violence and trauma

and has now vowed to be a devote pacifist

but breaks his vow in order to protect the people he loves (with angry glowy eyes to boot)

and has a deep love for cats (yes, I did just do that)

...then I would have two nickels.

Which isn't very much, but it's weird that it happened twice, right?

(That last drawing was made by @jezfez81. Thank you for letting me use it!)

What the heck happened?!?! This was just supposed to be a comparison between Sandy and AAARRRGGHH!!! Where did all these comparisons come from?!?!?!?!?! WHAT THE HECK HAPPENED?!?!?!?!?!?

(this took way too long to make, please give it some love :3 )

[senseandaccountability]

the narrative that could have been

Having mulled over the game for a couple of days I have realised that the main problem for me is that Veilguard is good based on the premises they ultimately choose, but not based on the set up and promise of what was there before. I know this isn’t a unique take by any means and yes it’s all about the Evanuris and the Veil and Solas. 

Replaying really emphasises how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

The game actually gives no explanation whatsoever as to why the Veil coming down would be worse than what Rook causes in the beginning and what the escaped gods then do to the entire Thedas. The entire south falls to the Blight because Elgar’nan and Ghilan'nain are let loose. The Wardens are more or less wiped out. There’s enormous political turmoil. The game gives us Solas saying “thousands” would die when he brought the Veil down, but that he had a host of spirits there to help. (Yes, I know, his sole function in this game is to Trick and Deceive so who is to say if he’s lying, HUH, but even so, THE ENTIRE SOUTH FALLS TO THE BLIGHT IN ROOK’S VERSION OF THINGS.)

The game puts emphasis on Solas's questionable methods and past horrors but it doesn't ever explain why his goals are despicable here and now. It doesn't convince us that tearing down the Veil with lots of safety measures in place and after considerations is a bad result, all things considered - save for Varric’s initial yelling about demons. (We even learned in DAI that the Veil itself creates demons because it restricts the passage of spirits, come on.) Because three games have suggested it's not, not ultimately. Trespasser especially nuances this, just as it nuances Solas’s view of this current world state. Right after his long nap he would have nuked it all, I’m sure, but the whole point of character arcs is that things happen in them and what happened to him is that he was shown layers and angles he had not considered and adjusted his mindset and ultimately his plan accordingly. That is where DAV should have picked it up. That's where the build up was headed. But, now he must serve the narrative solely as the God of Treachery and Lies which means that previous build up is washed away for the most part. (In no way do I think he is OOC in DAV, I just want to point that out so nobody thinks I’m a sappy fangirl or whatever. I think he is perfectly in tune with his inner Dread Wolf, but that is also all he gets to be, because of the narrative, and I’m always much more interested in when roles and personas clash.) Again. The main problem is that the narrative cannot explain why bringing down the Veil would be the worse option than the shit we see unfold on screen. Instead it gets a bit lost in the past.  And I have Issues with that, as well.  Like, the dumbing down of the war against the Evanuris. The war that started because the leaders of the rebellion - who previously had to carry out terrible orders so the Evanuris, the upper crust of the Elvhenan, could play gods - decided that the Evanuris was a threat to them all. And the game gives us what, a depiction of how the rebellion ended up crossing lines, too? No shit.

Like, I am fully on board with the individual theme of regret on Solas’s part and he ought to be wrecked with guilt but I wish the game could be less all over the place with what sort of things he ought to be wrecked with guilt over. Saying fuck you to the Evanuris is the best and brightest of his character, I suppose I just don't want it dragged down to the same level as him breaking the Titans. I suppose I would have wished for a narrative that also worked on a systemic level when depicting things like, you know, war and revolutions and subjugation. But we don't have that, because DAV is only about personal choices. The Lighthouse crew flippantly writing the hierarchical and violent power struggle off as being about love and betrayal is on my shitlist forever. 

No, Taash et al, it was not about pussy, it was about feeling compelled by superiors to commit heinous war crimes and being lied to about the actual purposes of your damn war in the first place. The elves shouting at Elgar’nan and Mythal in this painting aren’t driven by love and sex they have been lied to by their ruling class. It was never about freedom or ending the wars, it was always about Elgar’nan jerking off to ultimate godhood. The writing even suggests betrayal here is to be understood as Netflix drama betrayal, maybe some juicy porny plot but it’s ABOUT THE BETRAYAL OF THE ELVES BY THEIR OWN KIN.  ((ETA: I would have wanted my Dalish mage to be allowed to be furious, NOT WITH SOLAS, but with the fucking Evanuris for betraying her people and being so fucking vile that the only option that remained was to create a world where she's a second-class citizen. I would have wanted the game to recognize that not all causes are equal and that Elgar'nan's cause for godhood was objectively more vile than Solas's cause for freedom because as it stands now, there are some really iffy vibes of "both sides are equally bad" and other things authorities tend to say when comparing destructive regimes with uprisings.)) I’m sorry, this shit hits me on a personal and political rage level. 

I also can’t help but mourn a game where the Trickster God fulfilled his trope’s duty and shook the stagnation apart with his actions - for good or ill, the way trickster gods are wont to do - and where Rook was tricked into helping and then, a more complex game about its consequences could have unfolded. The Evanuris could still have been the bad guys, if they wanted big villains frothing at the mouth. There could still have been numerous unplanned consequences, like all of Solas's plans have. Maybe other ancients awake as well. Maybe ancient evils who aren’t elves, who knows. Point is - the Veil should have come down, at least in some form, at least in some outcome. THAT is what they've been building up to. In this game that never was, Rook could be an actual interesting character where we could mold her as either accepting of this trickster role (which fits perfectly for a blank slate with no ties) or set to overturn it and enforce status quo, with some vanilla option in the middle. Maybe the Veil doesn’t come down until the very end of the game, ancient magic takes time after all, maybe a lot has happened by then. But ultimately, Rook’s choice in the end should not have been about siding against Solas because he’s lying to you or because he did horrible things in the past or siding with him because you want him redeemed. The narrative should have provided those options either way. The narrative should have been brave enough to suggest that hey, maybe Solas isn't wrong at all - his methods maybe, but his goal, no. If they truly wanted mirrors between Rook and Solas, Rook should have tackled the issue of actively bringing down the Veil herself, not because it's a roses and sunshine-outcome but because it might very well be the lesser of two evils. Gods, that would have been interesting. It should have been a choice about what sort of world Rook and the Veilguard wants to see in the future. It should have been about the people, the world, not how angry Rook is that an ancient elf has tricked her. 

That would have been the game I wanted to play.  This story doesn't really give anything new to the world of Thedas, which a world without the Veil would have. It accomplishes closure for our favourite trickster god and bless them for that, but as for the plot and the world-building it ends on a meh because the narrative isn't about the people unless they're brought up as being endangered. This is why I can feel satisfaction regarding the thematic conclusion to certain character arcs, the trickster becomes the healer with the bloodiest hands, the wolf submits willingly to his trap and so on and so forth, and I can have fun with the characters and their arcs but also really mourn the game that was there, in subtext and build up over three previous games and in several tie-ins.

[maxwell-grant]

Since he’s probably Oswald’s closest Marvel equivalent, being a relatively-unpowered crime-boss who semi-frequently becomes Mayor… any thoughts on Wilson Fisk, the Kingpin of Crime?

It's a comparison that's frequently made by Big Two fans and it's easy to see where it comes from, certainly they're the most iconic gangster/mafioso villains in their respective companies, but I don't think Kingpin is the closest Marvel has to Oswald because A: If anyone has a prior claim on Comic Book Gangster, it's definitely him, and B: They simply don't work in comparable or equivalent fashion. You can even boil down a key difference to the fact that The Penguin is inherently a small man trying to be bigger, and The Kingpin is the biggest man who ever lived. That's not a joke about their sizes, that's how they operate as characters and villains: Oswald is underestimated, ridiculed, diminished, and driven in large part because of it. He is the underdog, he slips under the radar, he slips through the cracks, he is a cockroach who lives to thumb his nose and pull the rug under the bigger bastards who think they can step on him. Wilson Fisk IS the bigger bastard who steps on people, he is the biggest bastard in the world.

He is an unsurmountable force of crime at the top of every possible advantage that a criminal can possibly weaponize, he is a titan of wealth and privilege as willing and capable of crushing your skull with his bare hands as he is of murdering your entire social circle with a phone call. He is "the ill intent", the biggest and strongest gangster of all time, and even if there are bigger and stronger bastards than him, they certainly aren't gangsters like him, they certainly aren't meeting him in his playing field of choice. There isn't really a DC equivalent to Wilson Fisk - there were certainly attempts to make Luthor and Cobblepot more like him, there's no shortage of imitators or knock-offs like Blockbuster and Tobias Whale, but the Kingpin is a league of it's own among comic book gangsters. Like Luthor and Joker and Doom, like the top dogs of the genre, he's become an Archetype in his own right.

I talked about his Spiderverse version a little while back in regards to how much I liked him in that movie and what his design represented about him, Fisk as this black hole obelisk who drains the color of every room he's in and suffocates the world visually as well as metaphorically, far from the most interesting character in the movie but one that you can pin all these other more interesting things on, and I think that's also applicable to a lot of what he does as a Spider-Man villain. Now, he's a GREAT Spider-Man villain, easily one of the best, his arcs in Ultimate Spider-Man alone should be more than enough proof of concept for that, but even if he's not necessarily the most colorful or intimate or dangerous villain to hang a Spider-Man story on, he is maybe the most villain to hang a story on - the entirety of Marvel's street level vigilantes and organized crime exists under his shadow, and you can blow up his scope to the moon and back as a way to build up all the other characters you can squeeze more dramatic stuff out of. Whether it's in TAS, where he is so undisputably atop the pecking order that everyone else is bouncing off his fixed presence, or in the Insomniac games, where he stood tall as Peter's main villain for 7 years until the game begins with his downfall as a way to kick off all the strange new threats he'll be up against, Wilson Fisk is The Crime Man to rule all Crime Men, as entrenched and emblematic and secure in his kingdom of Manhattan as Dracula is to Transylvania and Dr.Doom is to Latveria.

Unlike the vast majority of Spider-Man villains who regularly enjoy redesigns and rewrites and do-overs, official and fan-made alike, Wilson Fisk is practically the same character in every iteration, there's very little need to seriously rethink or readjust who he is and how he does things because he is perfectly simple and perfectly timeless - we have now two Ultimate Spider-Man comic runs that have brought significant overhauls and revisions and new spins to established Spider-Man characters, and in both of them, Wilson Fisk is a major character, and he is completely and utterly unchanged from how he already works in the mainline universe. Even if you don't want to use Wilson Fisk, you can't neglect Wilson Fisk, you have to show how he fits into things, you have to show what he's up to or how he allows or makes way for what's happening without him, you have to give him his cut. This imutability of his is another thing I'd say is a major difference between him and Penguin - Oswald demands change, he demands growth and adaptability, he demands different surroundings more suited to him, he wants to grow and grow and make a nest that's suitable for him, he can't fit into existing systems so he breaks them to remake them as his own. That is simply not the case with Wilson Fisk.

Unlike The Penguin, unlike some of the other great comic book supervillains, Fisk has no intention whatsoever to change anything about how the world works - as far as he's concerned, it worked just fine up until these costumed irritants arrived, and even they just became another part of his conglomerate in time. Fisk really doesn't have or need any kind of big philosophy to justify himself, rather, he takes it as fact that he's operating under the way the world works and under a merit he's achieved by being the man he is. He is content within society's morality, because he is at the top of society and therefore that morality will always bow to him. The legions of costumed enemies orbiting his life are merely dissidents going against the order of things that places him at the top, tools to be used and bugs to be squashed and little more.

And this is true even of those whose power and scope stands above his own - they are not players in his game, and if they are, they are distractions, diversions, things that he can deal with. When he loses to billionaires like the Stromms in Zdarsky's run, when he has to playy ball with bigger villains, when he is ousted in a power play, it is humiliating, and he doesn't deal well with humiliations - but he can take humiliations, he knows he can give back, he can ultimately rebuild his pride as he rebuilds his empire time and time again. Spider-Man is annoying and powerful and infantile and annoying and an enemy and really really annoying, but he is no existential threat. He is not terribly concerned about Spider-Man, which is part of what makes him such a fun Spider-Man villain, that he never sees it coming when Spidey gets serious and just brings him down (peak example of this being Back in Black), that he is this larger-than-life bully/shitty grown-up who actually can and must be defeated. And if a lot of what makes him a fun and great Spider-Man villain is contingent in the ways that he doesn't lose sleep over Spider-Man, part of what makes him a stronger Daredevil villain is the precise opposite: he desperately wishes he could be this dismissive towards Daredevil, who is for all intents and purposes weaker than Spider-Man. It's his relationship with Daredevil that brings out the best of him as a villain and the worst of him as a person alike.

Against Spider-Man, the Kingpin is a very strong enemy, the figurehead of the kind of crime that is Spidey's daily routine, a powerful and oppressive force ruling over NYC who is nevertheless a step down from the Green Goblin or Dr Octopus or the Symbiotes and all those other genetic nightmares and obsessed masterminds that plague his life. No matter how clever or vile his schemes are, Spider-Man can still beat them, and Spider-Man can ultimately always triumph over him in a fight, and Fisk can always rebuild because Fisk builds empires as easily as most people breathe, and things rarely if ever get personal between him and Peter. Against Daredevil? There IS no bigger threat than Kingpin (well, The Hand I guess, but they're boring as shit), Kingpin is the mountain that Matt always crashes against in due time, and it is always personal. The Kingpin is his biggest and strongest enemy, able to run mental laps around Matt and someone that Matt cannot in fact beat in a fight, their battles are drawn out miserable slugfests where Fisk usually thrashes him around like a ragdoll with few conclusive victories and whatever victory Matt has is hard-won and usually via cheap shot.

Matt has an infinitely harder time dealing with Fisk than Spider-Man does, which is part of why it is Kingpin's appearences in Daredevil comics that made him comic book villain royalty: Matt has no real advantage against him other than his senses. He has no intellectual advantage, no physical advantage, and he can't even claim to be more determined or driven, Fisk is fueled by an equally horrendously powerful will and protectiveness towards what belongs to him, This City. There is nobody and nothing in the world that Matt hates more than Fisk, and there is nobody and nothing in the world that Fisk hates more than Matt. They've taken turns shattering each other to the point that those slugfests are the least of each other's offenses against each other.

Even besides the sheer accumulated history they have against each other, it's in the way they unforgivably violate each other's vision of the world. If the Kingpin was the invincible man of vision who loves the city and must steer it even if smaller people disagree with him, if he was truly so secure and untouchable at the top of the world, he wouldn't be having such a colossal hard time dealing with this one guy and he wouldn't be reduced to a base animal thug every time he shows up, let alone lose and be humiliated. If Wilson Fisk was as correct as he needs to be, if the strength of his love for Vanessa/the city/what belongs to him was as powerful as he wants it to be, Daredevil would never get the upperhand on him.

And if Daredevil is a man who dedicates himself 100% all the time to protecting the city and it's people, if Daredevil commits unlawful deeds to preserve human life and fight for justice, if Daredevil struggles with the innate contradictions and hypocrisies and nature of what he is and does but can nevertheless push past them all to do the right thing for others, every second the Kingpin lives, every second Fisk lives because he lets him, chips away at the assurance that he's doing the right thing, that he isn't just wasting time. If Daredevil's vision of the city was correct, if Daredevil was right about his beliefs and worldview, there wouldn't be a Wilson Fisk out there getting away with the things he does. They hate each other for that same fundamental reason: If the world was ruled by the principles I need it to be, in order for me to be who I am and do what I do, you wouldn't exist, and you wouldn't be in my way again and again.

As a Spider-Man villain, he is one of the greats, a core component of his world, a highly versatile and even necessary figure to have and an excellent villain to dictate proceedings. As a Marvel Universe villain, he is an indispensable facet of any criminal element, the Mt.Fuji that the streets of Marvel rest upon, someone who can be added to any storyline and be grafted into many characters to oppose or assist them, or even create and kill them. As a Daredevil villain, he is undeniable as one of the top supervillains, bordering on main character a lot of the time. An implacable unstoppable force of nature as well as a villain of history and brutality and drama and a character who brings intrigue and tragedy and even complexity, even as it all ultimately comes down to that raw hatred between them, the splinter in each other's eye, an infection in their world that just keeps taking and taking and taking without stopping.

It is an unforgivable offense to Wilson Fisk that there is a man out there so beneath him that he cannot break, cannot bend, cannot stop, and who makes such a mockery of everything he's built himself to be by existing, just as it is unforgivably offensive to Matt Murdock that there is a man out there named Wilson Fisk who thinks he has the right to be who he is, and do what he does. To be a man who not only cannot care about human life in any capacity other than what he thinks belongs to him, but whose continued existence attests to a world that validates him, that doesn't care about those lives either, where there is no accountability and no justice and no salvation that cannot be bought and sold. Fisk isn't just an embodiment of cruel, bottomless indifference, he stands for a world that agrees with him.

It would take too much work to defeat him, he just walks unscathed if you do, and even if you defeat him there will just be someone else to step in temporarily. And so it is with a heavy heart that the people of New York accept that the blood of countless runs through the streets, so long as the big man gets to give them their cookie at the end of the day for their hard work and agreeability. He is too big, too clever, too strong, and too invincible - and that's why Peter needs to stop him, that'd why Matt can never stop trying, that's why they can never let him be, otherwise Marvel New York would just be regular New York.

They'd have to accept a world where Wilson Fisk gets away with everything, and who could live with that?

[miwiheroes]

Dropping Byler Evidence Every Day Until Season 5

. ݁₊ ⊹ . ݁˖ . ݁ Day 1 - The M&Ms scene . ݁₊ ⊹ . ݁˖ . ݁

So yeah, this scene is never really talked about that much as like actual proof, more like a funni little thing where Mike looks at Will for a moment when he walks away, but analysis of the cinematography, framing and narrative of this scene can be revealing.

First thing: as soon as El wipes her nose, revealing it was her that helped Mike and Lucas, the camera zooms in on Mike, as if to be like 'oooh wonder how he's going to react'! and the audience is then in suspense, because they're probably expecting him to smile or try to take this opportunity.

What does he do? He just says 'Thanks." And the moment of suspense is broken. It's almost like a record scratch. We will come back to this reaction later, basically because it shows that Mike really does not mind being on these terms with El.

Second thing: At first glance there seems to be 3 main characters of this scene: Mike, Lucas and El. However, Will also seems to be included in this scene unlike Max who is also there. There is no reason to have Will be in some of these shots that, I want you guys to understand, is intentional. The directors didn't just accidentally set up this frame:

They didn't just forget to move Will out the way. In this shot, the Rule of Thirds can be applied. While El and half of Mike are in the second third/ third third, both half of Mike and Will are in the same third. This is also the third on the left, which is where (in western cultures) people begin to look at images from (reading from left to right). The fact that Will looks at Mike when he says 'Thanks' is the first thing that the audience is intended to notice (because its on the left), even if it is very subtle.

It is also important to note that the writers of the show know, in this moment, that Will is in love with Mike, they've had that planned out from the start (this is undeniably canon, unlike Mike's feelings to Will). Therefore, it is interesting that they included him in this shot and the next part too:

Like?? what was the point of the directors putting him in this part? Placing him in an interactional role with Mike in a Mike and El scene is just interesting to me. Like,,,, also could Mike not have talked to El with Will there?

After Will gets up, there is this really awkwardly long part where Will goes from the left third to the right third of the screen and just stays there? Like he's still in the shot (which they can easily catch and retake if they needed to). Why do the writers/directors want you to take such notice of his presence?

Also, going back to the fact that Will has to leave for Mike to be able to talk to El. Again, the directors did not need to put Will in this scene, they could have had him doing something else. Instead, they had him there to subtly further his character arc of being selfless/being shoved away by Mike in favour of El. It's also maybe simply because Mike just can't handle having both Will and El in the same context without ignoring one for the other, because he holds them to the same romantic standard.

We see this mishandling of El and Will in the airport scene, the whole time Mike is with El in the beginning of S3, Rink o Mania, the dinner after Rink o Mania etc. Basically, when both El and Will are around, he feels like he has to get rid of Will to be able to be romantic towards El, despite being able to talk about it to Lucas. When it's just him and Will, he's pretty happy (we see this in the 'Cool. Cool.' scene and the 'Guess it's up to us again' scene which are the only two scenes in S4 where Mike believes he is no longer in a relationship with El and just thinks he needs to team up with Will and go back to Hawkins without El). Therefore, he needed Will out the way because he can't be romantic with his girlfriend with Will distracting him lmao <3

Third Thing: Lucas is the one to encourage Mike to make up with El.

To be honest, him encouraging him alone isn't really that convincing of the fact that Mike is queer coded blah blah, like, your friend is allowed to say 'That was the Olive branch! Your way in!' without it being queercoding. The queercoding however, comes with the reaction to that information.

First, I want to point to something I may bring up in the future of this series. In S1, Lucas is the first person to ever suggest that there might be something romantic going on between Mike and El. When he says "Why don't you just marry her?", Mike does not go all ooooh flustery and blushy, he does not go 'EW GROSS' like a lot of boys that age would, instead he just acts confused. Multiple times.

The first time is when he goes, "Lucas what are you talking about?" The second is in response to Lucas going "Mike, seriously?" saying "What?" again. When Lucas then teases him about caring about her, he just says "Shut up Lucas" in this really tired tone, rather than a flustered or angry one. He basically gets the idea that he probably should like El romantically, if he shows even any care towards her.

Now, throughout S3, Lucas is the one to constantly question Mike's actions towards El. He's confused on why he won't tell her the truth about Hopper, and everything else, which all culminates into this "Oh my god. You're hopeless," when referring to picking up signals about girls.

I must say this rn too: You don't pick up on signals you don't want to receive. You do pick up on signals you do want to receive. I think most of us know what it's like to have a crush. You constantly look out for little things and overanalyse their actions towards you. But Mike has no clue. Maybe because.... he just doesnt feel that way.

Okay going back to reactions. Basically, you would kind of expect Mike's reaction to hearing that his girlfriend, that he's sooooo sad about losing oh nooooo, has decided to reach out and say that she's okay with him would be excitement, right?

When Lucas is describing how he's going to let Mike talk to El, Mike looks extremely nervous, which I get. It's normal to feel nervous in this situation, but the thing is, El seems okay with him, surely he would at least have a little light in his eyes?

When Lucas has to say 'Talk to her, alright?' (as if Mike has no fucking clue) Mike nods and then there is a swell in the music, the camera zooms in on him, and instead of the music swelling to some nice, positive tones, it's almost foreboding, mimicking the mixed feelings swirling in Mike's brain. His face also kind of looks.... weird like he's unsure, or maybe he's disappointed? Nervous? idk

I would understand this to be a little romantic if he smiles, but jesus, he does not crack a single grin at this part.

It almost seems like he's deciding to do something he doesn't really want to. I think he was completely content with the fact that she helped them, but didn't want to do anything about it because he's totally fine being on good terms with her, obviously, but not necessarily on romantic terms with her. Maybe he's fine with the fact she doesn't really want to be with him.

However, after Lucas says this stuff, now he's looking over at her and thinking, wait, maybe she does want to be with me.

But instead of a:

Wow, maybe she does want to be with me! :D

It's a:

Oh, so she does want to be with me.

^basically this means Mike decides, based on his encouragement from Lucas rather than his own feelings, that he should talk to her. What can he say to Lucas here? That he doesn't want to? That isn't really an option for him.

Fourth Thing: Okay this is very small but for some reason this scene is interspersed with scenes of Jonathan and Nancy getting almost killed by the mindflayer army like???

Why would they cut from this very tense scene where these beloved characters are about to be killed to this scene between Mike and El where everything is fine!

It's like.,,,, they want the audience to be tense watching them, even if it's not directly for the right reasons. They want the audience to maybe feel the tension in the foreboding nature of the fact that the mindflayer is in the same building as them, meaning there is always some danger lurking in the background.

Okay hope you enjoyed today's byler evidence :) stay tuned for tomorrow's!

[lunavelha]

Come Back, be here.

Paring : Laxus Dreyar x f!reader.

Word Count : 3381.

Contains : Explicit content, beginning of smut, thigh riding. Minors DNI.

My note : English is not my main tongue, and i do not have any beta reader, so sorry if I have made any mistake ! Also, it was supposed to be longer, but I didn’t wrote a smut for such a long time that I stopped it before. I hope you can still enjoy it tho’ !

Be careful spoiler of tenor arc /!\

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7 years. 7 long years had passed, so much pain had been caused by the disappearance of her friends, since he had disappeared. She hadn't had a chance to speak with him after he'd been exiled from the guild, and unfortunately, the last words they'd exchanged had been words of anger. It had started out as a small argument, but in just a few minutes it had grown into something much bigger.

Ever since that day, (y/n) had been replaying her own words over and over in her mind. She told herself that she could have understood his point of view better, that she shouldn't have been so mean or defensive, that she could have asked him to talk, to sit down, or at least to separate for a few minutes until he calmed down. (Y/n) now had to carry the guilt on her shoulders, now that he was gone, she would never have the chance to make amends.

She had needed to get as far away from the guild as possible, everything reminded her of Laxus, his place at the bar, the table where he usually sat with the Thunder God Tribe, or even just her house. His scent was still in the sheets, his clothes were still in the wardrobe. She'd never found the courage to take them off, she didn't want to lose him again. (Y/n) still had a small part of hope inside her that he wasn't dead after all, that he'd turn up on her doorstep and everything would go back to the way it was before. But she knew it was a lost cause, something she dreamt about every night.

And then one fine morning, Lamia Scale was there, saying that at last there might still be some realistic hope. The energy at the island hadn't completely disappeared, and was slowly building up again after all these years. (Y/n) had simply let her gaze wander to the horizon, but what if it wasn't true? Perhaps the magic really was returning to this place, but without giving their friends a chance of survival. The young woman had refused to go on an adventure with the others, but she could see that some of them were terribly happy, especially the members of Shadow Gear. She had no right to let her feelings get the better of her too, she had to keep a cold head, keep her hopes deep in her heart, and above all, not let anyone see it.

"-You can go home, it's possible they'll be back tomorrow, there's no real point in spending the night here. When they're back, don't worry, you'll know." Macao said softly, placing a hand on her shoulder.

"-I...I don't even know why I'm still here. Every time they leave, we end up disappointed... If you only knew how much I want it to be the right one, for them to suddenly walk through the door, for Gray to strip, for Natsu to start fighting him, for Erza to try and separate them so that her cake gets destroyed, and for her to finally join in the fight too. And Laxus... Even if he came back, could he come back to the guild? Would he want to talk to me..." She looked at the guild leader, before shaking her head. "-I'm just at my breaking point sometimes."

"-Go get some rest, you're back from a mission. But we're here, we can support you, okay? Whether it's tomorrow, or even for years, we're with you. One day we'll understand, one day I'm sure we'll find them." He nodded to her towards the door. "-I'll walk you out, Romeo's still outside, you know how he's been since..."

"-He lost Natsu, we all know how much he admires him. He's like me on this one, too much hope ends up hurting, he's protecting himself."

Macao and (y/n) left the guild, walking through the streets of Magnolia. The young woman looked around, trying to find Romeo, it was a way for her not to think about what was going to happen in the next few hours at least. Once at Magnolia South Park, (y/n) noticed Romeo sitting against the tree, looking around. He too didn't want to get his hopes up. Telling Macao that she could finish on her own, she left him to go and talk to his son.

The young woman arrived home a few minutes later, and sat down on her sofa, looking in front of her, where on the small table was a drawing of the Thunder God Tribe, a gift from Reader. 

The only thing she could do now was wait, and above all, hope to see her lifelong love alive again.

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Hours had passed without any real news. (y/n) finally got up and stood in front of the window, trying to see someone from the guild approaching. But no one came. When there was a sudden knock on the door, she frowned, wondering who it could be, and went straight to open it.

Behind her was Bisca, a slight smile on her face. It was surprising, since she hadn't seen her coming from the guild, perhaps she came here from the boat?

"-I figured you'd be here." She smiled at him, "-Come on, let's get back to the guild."

"-If you're here it's to say something, no need to leave to do so."

"-I'm not saying anything until we get back to the guild. Take your jacket or don't, but I'm not waiting for you."

The woman leaves her house, letting (y/n) stand here for a few seconds, wondering what she should do. She knew that she would be disappointed at the end, that they didn’t find anyone. But… what if ? What if he has come back ? Having finally made her decision, she left her house, barely taking the time to lock her front door. Bisca hadn't waited for her, and had already started on her way to the guild. (Y/n) had to run to catch up with her, coming to her side without saying a word.

A lump of anxiety had filled her stomach, and she could feel it growing as they walked. 

After a few minutes, she stopped, hearing much more noise than usual coming from the guild. (Y/n) looked at Bisca, as if to ask if she was dreaming. So much noise could only mean one thing. A Fairy Tail party. A celebration. And so, the return of their companions, their friends, their family. The woman smiled gently at her, nodding. That was enough for (y/n) to start running, her heart beating so fast she could hear it in her ears. She didn't waste a second opening the door of the guild, discovering all those they had lost 7 years ago, all those they had mourned, cried.

And suddenly, in front of his eyes, was Natsu ruffling Romeo's hair, like a big brother would. Macao with Mirajane and Makarov chatting at the bar, probably making up for lost time. Erza with a slice of strawberry cake, while being with Alzack. Levy surrounded by Jet and Droy, crying non-stop as she tries to reassure them. Gildarts and Cana were at a table, a beer in front of each of them. Lisanna, Elfman, Lucy, Wendy, Gray, Juvia, Gajeel... Everyone was finally back.

She entered the room, attracting stares from her friends, but each of them said nothing - they knew who she was looking for. She too had the right to find him without being interrupted. Her gaze fell on his blond hair, and her eyes softened as tears quickly filled her eyes. Laxus turned around after Fried nudged him lightly, pointing to the young woman with a shake of his head.

Laxus rose from the bar, his gaze meeting the eyes of the woman he loved, the woman who had never really left his thoughts, the woman he had thought of directly when he woke up on this island. He was the first to move forward, realising that she must still be in a state of shock. 

When he reached her level, he looked her up and down, realising that he had not kept his promise to always be there for her. For years she had been alone, she had suffered, she had probably had to fight. And he had simply disappeared from the face of the earth thanks to the Fairy Sphere. It was their only means of survival, and yet he blamed himself. Of course, Acnologia's arrival was not his fault, or that of anyone else in the guild, but he regretted his past actions. He'd been so blinded by it that he'd forgotten that behind it all, once the doors were closed, there was someone who loved him.

His hand rose to rest tenderly on her cheek, never taking his eyes off her for a second. He was trying to communicate his endless love for her, words had never really been his forte, but at this moment, he promised himself he would make an effort. She deserved it, she deserved all the happiness in the world, and Laxus wanted to be part of her happiness, he wanted to make her smile every morning when he kissed her, when he told her he loved her.

“-Laxus…” She whispers in a trembling voice.

“-I’m here now my love, I will never leave you again. I swear.” He stroked her cheek with his thumb, smiling. “-I’m sorry for everything that happened in the past, I will make up to you, we will be happy if you still want us to be together.”

“-Of course I want us, I never even thought about leaving you. Now that you are here again, you are stuck with me.” She let out a small laugh, although you could hear the emotion in her voice.

The blond smiled at her tenderly, placing a soft kiss on the top of her head, holding her against him as a few tears escaped from her eyes. The guild members around them looked on in delight. Makarov, the master, well, the former master, was happy to see his grandson reunited with the woman who loved him. Of course, he still couldn't understand how Laxus could have strayed from the straight and narrow by having someone like (y/n) by his side, but the main thing was that now, he wasn't just interested in possessing power. 

Surprisingly, even Natsu hadn't said anything, he hadn't intervened to ask (y/n) to fight him, or Laxus. He'd realised that this wasn't the time, and it was one of the rare occasions when he finally understood the need not to be interrupted. Gray had done the same, not yet trying to provoke the pink-haired one, after all he could wait.

Once the reunion at the guild centre was over, (y/n) and Laxus headed towards the Thunder God Tribe to have a little more privacy. The young woman smiled at Freed, Bickslow and Evergreen; she'd had time to really get to know them since she was a child, but also in a different way as Laxus's girlfriend. Once the blond was seated, he pulled her closer to him, making her sit on his lap, putting a firm arm around her waist to hold her against his body.

“-You’re coming back to the guild right ?” She whispers to his only attention, looking at him expectantly.

“-I don’t know yet baby, for the moment I’m just happy to be here. I will speak to gramps later.”

“-Then you’re still living with me, I have your stuff in my closet.”

“-Of course, even if I didn’t want to, you would have kidnapped me, you little minx.”

The couple started to laugh, happy to finally be back together after so many years. She did not let him go, keeping her arms around him.

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For the rest of the night, (y/n) stayed with Laxus, her face against his chest, finally complete again. The guild had slowly begun to empty, with those who had lodgings outside leaving to join him. The young woman couldn't help but feel sorry for her friends, as when they had disappeared, the guild had managed to pay some of the rent so that their debts weren't too high, but over the last 4 years, this had become totally impossible. Missions had become rarer and rarer, guide members were leaving, and the worst was during the Grand Magic Games. The guild's reputation had been destroyed in such a short space of time. 

Laxus drew her attention by gently kissing her cheek, making her lift her face towards him so that she could meet his gaze. There was so much love in his eyes that (y/n) thought she might start crying again just from that.

"I love you.” She said softly, placing a hand on his jaw. "And I missed you terribly."

"I love you too". He grabs her hand and places a kiss on it. "Let's go home, shall we? I need to be forgiven.”

There was something in his gaze that instantly lit a flame in (y/n). It was a look she could recognise at any moment, something she could never forget. And it told her that her night was not about to end. The woman agreed, rising first, followed by Laxus, who wasted no time in taking her hand and pulling her out of the guild.

The walk to their shared flat seemed to last an eternity, with Laxus's firm hand still in hers, leading the way at a quick pace. He didn't even take a second to look around, the only thing that mattered to him at the moment was (y/n). He had never felt the need to be close to her so strongly, the need to kiss her, to show her his love, to prove to her that he had come back and that he would never leave her alone again.

No sooner had they entered their flat than Laxus pushed her against the door, pressing his lips directly against hers in a passionate, fiery kiss. The couple knew that if they had kissed in the guild, they would have ended up putting on a show that their friends would not have wanted to see. And all that tension was being released as the two came to lose themselves in each other's arms. 

"-If you only knew how much I'd missed your lips." He said between kisses, his voice having suddenly become deeper, his hands had begun to venture down her body, reaching under her T-shirt to caress the soft skin of her stomach. "-I missed your body, your skin, your voice, everything about you."

"-Laxus..." She intervenes in a low voice, meeting his gaze. "-I need you so much, please." Her voice became more plaintive, almost begging.

“-I know baby, but you gotta wait.” He replied softly, continuing to kiss her.

They kissed again, Laxus gently running his tongue over her lips before nibbling her bottom lip. At his movement, (y/n) let out a plaintive moan. Between her thighs, she could already feel the moisture building up, and only the desire to see the blond man take care of it filled her mind. However, he seemed determined to discover her body again, as if it were their first time. (Y/n) came and put his arms around her shoulders, bringing him even closer to her. She could feel a lump forming against her, but knew better than to say anything to him, the tension had to be built up, they both had to get closer to the edge, the better they would fall.

The blonde only broke the kiss for a few seconds, just long enough to look at his girlfriend, her eyes slightly moist, filled with passion and desire. A desire that only he was capable of satisfying. This thought only excited him even more, and he came back to kiss her fiercely, removing his own jacket at the same time and letting it fall to their feet. (y/n)'s jacket joined it only moments later. 

Their body temperature seemed to have risen a hundred degrees in just a few minutes, and all it took was one kiss to fill them with excitement.

The couple began to explore each other's bodies over the top of their clothes, and Laxus was the first to put his hands under her top again to touch her body. Sensing (y/n)'s curves, he broke the kiss they were sharing, nibbling her neck to put a few love marks on it, leaving his mark, showing everyone that she was his, and his alone. 

“-Such a good girl for me, so sweet, so soft.” His deep voice sent shivers down (y/n)'s spine, making her close her eyes as she looked forward to the next step.

“-Please, please, I’ll be good for you, but please, just touch me already.”

He clicked his tongue lightly, shaking his head as he looked at her disapprovingly. Slowly, he raised a hand, catching her jaw.

"I taught you to be patient, have you forgotten everything already? It's all right, we'll start again from the beginning."

Laxus looked at her, placing a gentle kiss on her lips. He intended to take his time, of course, but he could only understand her desire, her needs. The blond was going to tease her, but in the end, she would be the one to have the last word.

(Y/n) smiled softly, she could feel that he wanted to touch her as much as she did, and yet he held back. The blond returned to kiss her neck just after he had removed her T-shirt, revealing her bra, and using one of his hands, he untied the last piece of clothing, leaving her breasts for him to see alone. Laxus turned his gaze to it, placing one of her breasts in his hand, taking her nipple between two fingers and beginning to touch it. As for the second, he took it into his mouth, sucking gently. The young woman quickly began to moan, throwing her head back against the front door. 

She had waited so long to feel his touch, to feel the pleasure that only he could make her feel for 7 years, 7 long years. Laxus was a desperate man, he wanted to see her face contort with pleasure, so he came to torture her chest, coming to knead her breasts one after the other. 

(y/n) felt her body getting hotter and hotter, the fire completely overwhelming her at the sensation Laxus was making her feel. The blond looked up at her, before slowly moving his second hand down to his trousers, unzipping them. She didn't waste another second sliding them down his legs. He pulled his mouth away from her, putting his arms around her waist to carry her. 

Quickly, he took the common path to the bedroom, before sitting on the edge of the bed, leaving her on his lap. She came to kiss him, putting her arms around his neck, her breasts pressed against his chest.

Laxus's hands came to rest on her buttocks as he quickly devoured her lips. Their tongues began a dance together, both with their eyes closed, and both craving each other more and more. The blond came to move her against him, and the young woman moaned into his mouth as she felt her humidity rub against the blond's trousers, giving him a much-needed rub for his crotch.

“-Go ahead baby, come on, use me.”

(y/n) didn't hesitate, starting to accelerate against him. Laxus's fingers became firmer on her buttocks, helping her with her movements. He didn't waste a second of the show, his face concentrated on hers, watching her eyebrows furrow with pleasure, her eyes close as soon as one of the rubbing strokes touched her clitoris particularly well, her half-open mouth letting out moans of pleasure.

“-I know you’re getting closer, baby girl. Does it feel good ? Do you like using my legs for your little pleasure ? We have the entire night for it, you have no idea of how much orgasm I will give you.”

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©Lunavelha

Do not repost somewhere else, do not translate, or use in any way.

[synergysilhouette]

12 nitpicks with "Baldur's Gate 3"

This is a game I hadn't expected to love as much as I do--I think it's one of the best I've ever played--but just to play DA for a second, I thought I'd be nit-picky with some things about it (not that I'm ungrateful, Larian!)

Halsin's romance is rushed and lackluster--Halsin can only be recruited if you join the druids and tieflings against the goblins, and his storyline is only covered in Act II of the game with the Shadow Curse. Afterwards, he's just along for the ride, and if he becomes a love interest, you only get one romance scene followed by flowery words from him when addressing Tav, and the nature of your relationship is confusing, since Halsin finds the word foreign, emphasizes (optional) polyamory, and the implication from other love interests is that you're just sleeping with him. Seeing how the game was eventually patched so you could recruit both Halsin and Minthara, I do wish that it was made that way to begin with, with both of them having more pronounced arcs throughout the story. I have heard that they had cut content, so it'd be nice if it was reinstated someday.

2. The female companions are racially more diverse than the male companions--This isn't really an issue for me, but an observation; for female companions, we have a Githyanki, a drow, two half-elfs, and a tiefling, while for male companions we have two elves and three humans. I suppose they didn't wanna experiment too much for male companions, but I could've seen Halsin as a half-orc like Jord, and Wyll a dragonborn--not that I'd trade out their designs as-is; that's just an observation.

3. We get Yenna in our camp, and she adds nothing--After having the spirit of nature AND a tiefling with newly discovered magic powers in our camp in Act II, getting an average human kid in Act III just because felt dissatisfying. Yenna will come up to you, regardless of whether you're invisible or not, when she will tell you that she can't find her mom. After talking with her, she'll appear in camp a few days later and ask to stay. You can say "no," but it's a weird option anyway. Plus if you do as I did and just misty step off the cliff into town to avoid talking to her, she will still be Orin's victim if the others are not available, even if you never meet her (note: I do not know how this works if the other options aren't available and Yenna is dead). And even when you rescue her, there's the guilt because her mom and her cat are dead, so you kinda feel like you have to let her join. I'd much rather keep Arabella, or find a way for Thaniel and Oliver to bond and then separate, with one of them joining us on the journey if Halsin is recruited. Or another option...

4. Lae'zel and Shadowheart have similar storylines--While the details are different, the overall plot is the same; both women find out that they've been lied to by the culture they've grown up in, and have to decide how they feel about it. The difference is that Lae'zel can choose between helping Vlakith, Orpheus, or stay out of the Githyanki conflict, while Shadowheart just gets to choose between following Shar or turning her back on her. That said, Shadowheart's storyline is much more satisfying and emotional since the goddess erased her memory and now she has to decide how to take that. With Lae'zel, she never really evaluates what it means to be independent like Shadowheart does, first swearing loyalty to Vlakith, then joining Voss when she seems to be lying, and becoming intent on freeing Orpheus when she finds out he's been kept away. Only at the end can you tell her to find her own path. Because her culture highlights strength and a warrior lifestyle, the similar arc she has to Shadowheart can't be executed as well. In fact, one unique thing about Lae'zel's storyline never comes into play during the main story: the githyanki egg. She'll mention feeling bonded to it, and will say it hatched during the epilogue, and that she named him and wants him to choose his own path in life (which doesn't really fit if she chose to stay with Vlakith or Orpheus, imo). It would've been nice if Xan was hatched and kept in our camp, or if the egg is taken from us immediately after leaving the creche, and we have the option to rescue Xan from the SoB and let him join us.

5. Astarion's viewpoint/approval doesn't change--I'm in the minority here I'm sure, but given the sympathy people give Astarion due to his past as an abuse victim and Astarion learning to love himself, I do wish the change was a bit more impactful, with Astarion showing more compassion for others and certain altruistic or optimistic choices earning his approval. Even in Act III, there are a couple of times you get to say you can't believe he's letting his family be led to the slaughter or think of harming them. He'll respond that they're screwed anyway or that no one else looked out for him except you. It doesn't feel like as much progress has been made, and even after Cazador's mission, he's still himself, just with less burdens and more closure. His epilogue epiphany of people not minding you committing murder if it's bad people feels like something he should've learned along the way.

6. Romance initiation is based on the afterparty, for the most part--People will say that initiating a romance isn't dependent on the goblin/tiefling party, but I've only had ONE time where I had the chance to begin a romance began afterwards--or at least, one time where it was someone I was interested in (there were a couple times Lae'zel flirted with me). In my experience, it's very difficult to start a romance after the party, despite having a lot of approval. I'd rather there be a perpetual romance option to pick when talking to a companion, and them accepting once you have enough approval, rather than them coming to you.

7. Karlach's only ending is the "bad/sad" ending--As many will tell you, there was a planned Upper City portion of Act III that included furthering Karlach's quest, with the ending we got in the final version being the bad ending if we neglected her quest. I understand cutting content, but since literally EVERYONE ELSE'S fate is dependent on your decisions (Shadowheart and Lae'zel's loyalties, Wyll being a devil or not, Astarion completing the ritual and killing the spawn, killing Minsc and Jaheira leaving, saving Minthara, Halsin's resolving the Shadow Curse or not, Gale giving into his ambition), Karlach should've gotten the same treatment. If a section had to be removed, they could've moved her quests to the sections of the game that we did get.

8. Getting Minsc when we could've gotten Rolan--While Minsc is a neat companion to have, his lack of a storyline (outside of his recruitment) and being a non-romanceable companion makes him feel almost like a wasted slot to me. If we wanted to add another male companion, I definitely feel like Rolan would've been a better companion, coming across as a cross between Astarion and Gale due to his cockiness and ambitious nature. It'd be fun if he was recruited in Act II after rescuing his siblings; honestly, he wouldn't be on any worse footing than Minthara and Halsin for having limited content, but Rolan has the added benefit of having family that we can interact with, joining Wyll and Shadowheart as the few companions who do. In fact...

9. Only plot-relevant backstories--Okay, this is a real nit-pick, but that's the title of the post! For the most part, characters only mention their past in relation to their quests, though there are brief exceptions: Wyll, Minthara, and Karlach mentioning their mothers, and Tara mentioning Gale's mom. Maybe I just didn't get the dialogue, but I do wish we got more about each character's childhood/backgrounds--and not just in a one-convo-type thing like the aforementioned individuals. I guess I have to give Astarion a pass since he says that after being a vampire for centuries, he can't even remember his eye color, let alone his life before, aside from being a magistrate (which I find SUPER interesting). Plus it'd be interesting to hear more about old flames like Gale and Halsin mentioned, and the conquests Astarion reunited with as spawn.

10. Act II slimming down the number of tieflings--If you do nothing to help the tieflings or side with the goblins during the raid, all of the tieflings die. However, even if you side with the tieflings and defeat the goblins' leaders, several tieflings will die anyway. When cultists corner them in the shadowcursed lands, Zevlor is distracted by the Absolute while the other tieflings are kidnapped and brought to Moonrise Towers, find their way to the Last Light Inn, or are killed on the spot--or in the case of Arabella's parents, killed after escaping the cultists and trying to hide. While these things happen in war (or cultist territory), it felt disheartening to see that the people you went through all the trouble of saving died anyway. It's almost a waste.

11. To be young--This is really scrapping the bottom of the barrel, but I do wish we could make Tav look a bit younger (I think you can look younger than this picture, but this is just a visual aid). I also have this nit-pick for some of the companions, but I'm sure a mod for that will eventually be approved.

12. Getting companions to romance each other--This isn't something I need as much as the other things, but it's still something I thought about when watching origin playthroughs. To my understanding, they're all pansexual (personally I imagine Karlach, Astarion, Lae'zel, Jaheira, and Minthara as male-leaning pansexuals and Gale, Wyll, Shadowheart, Minsc, and Shadowheart as female-leaning pansexuals while Halsin is middle of the road; no idea why, just the vibes), and it'd be fun to pair them up together. Not saying there are endless combinations; I can imagine Gale/Astarion wouldn't be something that exists in the Tav route (especially after Astarion straight-up told me he doesn't want an open relationship/polycule with Gale), but Karlach/Wyll, Lae'zel/Shadowheart, Jaheira/Minsc, Karlach/Gale, Gale/Wyll, and Astarion/Halsin are ships I think of being possible.

Don't kill me! I already love the game as-is, but I did want to point these things out. I was also gonna include a other nitpicks such as the option to have kids/discussing it and Aylin/Isobel being active companions and not just space fillers at camp, but maybe I'll save that for another nitpick post.

[ballerinarina]

𐙚LET'S TALK ABOUT... DIEGO, LILA & FIVE

Okay, firstly I need to state that I'm going to say my impressions about the season four of The Umbrella Academy, focusing on the subway plotline. My considerations are very long (I'm talkative!) and about what I watched in the episodes and what I read on social media, so, I am totally open to opinions too!!

As an hyperfocused girl, I've been thinking about the subway arc plot decision during an absurd amout of time. I watched it a few times and read a lot of opinions. Yet, I still feel a little... surprised (?) by the intense hate over it.

It's not about liking or disliking the new couple that I'm talking about. Since naturally people would prefer one ship over another, it was obviously waited that the opinions would be divided.

I just... can't understand why people hated it so much as if it was a bad plot decision. Diego and Lila are beautiful together, i agree! They have a long, real and strong love story together. But why people are acting like this new plotline erased all their relationship together? Relationships are more complex than that.

Feelings are more complex than that. Humans are.

Actually, I may say that the psychological development that happens in the subway is way more interesting because Lila and Diego love each other, as much as Five loves Diego too.

This being said, I don't mean that I think a cheating plotline is interesting because of the cheating. I actually use to dislike it a lot. However, dealing with cheating in a black-and-white way as if it's an indefendible action is not clever. Sometimes, some things I read make me realize that people are so stuck into traditional morals that their capacity of thinking and analyzing complex emotional situations is kind of... damaged.

𝐒𝐨... 𝐋𝐢𝐥𝐚 𝐗 𝐃𝐢𝐞𝐠𝐨 𝐨𝐫 𝐋𝐢𝐥𝐚 𝐗 𝐅𝐢𝐯𝐞?

The Umbrella Academy is known as a series with very human and complex characters. That's what makes it so good, from the beginning! That's why I think it's kind of sad to judge their relationship with a typical moral view.

Claiming that Lila didn't deserve Diego, for example is so... so sad. She was an amazing mother and wife. She tried to go back to them for six years and as soon as she could she went back! Not even thinking twice! She loves Diego, of course she does!

Loving Five doesn't make her love for Diego less strong.

I really don't think Lila X Five is just neediness, however, no way. They already spent two seasons constructing a beautiful (friend) relationship before and in this horrible context they spent a lot of time taking care of each other, being each other's support. Considering this and their communication development — jokes on season 3, kindness in the beginning of season 4 — it's not surprising or nonsense that it turned to become romantic. People and relationships change, love is built and adapted.

I don't think Lila stopped loving Diego (i mean romantically, but even if she did, she surely didn't in other ways of loving that are as beautiful as it is) but that doesn't make her love for Five false, and Five loving and having a relationship with her doesn't make him a bad brother either. That's why I emphasized that TUA is a series with complex relationships. Why do you get upset and surprised when another relationship between complicated characters is built due to the tragedies of the script?

If this didn't cause outrage before, could it cause because, this time, when things get complicated, the plot resource used questions the standard romantic drama format expected by the system?

𝐍𝐨𝐧𝐬𝐞𝐧𝐬𝐞 𝐩𝐥𝐨𝐭? 𝐎𝐮𝐭 𝐨𝐟 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫?

I guess one of the main arguments I saw was that their relationship didn't make any sense and that their scenes were extremely out of character, but I don't think it could be sustained when they both are characters who go through a lot that makes them change, alone or together. What they're claiming being out of character may simply be character development under non-ideal circumstances.

It seems like there's an strong resistance to open their minds while watching and realize that love isn't something that can only happen once and/or once at a time and under ideal situations. Diego and Lila's marriage crisis, Five and Lila developing ther friendship inbetween work cumplicity, Five looking more lost and tired in his decisions than before, the fact that it is the second time he has been trapped in space-time — which is a big trauma for him, since, from the first season (in the first apocalypse) we have been shown that, despite being introverted, arrogant and reserved, it is precisely "relating" that serves as a point of refuge for Five not to go crazy, lowering his guard and being kind...

All of this constructs very well their psychological coherency. "He wouldn't treat her like that during season 2 or 3!", "Lila would never be a domestic mother/ Five wouldn't work do CIA!". Well, we're talking about them now, not there.

One of the plot decisions to start this season was that the characters were living between what they kind-of-desired, but things still weren't fine, they still weren't getting what they wanted.

Five being free from the world-ending, but stll not being able to relax and live a simple retired life as he wanted. Klaus being sober and free of the ghosts, but insecure and anxious. Allison having Claire and Ray, but still unable to live a happy marriage and career. Viktor having his place working with something that makes him comfortable, but still unable to find love. Diego and Lila having a family and marriage and still unable to feel happy because the domestic work dynamic wasn't working...

Adulthood. Real life. None of those situations were out of character, as much as none of the psychological changes they suffered were too.

𝐀 𝐜𝐨𝐧𝐜𝐥𝐮𝐬𝐢𝐨𝐧 𝐚𝐛𝐨𝐮𝐭 𝐜𝐨𝐧𝐬𝐞𝐫𝐯𝐚𝐭𝐢𝐬𝐦

Since I don't really see the point on why would all of the happenings between them three could be claimed as "nonsense", even less "unasked" or "unnecessary" — because it's a work of fiction and, even if it may not be what the public wants to watch, it is not something that needs to prove its usefulness, just as events (that tie together well, because coherency matters) do not need to prove their necessity in art —, so it makes me even more sad that clearly mostly of the reactions are based on conservative views of marriage.

I know this season is not perfect, and it had a lot of defects, so I'm not saying the arc is perfect. As all the other arcs, it happened in a hurry, making us the public less abl to feel the 7 years of development. Complaining about how the arc was executed is perfectly fine, actually: after all, we know that 4 episodes were cut from the original script, as were many recorded scenes (including a big part of the subway plotline).

AIDAN: "There's a lot of the relationship with Lila that we filmes but they cut it. It took weeks to film it and they used a few minutes in a montage. That wasn't right. It also made very hard for the viewers to believe when we spent weeks filming scenes to set up that scenario."

But when I bring the conservatism theme (misoginy and remnants/consequences of the monogamous religious structure), it's because, even if we have lots of other of worse defects on other parts of the season, the biggest public overreacting opinions have been undoubtly about Five and Lila.

Anyone who spends more than 2 minutes in the comments on Twitter, Tiktok or even here knows that most of the time people've been sad and angry treating them both as if they were turned into cheaters with no morals (Five as a new kind of scroundrel asshole, Lila as some kind of ungrateful whore and I've even seen people problematizing their enemies phase, or the age difference as if one of then, or even the director, were predators, which is pure nonsense) and I can't even express how it makes me deeply melancholic.

I can't see how reacting as if the situations they were put in and their actions toward it in the scripts were absurd, terrible and dumb can't be just conservative, because they were actually very well tied script decisions, used in a bold way. With an interesting and well written enemies to frenemies to friends to lovers trope, they managed to write something fun and that developed both of the characters in their early-season-conflicts-arising-from-other-seasons.

𝐒𝐨? 𝐖𝐡𝐚𝐭 𝐝𝐨 𝐲𝐨𝐮 𝐦𝐞𝐚𝐧 𝐭𝐡𝐞𝐧, 𝐂𝐞𝐂𝐞?

I truly just... Can't understand how some people ended up having collectively such insensitive opinions about the relationship of two characters who were so... vulnerable.

Non-ironically I even saw a lot of people defending they would prefer Five to end up with a “real life Dolores” plotline (since the author felt the need of a romance) than with Lila, or that he shouldn't ever fall in love with anyone else than Dolores. It sounds so... Insane. I can't see how someone can have any kind of shipping-affection for his "sick" relationship with Dolores. It was, for me, a completely heartbroken arc.

While watching this new season, actually, it made me almost warmly happy, as a Five fan, to see him having someone to take care of him in hard times like that. Last time he didn't have it. They loved each other, they constructed this love and even if it was constructed under a refuge, extremely vulnerable situation, as much as even if it was constructed over a hopeless and trust-breaking decision towards their loved Diego, it doesn't make it less real and beautiful.

They aren't bad people. They aren't cheaters. They were desperate.

I'm happy they found love in each other. They were victims but managed to construct a beautiful relationship to survive and it doesn't make them love less Diego, as a brother or as a lover.

Of course it breaks completely my heart that Diego and Five died without making peace, but while watching not even for a moment I considered that they stopped loving each other. They're brothers, they've went through a lot.

They were doing so fine getting along together since they came back from the apocalypse.... There's no way it would "destroy" and "erase" (terms used by some fans) all the progress that's been made... I think it would be a very shallow interpretation of their relationship and a very futile interpretation of the events. Some of the public is seeing the situation as if Five slept with his wife since the beginning, not as if he had felt in love with her in a very apocaliptical and hopeless situation.

It's essential to remember that nothing said romantic happened for six years. It turned this way only after they having practically given up hope of returning home, so exhausted they were.

I really don't think that such a desperate and lonely situation would erase all the love and dedication Diego have for Five (and Five has no reasons to stop feeling it for Diego too, obviously). Diego was totally the sweetest during this season, he did his best, but Five did too... Now they fought but it doesn't mean their relationship would be forever broken. They were both stressed out, of course, it was a sensitive situation. But, i don't think it would... However with an apocalypse going on, they just didn't have enough time.

Diego was clearly open to understand Lila better, so I really doubt he wouldn't try to do the same with Five. But, again, they were both heart broken, hot headed and with no time. It's sad and it affect them, but "destroy and erase" are very heavy terms and inconsistent with the context of their relationships.

I don't know. I don't know how to conclude this analysis. I just… Am sorry. I honestly feel lucky to have been able to experience Diego, Lila and Five, but I'm so sorry that I couldn't see these three hearts find peace in their complicated loves, even during their final moments. These are three very beautiful love relationships that grew up tangled up and that, unfortunately, couldn't unfold in time to hurt less their lovers.

It felt wonderful and desolate. I hope more people can feel it like i did.

[amxrany]

!! CHAPTER 7 / DIASOMNIA ARC SPOILERS !!

Heyyyy I'm still alive and kicking, been doing a lot during the summer and I got some vacant time now so let's go (Kalim's Dream):

We're getting right into the action ya'll we are currently transmigrating into Kalim's dream and Vil is not having a good time (he's screaming his ass off). We land in front of a school and Vil is just distraught about dream hopping that Yuu, Grim and Idia are making fun of him for it 😭; but Vil wasn't letting it slide with Idia (he threatened to smash his screen/LCD).

Ok yeah going back we see a fountain with the sultan's (the sultan from Aladdin) statue in the middle. Then Grim get curious of said statue that he jumps??? into the fountain??? Then we get the KALIM APPEARANCE RAHHHH

He explains to the group that the sultan serves as the main figure of the school they're in: Qasr Sultanate Academy. Kalim also doesn't recognize any of them because he's a second year of the school, he also doesn't recognize NRC but once he heard that they were from Sage's Island; he assumes they're having a tour.

He also notices that the group is dying from the heat due to their uniforms, so he uses Oasis Maker to hydrate them. We learn that in this dream, Kalim manifested his magic at the age of 14 and created the academy to train his magic (OKAY DAMNNNN THAT'S JUST A WHOLE NEW LEVEL OF RICH). That's when Kalim summons his servants to give the guys a feast because apparently you can bring servants to the school even if then if they won't be considered as "students" and Sebek's like "NRC doesn't even permit outsiders" (talk about culture shock)

That's when they start talking about stories from their homeland, Kalim brings up the story of Aladdin and the Sultan; while Silver and Sebek bring up the story of Sleeping Beauty. Grim notices that while Kalim isn't that much different, it's strange that he isn't at NRC knowing how much he loves the school. That's when Ortho makes the connection between Kalim and Vil, what could be the possible tragedy that happened for Kalim not to be at NRC in his dream (well they're about to find out) then we get a JAMIL JUMPSCARE

(why is he smiling, it kinda scares me)

So what Kalim really wanted was to be friends with Jamil despite their differing statuses (aw :( ) and thus the group plays along by introducing themselves to this Fake!Jamil. Vil's impressed with Silver and Sebek's acting skills, I mean if you have encountered a war general, a buff twink and a Savanaclaw fanboy; you'd at least pick up on some acting along the way.

But of course, Silver and Sebek do know that there is something off about the Fake Jamil because he asked Kalim to get something for him and they're just calling the Fake out 💀. That's when Fake!Jamil reveals itself as the darkness and tries to drag Kalim down with him, but Kalim is starting to remember everything.

KALIM SMACKS US WITH THE QUESTION FROM BOOK 4 IMA JUMP OFF GOODBYE

That's when Fake!Jamil uses Snake Whisper on Kalim but Kalim wasn't buying it then the Fake!Jamil starts saying stuff along the lines of how they grew up as brothers and have never been shy with each other despite their positions. That's when Vil snaps Kalim out of the dream about how he still kept trying to befriend Jamil despite having him betrayed by him in the past. That eventually wakes Kalim up

That's when the scene changes to Book 4's overblot battle, when Fake! Jamil tries to help Kalim stand; he swats the fake's hand away. That's when Kalim replies to Vil that it's because he's Jamil's master, not his best friend. But Kalim tells the Fake that he wants to befirend the real Jamil, not him.

Thus the fight begins and once it's done, Kalim cries now let me show you his groovy

(if he's sad, we are all sad too)

The whole plan is then revealed to Kalim, who is now fully awake. Kalim is now added to the party because he's the only one who can awaken Jamil because they know each other. He also mentions that it's usually done the opposite way (Jamil doing the waking up), so it's nice to see the roles swapped.

I don't think my summaries captures the full essence of Kalim's dream so I really recommend that you watch english translations if they're out. But yeah will be translating Jamil's dream in a bit, took me awhile cuz I had a lot of things to do but yeah see ya'll soon~

Next: Jamil's Dream

[ai-manre]

Reread Sansa's sample TWOW chapter today after very long, and I enjoyed it so much! I had totally forgotten how much I like book!Sansa. Especially her Alayne chapters are so good, where she is teasing knights, gossiping with Lady Myranda, and having fun in general.

I see fans often claiming that Sansa is going to be Queen eventually because she has a leadership/ruler arc. This is flat-out wrong. She does not have a ruler arc, in the Vale, Sansa is learning two things:

Being a Lady of the House. She is doing all the household management, organization, image politicking, handling the guests and house members in the appropriate manners etc. She is also playing at being the proper Westerosi maiden, flirting with Harry and other knights, and acting the scared damsel in distress when needed. And what's more, she is good at it and loving it.

Scheming. That's what she is learning from Littlefinger. To be a political schemer, playing the game of thrones and manipulating things behind the scenes. Littlefinger is no leader by himself, he's a player.

In other words, she is following in Catelyn's footsteps of being a lady with political acumen. Fitting the mold of the society but also exceeding it. Only, Sansa has the advantage of a teacher like Littlefinger (I'm only talking about his scheming skill which he is teaching), so eventually she will get to succeed where Catelyn had failed.

This is why I don't see any chance of her being a ruler in her own name, because till now, Sansa's arc has never been about ruling. In the Eyrie, her role and thoughts are myopically focused on the household, the guests they must entertain, coaxing Sweetrobin, the schemes to play, the right image to project, which servants are suited to which task and such. It's never about how winter impact will impact the kingdom how much food is in their granaries, how the smallfolk are faring, how well she thinks the existing governing systems are functioning, how well justice is being done, how to benefit the kingdom as a whole.

This is big picture stuff, elements of ruling a kingdom or an institution, not just a household. These are all elements very strongly present from the beginning in the arcs of the leaders: Dany, Cersei, Jon, Tyrion. The difference is noticeable especially in the case of the main budding leaders of the story: Dany and Jon, where such qualities had existed in them even before actually becoming leaders. For example, Jon spends AGOT gaining a leadership position among the new recruits of the Night's Watch inspiring them, he assesses the existing institution and framework of the Night's Watch and finds it lacking when someone like Sam is not utilized, negotiates with Maester Aemon based on his argument that every tool has its place, gets himself into a position where he's groomed for leadership. Dany spends AGOT learning to command, first by rightly assessing Viserys and ordering him punished, then proactively taking the Lhazareen women under her protection against Drogo's wish, then inspiring the rest of her khalasar and Ser Jorah to become hers, her men. Those traits had to be planted very early for both Dany and Jon to become such competent leaders at their young age. In each book, they encountered leadership challenges, they led people, negotiated deals, showed military prowess, administrative actions, had clear visions of what they wanted to change.

[actualhumantrashcan]

I can understand a silly workplace comedy about pirates not being everyone’s jam but I really can’t understand the amount of queer people I see hating on ofmd.

like for one thing most of the debates turn into gatekeeping queerness (which I think has a lot more to do with the ages of the main couples than actual concerns about authentic representation but that’s another post) and the rest are just hateful because it doesn’t directly name or label it’s queer characters but like why do we need that at this point?? listen I love heartstopper with all my heart but it is exhausting to watch them explain queer identities sometimes (even though I do think it’s super useful for younger audiences I’m just not the target demographic!) and ofmd is an explicit, violent, adult show that doesn’t NEED to explain it’s character’s identities.

queer people past their 30’s are usually very well aware of their queerness and have had (hopefully) plenty of time to go through the arc of discovering that. so why would we need to see Stede or Lucius or Ed going through turmoil because they’re attracted to men when they have already come to terms with that at this point in their lives?? i for one find it so fucking refreshing to watch a show where the characters being queer is not their main arc, they just ARE queer and life is still happening to and around them. maybe that’s just the millennial gay in me talking, but it gets emotionally exhaustive to watch show after show where the queer character’s arc is overcoming homophobia. yes obviously homophobia still exists and yes obviously if ofmd was trying to be historically accurate these characters would be living in a very dangerous time to be queer but it isn’t trying to be accurate!! it’s trying to be fun and diverse and kind!!

and also, they aren’t pretending homophobia doesn’t exist!! it’s just addressed in a different way. Stede was emotionally abused by his father for his entire life for being “soft” and then was chased down by his homophobic childhood bullies, one of which explicitly told him that he “defiled” the great pirate Blackbeard by simply falling in love with the man behind that name. Meanwhile Ed was forced into the world of piracy at a young age and developed the entire persona of Blackbeard (who fits the toxic, violent masculine stereotype of the time) to hide the fact that he’s actually an incredibly sensitive and deeply queer man! and is told multiple times by male figures in his life that sex with other men is fine but it is absolutely unacceptable to be in love with a man. both of their arcs contain homophobic rhetoric that is still present in society today, but its never presented as a problem that they have to wrestle with. they don’t have to come to terms with what it means to love each other, they just have to overcome some trials that go along with the complicated lives they both lead as a pirate and former aristocrat. the homophobia in ofmd is woven into the backstory of each and every character, it shapes them into the people they are at the beginning of the show when all of their walls are up and they are performing the “pirate” roles they are supposed to play. and then we get to see them grow and realize that they are in a safe space, part of a community not just on the ship itself but in the life of piracy (which in the show is pretty much explicitly an allegory for queer lifestyles.)

anyway, I could rant about this all day but just truly why do we have to tear people down for enjoying something? why do we have to find reasons to hate something so obviously created with sensitivity to it’s queer audience and with so much queer joy? if historically inaccurate gay pirates going on silly adventures and falling in love are not your thing, fine! but perhaps just let people enjoy things and find your own things to enjoy.

[raven-at-the-writing-desk]

I was thinking about caters dreams I think he's still hiding a lot of feelings, do you think he might be hiding a lot of feelings about the previous warden that only trey knows

[You can read my full thoughts on the book 7 part 12 Cater and Deuce update here! ]

Well, it is Cater we're talking about, so I feel like we're definitely still not getting the full picture of him from that dream alone. However, I don't think I have any reason to believe that he'd be hiding his opinion of the previous dorm leader, and there's also not much in his dream that supports that idea.

Cater himself states that he’s happy with Heartslabyul the way it is now. He has a voice line in the new card that echos the same sentiment as he does in the main story. And I 100% believe him after having seen the Heartslabyul arc play out so many times. It’s only after the events of book 1 that Cater is able to be a little closer with everyone in his dorm; I don’t think this would have been possible in the Heartslabyul of yesteryear. Not only that, but Leona was present for this claim and he can usually detect bullshit like no one’s business—yet he gave zero indication that he thought Cater wasn’t telling the truth.

I do think that maybe Cater enjoyed the laid-backness of the old dorm leader, but… ultimately, I feel the bonds he ends up forming and strengthening under Riddle’s rule (well, with outside intervention) are more meaningful. They’re the beginnings of the genuine kind of friendship he has been missing in his life, the kind of Trey/Riddle friendship he longs to have. Cater would find more satisfaction in this than the ease of the old days.