#that was one hell of a story being set up

[alastor-simp]

“I Won’t Ever Be Scared Of You” - Alastor x Female Reader

❥Summary: Alastor transforms into his demon form to defend the hotel. He promised himself he would never reveal that side of himself to you, but what happens when you do see it?

❥Tags: Sequel, Alastor x Fem Reader, Unafraid Reader, Alastor Demon Form, Hazbin Hotel Episode 5, Dad Beat Dad Episode, Mimzy, Lucifer Morningstar, Confessions, Friends to Lovers.

❥Notes: This is the sequel to a previous story I had written "I See No Fear In Your Eyes." I really wanted to do a bit of a continuation on how the story ended, so I conjured this up. This also takes placed during episode 5 (Dad Beat Dad) of Hazbin Hotel. Hope you all like it. Enjoy:)

Sequel to this fanfic I wrote - Link

"LETS GO EVERYONE!!! WE GOTTA MAKE THIS PLACE PERFECT FOR WHEN MY DAD GETS HERE!!" Charlies voice rang out in the lobby, as everyone scattered about, preparing for when the king of hell arrived. Husk and Niffty started to sweep up while Sir Pentious helped to bake cookies for everyone and Lucifer. You decided to help string up some welcoming decorations around the higher part of the wall, as well as place a "Welcome" sign for the king to see when he arrived. You had never met Charlies dad before, sparking your curiosity on what he was like.

Your thoughts were cut off by loud static surrounding you, making you turn to see Alastor next to you, eyes monitoring the door with a strong hatred, demonic symbols floating above him. What's up with him? Finishing what you were doing, you walked closer to Al and gave him a bit of a poke on his side. His eyes quickly flashed towards you in anger, until he realized it was only you, which calmed him down. Ever since the confession you had at his radio tower about why you didn't fear him, your relationship with him had grown. His mannerisms were still the same, but he had adopted a softer, sweeter demeanor when he was around you, even allowing you to touch him on certain accusations. You still hadn't figured what to call this relationship you now had with Al. Affectionate friends or very close partners? It wasn't romantic per say, but it still left you a bit confused. "Oh, Hello my dear! Something troubling you?" Alastor tilted his head at you, eyes growing soft at the sight of you. "I should be asking you that. Whats with the sudden power surge? Are you angry about something?" Alastor froze for a moment, hands grasping at his microphone a bit tightly before turning to gaze back at the door. "No." Alastor said it quickly, but you can tell he wasn't being truthful. "Do you dislike Lucifer?" You asked him with a tilt of your head, copying him. Alastor remained silent before he gave a loud sigh. "I'm not very fond of him, my dear. He is the ruler of hell, with tremendous power, and yet he hides himself away and refuses to accept his responsibilities."

His eyes had turned into radio dials, for a split second before calming down, yet his smile was widen enough to reveal his black gums. Giving a sigh, you motioned to grab one of Alastor's hands that was still holding his microphone tightly, giving it a soft squeeze, causing Al to look at you with confusion. "Look, this is important to Charlie, and she needs to ask her dad for help with heaven. I'm not telling you to all of a sudden change your view on him, but please try to behave a bit. Just for today, please?" Alastor's eyes continued to stare at you, before he closed them and opened them again with softness. He could never refuse those kind eyes of yours. "Alright, my dear. Its a deal!" He said, jokingly, making you laugh. "Thanks Al." You gave his hand, another squeeze before letting it go, going back to setting up.

Fast forwarding to now, you watched as both Alastor and Lucifer were having a "I'm the better dad" song battle for Charlie. Welp, you tried. You knew Al had tried his best, but after a couple insults between the two, the deal you had with him completely broke, honestly it was shocking to hear Alastor say "F✪✪k you" since he has almost never swore ever, since he arrived at the hotel. The song fight continued on, until it was interrupted by a short chubby demon, who came badgering inside the hotel. She quickly introduced herself as Mimzy, one of Alastor close friends, and also being a singer at a club she ran. She started chatting with everyone at the hotel, indulging herself in the liquor that was at the bar, it was surprising how much she could drink. You noticed that some of the liquor supply was getting low, so you thought it would be best to get some more, since everything had calmed down a bit. You had pulled Charlie to the side, letting her know that you were going out for a bit to get some more alcohol for the bar, which she nodded at, giving you a thumbs up before she run back over to chat with her dad. Grabbing your wallet, you ventured out the hotel, looking back to see the others listening to Mimzy chatting about before you went outside and shut the door.

*Few Hours Later*

"MIMZY!! WE KNOW YOUR IN THERE, YOU LOUSY BIT✪✪!". A voice rang out as a loud bang was heard from the other side of the hotel doors, causing the hotel to shake. A group of loan sharks had arrived at the hotel, heavily armed with weapons and attempting to break down the hotel doors with a battering ram. The residents of the hotel began to panic as large fireballs were crashing through the windows, nearly hitting them and causing large shards of glass to scatter everywhere. Vaggie had quickly grabbed her spear, ready to fight the loan sharks, until a hand was place on her weapon, causing her to lower it. "No, my dear, leave it to me. It's time I remind everyone why I am h̨̭̹̠̍̚e̷͑ͥr͉͢͝ȩ̬̤̺̇ͮ̕."

The air inside the hotel began to change, as the static started to get louder. Alastors eyes had turned demonic and a green aura began to cover the whole hotel. Dark tendrils had materialized from Alastors back, allowing him to levitate into the air. "A reminder to all, ŇØŦ ŦØ Μ€ŞŞ ŴƗŦĦ ŦĦ€ ŘΔĐƗØ Đ€ΜØŇ!" Belting out an evil cackle, the tendrils had bursted out of the hotel, destroying the catapult, and crushing the loan sharks into bloody puddles. Growing into a monstrous height, Alastor emerged out of the hotel doors, horns growing in size as well as his eyes turning into radio dials and multiple tentacles protruding from his back; "Ɨ ŴƗŁŁ Đ€VØỮŘ €ΔĆĦ ΔŇĐ €V€Ř¥ ØŇ€ Ø₣ ¥ØỮ!

*Alastor POV*

"Oh how much I have missed this!" Alastor thought to himself, as he massacred the loan sharks that were scattered outside the hotel, running for their lives to escape his deadly clutches. It was futile, as no one comes into the radio demons territory and gets away with it. Scanning his eyes for more prey, he held one of the poor souls in his hand before dropping him in his jaws. "Hmm not quite as tasty as venison, but who could resist fresh sushi!" Alastor thought, as he cackled away, his tentacles continued to tear apart the loan sharks to pieces, organs and blood scattering the ground. The screams soon stopped and the only sound that could be heard was overwhelming static and monstrous growls, as glowing bright eyes scanned all over, making sure all of the annoying pests were disposed of. "Al?" a soft voice had come from below him, making him freeze in shock. Turning around in his gigantic form, his eyes casted down, spotting you, gazing up at him with wide eyes, mouth opened into a perfect O shape.

"Oh no! Oh no no no no no! She wasn't meant to see this! She wasn't meant to see this grotesque part of me!" His thoughts were scattering, feeling fear for the first time. Alastor remembered when he promised himself that he would never have you see his true demonic form, fearing that once you saw how he looked, the eyes that you gave him that held no fear, would be no more. A sinner as sweet as you, who confessed to him about everything that you admired about him to his face, shouldn't have to see this. Alastor didn't know what to do and quickly turned away from you, ashamed at himself, until he heard a "Wow!" from behind him

*Your POV*

"WOAHHH HE'S SO TALL!" Your mind was racing with many thoughts, as you walked closer to Al, putting the bag of alcohol bottles down on the ground. "Holy crap, you got very big. Can you hear me from up there Al?" You raised your voice up a bit louder, figuring Al couldn't hear you since he was almost the size of the hotel now. Alastor slowly turned back around, with his radio dial eyes still present, but they looked at you with slight concern. Alastor had bent down a bit, trying to get closer to you, but keeping a good distance as he worried it would startle you. "Đ؀ޅ.ĐØ€Ş ŦĦƗŞ ŞƗĐ€ Ø₣ Μ€ ŇØŦ ₣ŘƗǤĦŦҀР¥ØỮ, Μ¥ Đ€ΔŘ? His voice was booming, possible due to being in his demonic form, but it was softer then when he was munching on the loan sharks. Gazing up at Al with confusion, you asked him why would you be frightened. Alastor had closed his eyes, turning his head to face away from you; "Ɨ ΜΔĐ€ Δ ƤŘØΜƗŞ€ ŦØ Μ¥Ş€Ł₣ ŦĦΔŦ ¥ØỮ Ŵ€Ř€ ŦØ Ň€V€Ř Ş€€ ŦĦƗŞ ŞƗĐ€ Ø₣ Μ€"

Narrowing your eyes at him , you let out a huff, before walking closer to him. "Pick me up." Alastor turned back around in shock, not expecting you to say that. After some hesitation, Alastor placed one of his large hands down in front of you, allowing you to step on to it. Holding on to one of his large fingers, you allowed him to hoist you up, becoming eye level now. Once you were eye to eye with him, you crooked your finger at him, telling him to move closer. Alastor hesitated again before moving his head closer towards you, his forehead and eyes being extremely close to you. Reaching one of your hands up, you placed it on his forehead, before moving closer and pressing a soft kiss on it. Alastor eyes had widen at your actions, but he didn't move from his position, as you continued to pepper kisses on his forehead. Removing your lips, you nuzzled your forehead against his, "Alastor, I told you before that I would never grow to fear you. Whatever form you take, I will never be afraid of you." Stepping back, you gazed into his bright eyes, lips drew into a soft smile.

Crimson dial eyes remained locked on you, as they slowly closed. A chuckle was heard from Al, as he shook his head from side to side, before moving closer to you, placing his forehead back against yours softly. "Darling, what a wonder you are." His voice had returned to normal, no ounce of static etched in it. The two of you remained in that position, before Alastor had pulled away, bright eyes peering at you with admiration. "As much as I love this form of yours, it would be better if you shrunk back down, especially since you won't be able to fit through the doors." You said with a laugh, earning you a loud booming laugh from Alastor, as his whole being shook, having to hold on to his fingers to steady yourself. "I suppose your right." Alastor said, as he slowly brought his hand back to the ground, allowing you to jump off his hand.

Your eyes continued to gaze at him, as his body slowly began to shrink, eyes returning back to normal slits, and large tentacles disappearing from his back. He was soon back to his old self, rubbing parts of his suit to be rid of any dirt or grime. His joker-like smile was still trained on you, but it was full of tenderness, as he look down at you. "There he is, the handsome devilish radio demon is back!" Smiling brightly at him, you placed your hand against his cheek, giving it a soft rub. Alastor gave you a genuine smile, grabbing your hand from his cheek and placing a soft kiss on to it. Releasing your hand, his arms had wrapped around your back, pulling you into a soft hug, his head moving closer to your neck, giving it a nuzzle, making you giggle at the ticklish sensation. The sweet moment was interrupted by the sound of clapping behind the both of you. Looking ahead, you saw Mimzy approaching, a bit of a smirk on her face. "Oh Alastor! What a fantastic show! Bravo! As always. Thanks for helpin' lil' old me out of a tough spot, you're always such a pal!" Her dialogue got cut off, as some debris from the hotel fell next to her, making her jump a bit in shock. Appearing unapologetic, she looked back at the two of you, "Oops. Heheheh… sorry about the mess, but I'm sure the lil' bug can take care of it for ya."

Alastor had loosened the hug, turning all the way around, but not before hooking his arm with yours, keeping you close to him. His smile was still stretched out as always, but his eyes held irritation. "I think you should go, Mimzy. Now." He said towards Mimzy, stunning her for a bit. "Oh pff, Alastor, you're such a kidder, you! Haha, you are so funny!" She flicked her hand at him, not taking him seriously, but you knew that expression he wore, he was not in a joking mood, his eyes lacking mischief. "I mean it. You deliberately brought danger to this place just to have me clean up your mess. I can't have that here." He had pulled you a bit closer, as he continued to talk with Mimzy, clearly telling her to f✪✪k off. She apparently did not take the hint, as she continue to ramble on, "But you love takin' care a' me! What? You don't actually give a shit about this tacky place, do ya? Come on. I know you. you heartless son of a bi✪✪h~" Her finger continued to poke at his chest, causing him to let out a small growl.

Grabbing her finger from his chest, you pushed it off him, glaring down at her. "I believe he told you to leave." Mimzy did not appreciate you touching her and scoffed at you. "And who the hell are you dollface?" Wow, she even forgot who you were, and she literally just met you a few hours ago, when she barged in. "I'm the one who knows and sees the real Alastor, and doesn't try to exploit him to get out of sticky situations." Alastor eyes had widen at your words, a bit shocked at this fiery side of yours. Mimzy had backed up a bit, not expecting that: "Well I-" "Did I stutter? Leave!" Your words had cut her off, as you continued to glare down at her. Huffing while stomping her feet, she walked past the both of you: "Well fine! Who needs ya!" She continued to stomp away, not before flipping the both of you off.

You continued to glare at her when she walked away, before you got distracted by the sound of static-filled laugther next to you. "My my~ Who knew you were such a firecracker, my dear." Al had unhooked his arm from yours, but he wrapped it around your back pulling you closer. You gazed up at Al, who was smirking down at you, making you flush a bit. "You weren't meant to see that, I'm sorry." Your head dropped down in shame, until a hand had hooked your chin, motioning your head to look back up at him. "I quite like it, ma chérie. Just as you love the many sides of me, I very much enjoy this feisty side of you." His finger had traced your bottom lip, his crimson eyes filled with a strong desire as well as adoration. Inching closer, his lips had placed itself against your redden cheek, causing your heart to skip a beat. Pulling back, his smile was gentle, before he stood back to his regular height, his hand moving from your back to one of your open palms, interlocking your fingers. "Come along, my dear. We better head back inside!" He pulled you along, having you walk next to him, as you made your way back towards the hotel. He had snapped his fingers, using his powers to have the bag of liquor levitate behind the both of you. His hand was so warm. You gave his hand a gentle squeeze, which he reciprocated back as you both went back inside to join the others.

-END-

Sinners:

@alastorsgoldie @91062854-ka , @delectableworm , @iiotic

@cookiekyo , @demoarah , @danveration , @beebsbea ,

@veethewriter , @forbidden-sunlight , @pinkcrystal44 , @luujjvi ,

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@aceofcards0-0 , @ghostdoodlen , @yourdoorisunlocked ,

@starshipcookie , @ainsliemac , @aria-tempest , @nobuharashinyao

, @sweet06tart , @blakedbeanss , @ihyperfixatedagain , @ktssstuff ,

@yakultt-art , @mooniee123 , @nightmarenaya , @darischerry ,

@sadnessiscoldtea , @alastorssimp , @imacollasaltitan ,

@dilucragnvindr-my-beloved , @batmanmonstarr , @felice-jaganshi ,

@justchillaine , @crazed-flower , @ohmylovewhereartthou-blog ,

@akiooshizuka , @lokis-imaginary-friend ,

@themysteriousslenderman , @huntlowfan , @futureittomainn ,

@christinaatyourservice92 , , @just-trash-yeah-thats-it ,

@angelinevalentine89 , @yunimimii , @staryosh1 ,

@mihawksdemoness , @crystalreads , @blahblahbruhmeow ,

@madam-strawberryrose , @inkslayer , @azazel-nyx , @lixanjewel ,

@artemisandhunters , @thereeallink , @ask-theradio-demon ,

@lousypotatoes @l4zyb0n35 , @midorichoco

@lillyisfreakyy , @alastorthirsty , @yukiinee ,

@daydream-the-demon , @cosmiccoralz @aconstructofamind

@pumppkinlynn @erikaafernns , @silverpaw2 ,

@cosmiccandydreamer , @killer-nightmare0 , @visara-valentina

@thereallsaturnstar , @coffee-or-hot-cocoa ,

@fckedupandbeautiful ,

[ladykailitha]

Icarus Part 21

Hey guys!! The story is starting ramp up to the finish line! I hope you guys are still enjoying it as much I enjoyed writing it.

In this we have Steve taking back his agency, Eddie and Jeff having a little chat and Abbadon leaning on his friends.

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9 Part 10 Part 11 Part 12 Part 13 Part 14 Part 15 Part 16 Part 17 Part 18 Part 19 Part 20

~

As soon as Abbadon grabbed the mic, the audience knew they were going to be in for a ride.

“Las Vegas!” he roared to the crowd, who roared back. “There seems to be some confusion about how naughty I got with Eddie Munson in Denver.”

The crowd went wild, screaming and jumping up and down.

“I never do anything without prior consent,” he grinned. “I’m a gentleman, until you tell me you want it otherwise.” He winked and the crowd screamed back. “I’m not saying I’m coming for Asmodeus’s job,” Abbadon said, draping himself over his guitarist’s shoulders, “but I’m no innocent. I don’t need protection.” He walked across the stage to Astraeus. “I’ve always been affectionate. But I think it’s time to be put the rumors to bed.”

“Oooooohhhhhh!” Asmodeus and Astraeus shouted and got the crowd to say it with them. Once they were loud enough, Azrael started rapidly tapping his drums to further build up tension.

Just when Abbadon was sure the tension couldn’t stretch much further he said, “I’m not a slut. I’m the slut!” The throng of people roared back. “And I’m not going to hide who I am to make myself palpable to people I’ve never met or no longer have any connection to me. I am Abbadon! I AM THE FALLEN!”

Waiting in the wings was Jeff and Eddie. They had gathered to watch Steve do this in person instead of watching it live in the green room.

Jeff cocked his head to the side and clicked his tongue. “Whatever else you think of Abbadon and the rest of the band, you have to admit the man has charisma.”

Eddie pressed his lips together and nodded. He was proud of Steve. Of course he was, but it did sting a little that it took Shane to get him to talk about it. Not him, Not Robin. Hell, not even Simon, whom Eddie thought was unhealthily close to Steve. Shane. Of all the band members, Shane had the least in common with Steve. Spence had the EMT thing, Simon, the upper class upbringing. Other than them liking metal, they couldn’t be further apart then if God planned it that way.

Shane came from a middle class liberal family with an older sister he was close with. Hell, he even still talked to his parents while Steve definitely did not. He was a giant nerd who loved history and myths. Steve struggled in school and only made it out alive because he was on three sports teams and captains of two of them. Shane even slept around to Steve’s search for ‘the one.’ Which Eddie really, really hoped was him.

But maybe that was it. Maybe the reason Shane could get through to Steve was because they didn’t have much in common. Maybe their connection were their differences. That they were friends in spite of the gap between them.

Eddie almost wanted to get Steve into therapy like Gareth was. Because even though it always seemed to him that Gareth was one drink away from destruction these days, the therapy did appear to be working.

Steve could really use something like that.

They watched the set a little bit longer.

“Are you sure you’re okay with Abbadon flirting with Gareth?” Jeff asked.

Eddie blinked for a moment wondering where the comment was coming from. Because, sure, Gareth had talked non-stop about Abbadon being his favorite member, even going as far as to tattoo Abbadon’s mask on his left bicep. But Gareth didn’t seem interested in Abbadon as a person.

And it wasn’t like Steve was really interested in him that way before or after becoming a rockstar.

“Gareth and Abbadon both say it’s fine,” he murmured after a moment or two. “And I trust Abbadon.”

Jeff hummed thoughtfully. “Yeah okay. So this time it’s not going to be the duet?”

“No, I don’t want a repeat of last time. Abbadon is going to be taking the lead vocals on ‘Might as Well Fly’, I think he’ll lend a haunting quality to it.”

Jeff pursed his lips. Steve definitely had the pipes for it, but it wasn’t the song out of their discography that he would have chosen for Abbadon to shred.

Eddie huffed beside him and crossed his arms in front of him. “Let me guess, you have other ideas?”

“Can Abbadon play guitar?” Jeff asked rubbing his chin thoughtfully.

Eddie shrugged. “I mean, I guess. He’s like able to play piano, violin, and guitar. Can he play the song you’re thinking of is the real question.”

Jeff turned to him with a grin. “Oh, if I know our friend as well as I think I do, he knows it.”

Eddie frowned at him and cocked his head to the side. “Which one?”

Jeff told him and Eddie rubbed his lips, skeptical. It was a good song. Harder than ‘Might as Well Fly’ and faster too. It had an extra guitar to it because it originally featured a famous guitarist. But it was also the lead guitar on that song.

“Do you really think he can do it?” he asked, licking his upper lip slowly.

Jeff scoffed, “Why? Do you think he can’t?” Eddie just shrugged. “Because holy hell, dude, I was talking to Asmodeus and he was telling me they formed their band over their love of our music. I’m betting if you asked Abbadon he could list his favorite albums alphabetically, chronologically, or which one is best musically. Even before you guys got together, before their band, before we even got a record deal, he’s been your number one fan. And he’s got the chops for it. You know he does.”

Eddie looked around to make sure no one had heard Jeff’s impassioned speech. He ducked his head. “Have Abbadon meet us before we go on to discuss the change while they setup our equipment.”

Jeff grinned and licked his lips. “You won’t regret this. And neither will they.” He jutted his chin out at the roaring crowd.

And yeah, Eddie knew he was being ridiculous about the song. He was trying to play this safe, but Steve didn’t need safe right now. He needed to take back his agency and Eddie knew that this song? It was fucking perfect for Steve. They would be able to feed off the roar of the crowd and give Steve a chance to really show them how good he is.

~

Steve loved the idea of the change in song. Don’t get him wrong, he loved ‘Might as Well Fly’. It just wasn’t the vibe he was trying to send today. Steve already was flying. Now he was raging at the people who were trying to clip his wings. And fuck them.

It meant that he couldn’t start on Gareth’s lap, but that was okay. This was going to be better. A hell of a lot better.

He pulled on his Corroded Coffin logo lined coat and swapped his mask for the lighter everyday one. He was going to need the extra movement for these vocals. He started in the middle again, this time in front of Corroded Coffin instead of between them.

“Hey, Las Vegas!” Eddie cried. “You bitches ready to rock?”

The crowd screamed back and Eddie laughed. “We’ve got a treat for you tonight!” The crowd screamed even louder. “We don’t usually play ‘Nightmare Killer’ because we don’t have that third guitarist.”

The audience went wild, screaming and whistling and stomping their feet in excitement.

“We asked Asmodeus,” Eddie continued. “But he’s too cool for us!” The crowd made teasing booing noises and oohhed. “But that’s okay, we found someone else willing to play.”

The room fell to a hush as Abbadon’s spotlight came on. There was some uneasy wrestling from the audience as he stood with his ear mic and white guitar. Something that eagle-eyed fans would know about Eddie and Jeff was that they didn’t own a white guitar. And all The Fallen fans knew that all of Asmodeus’s guitars were red and vaguely devil themed. This wasn’t his either. This was clearly Abbadon’s.

Abbadon began the opening riff and the crowd took a massive intake of breath as he sailed perfectly through the chunky bits of the original artist’s style. Then he began to sing, the haunting quality of his voice filling in the gaps of the silence that seemed to stretch on from the audience.

Eddie didn’t even bother trying to hold back the look of admiration on his face as he joined Abbadon for the chorus. Their vocals mixing beautifully to the backdrop of a hell beast looking for more from life than the violence it was weaned on.

Throughout the song the only sounds from the crowd were clapping in time to the beat. Eddie had never seen anything like at their concerts before. It was like there was this reverence for what was happening on stage.

Abbadon ate it up and played it up as he enticed the members of Corroded Coffin to him. Each of the members resisted. Then Abbadon handed his guitar off to a roadie and climbed the stairs to the platform that Gareth was on. He straddled Gareth’s lap and drumming cut out as his bandmates played on. From behind it looked like they were kissing, but with Abbadon’s mic off they were making fun of each other. Then suddenly he whirled on Gareth’s lap and hit the drums right on the last note with a crash.

Then in an instant the crowd thundered to life, cheering and stomping and clapping.

Abbadon blew Gareth a kiss and leapt off the platform to take his bows. The flutter of the coat revealing the Corroded Coffin logo again and the crowd screamed even louder. He blew kisses to the crowd and continued to bow. Eddie whistled loudly and Abbadon laughed.

Eddie grabbed the microphone. “Abbadon everyone! One very talented son of bitch! Another round of applause everyone!”

The crowd continued to go wild. Abbadon let out a whoop and jumped up and down, laughing. It was exhilarating, everyone just feeding the energy back to Abbadon and just feeling high off that. Eddie and Jeff shared a glance and Jeff winked. Eddie shook his head. Because yeah, Jeff won that bet.

Abbadon waved goodbye and walked off the stage. Once he was out of view of the audience Hopper swooped in and immediately threw a cool, damp towel over his head and Steve nearly sank to his knees in relief. Because try as they might, the hoods were still fucking hot. Hopper lead him to the dressing room where the rests of The Fallen were waiting.

As soon as the door closed tightly behind Abbadon, Steve pushed back the hood and ripped off the mask. His hair was wet and sweat clung to his face and neck. He let himself sink slowly into the soft cushions of the sofa and laid his head back.

A bottled water was being pushed into his hand and an ice pack was placed on his brow. He let out a small shuddering breath. He opened the water and dumped half of it on his face and the rest into his mouth.

“Thanks, guys,” Steve muttered, his eyes fluttering shut. “How did I look out there?”

Simon huffed a little a laugh. “Like fucking rock god.”

“I’m with Simon,” Spence said. “It won’t silence the naysayers but it’ll drown them out which is even better.”

Steve laughed. “Fuck that was so much fun. Gareth called me a queen. So I called him a bitch. I honestly don’t know if he likes Abbadon more now, or less!”

“Considering how little time you had to prepare,” Shane said, sprawled over an armchair instead of on the floor for a change, “I say you kicked ass. You’re going to get people saying you weren’t really playing but, they can suck your dick!”

Steve lifted his head, the ice pack sliding into his hand. “I hate doing this without you guys, though,” he admitted. “But as Shane pointed out, I’m already super affectionate with you already and short of French kissing Simon, they aren’t going to believe shit.”

“Nothing against you, Steve,” Simon said with a wince, “but I really don’t want your tongue down my throat.”

Shane raised his hand. “I volunteer! I volunteer!”

They all laughed. Then Robin as Celeste slipped in and sat next to Steve. She grabbed the ice pack and pressed it to the back of her neck. They all waited as she let her defenses slowly come down. She pulled off the wig and tossed it Spence who caught it deftly.

“Vickie has been working tirelessly tonight to keep an eye on social media,” Robin began, “she even has two of her assistants watching all the accounts, constantly refreshing.”

Steve turned on the couch to face her. “And what are they saying?”

Simon and Spence immediately moved over to her to sit on either side of her and Steve. Shane sprawled over the back like some Renaissance painting. He rustled her hair and she huffed out a laugh.

“You’re getting the trolls from both fans shit talking about how Abbadon is better than Corroded Coffin and should have turned them down like Asmodeus,” she continued, pausing only for Simon’s huff of laughter. “The Corroded Coffin fans were whining about how Abbadon’s vocals ruined the song and that he probably faking the guitar playing for the views.”

“I’d like to see them fake that bridge,” Steve scoffed. “It’s insane.”

Simon nodded. “I don’t think I could do it.” He snapped his fingers. “That’s what I’ll do. I’ll post a Tiktok of me trying to play it.”

“Wait!” Spence said. “Have Steve do it first, showing a close up of the hands dancing on the frets. Then you stitch it with your version. That should kick them in the ass.”

Steve and Simon fist bumped each other. “Hell yeah!”

“But the rest of the tweets and shit coming in is overwhelmingly positive,” Robin finished. “So that Tiktok should silence the Corroded Coffin fans.”

When Simon did his stitch of Steve’s video he made sure to admonish their fans about thinking who’s better than who. He was friends with the boys in CC and the being ‘too cool’ was a fucking joke.

Then Eddie did a stitch of both of their videos and showed them again how complicated the riff was for Abbadon to play by playing it himself. Abbadon and Asmodeus’s videos racked up a lot of views and shares, but Eddie’s really did the numbers. It blew up and completely overshadowed all the haters.

Steve made sure to thank Eddie for that later in the privacy of Eddie’s hotel room.

`

Tag List: CLOSED

1- @mira-jadeamethyst @rozzieroos @itsall-taken @redfreckledwolf @zerokrox-blog

2- @gregre369 ​@a-little-unsteddie @chaosgremlinmunson @messrs-weasley @val-from-lawrence

3- @goodolefashionedloverboi @carlyv @wonderland-girl143-blog @irregular-child @blondie1006

4- @yikes-a-bee @bookworm0690 @anne-bennett-cosplayer @awkwardgravity1 @littlewildflowerkitten

5- @genderless-spoon @y4r3luv @dragonmama76 @ellietheasexylibrarian @thedragonsaunt

6- @disrespectedgoatman @eyehartart @dawners @thespaceantwhowrites @tinyplanet95

7- @iamthehybrid @croatoan-like-its-hot @papergrenade @cryptid-system @counting-dollars-counting-stars

8- @ravenfrog @w1ll0wtr33 @child-of-cthulhu @kultiras @dreamercec

9- @machete-inventory-manager @useless-nb-bisexual @stripey82 @dotdot-wierdlife @kal-ology

10- @sadisticaltarts @urkadop @chameleonhair @clockworkballerina @garden-of-gay

[aziraphales-library]

Y’all are awesome and I appreciate the hell out of this account! Any fics that are an attempt at a season 3? Preferably comedic ones! Thank you so much and keep up the amazing work! ❤️

Hello. We have a #good omens s3 speculation tag, so check that out. Here are more to add that have some kind of humour tag...

a place to be by kaiyen (NR)

In which Crowley moves back into his flat, Aziraphale has problems at work, and the Second Coming of Christ is but a stone's throw away. In the end, Crowley makes it to rolling green hills, leant against a stubbornly yellow Bentley. He remembers the first morning. He had slithered out of the ground not long before dawn, the dirt damp even before the first rain, the grass cool and crisp against his scales. And the sun had risen, jewels spilling across the great blue sky, warm and golden from the East. Crowley – Crawly, then – had wanted to follow it, had felt a great pull Eastwards. He went, too, until he found the ripe red fruit nestled amongst the lush green leaves and knew what they were for. It was luck, then, that the humans had left in the direction of the sunrise. Luck, or– ineffable. The sun rises over the South Downs, and Crowley finally wants to stay.

The Ineffable Shades of Gray (Good Omens Season 3) by altsernative (T)

After returning to Heaven, Aziraphale learns the Metatron's true intentions, finds himself disillusioned, and regrets his choice to leave Crowley, who has been working in the Temptations department. They reunite, and find themselves stopping the final war between Heaven and Hell and learning God and Satan's true intentions for the world and each other.

Demons are Forever by in_a_pickle (T)

After finallly finding the courage to tell his best friend his feelings, Crowley's dreams are shattered when Aziraphale once again chooses Heaven over happiness together. With ‘Great Plans’ afoot upstairs, Aziraphale discovers that the starring role he accepted comes with some unforeseen duties and that Crowley’s kiss has become something of a distraction. Crowley meanwhile is trying to come to terms with a broken heart and is trying to fathom why Heaven is so keen to have Aziraphale back in the fold. A mini adventure with our favourite group of two, written in case I get hit by a bus and never get to find out what happened next.

The Intended Effect by Esme_Abner (E)

A post-S2 fic that begins with a very sad Crowley and a conflicted Aziraphale and a surprisingly not-awful Jesus. It's all building toward our boys reconciling, because like everyone else, my heart is broken and I need to pick up the pieces somehow. And they might try to like save the world again, too.

(I just can't wait for) Season 3 Good Omens! by RCReveal (T)

After Season 2, I really needed to find out how Aziraphale and Crowley could get their reunion: a real reunion & not 'pretendy real'. They both have so much growing to do with neither of them, yet, being able to even say 'I love you' clearly to each other. Angel, what's going on? What kind of doublethink are you doing to still think that Heaven is the Good side & that you can't even admit to being friends? But you'll do anything to protect the World. Crowley, always planning on running. Sorry, but that won't work. If you had run at Armageddon there'd be no here to be in. But somehow, still a little seed of optimism. And wow! what you two can do together! Especially with a little help from old and new friends. So here's a story about averting the Second Coming with that great ensemble cast of characters in Heaven, Hell, and Whickber ST. Long set up, but then starts to speed up, kinda a wild ride from chapter 42 onto the end. This story is at about the same level of cursing, violence (well, maybe a little more Gaiman-esque), humor (definitely much more Terry Pratchett-esque) and romance as that of the second season.

There's a Special Place on Earth for Beings Like You by Kipje (T)

Set two years after Aziraphale leaves to become Supreme Archangel. It’s the Second Coming. Aziraphale is tasked with finding parents for the new Christ and returns to earth. He needs Crowley’s help, but the two haven’t spoken since the break-up. Crowley doesn’t want to forgive the angel, nor does he want to help out with the baby, but he finds it incredibly hard not to get involved. OR Aziraphale and Crowley raise the new Christ together; a girl named Eden. While they try to sort out their feelings and avert the apocalypse. Excerpt: Crowley had always assumed Aziraphale would want to run away with him in order to be together. He had never bothered to ask if there was a version where they would be an ‘us’ on earth. What was Aziraphale supposed to do once they arrived in the Alpha Centauri system. How would that even work with his book collection? Sure, Aziraphale had fallen in love with the demon – and it had taken him a while to be able to admit that – but he had also fallen in love with humanity, with earth. He had never planned on leaving. He knew earth would be no fun without his favourite wily serpent, but that did not mean he would be fine anywhere as long as Crowley was there. He had standards.

- Mod D

[stari-hun]

I’d have so much more sympathy for Kakania if she wasn’t a therapist or overestimated herself so badly. Like I get she’s just a girl to the highest degree but also. So , so many of the problems stemmed from the fact that she decided that she wanted to treat mental health issues while not wanting to be certified. The biggest step in any new field or a new study is setting up your own ethos. Hell, it’s HALF of what Windsong’s character story was about. The lack of credibility and her entire degree and study being ripped from under her led to a total inability to be published or taken seriously. Even if Kakania had succeeded in helping Isolde gain control over her mental health (which she couldn’t have without hypnotism or sealing off her arcanum because the possession is a massive factor in her mental decline), what then? Sure people will have come to her and Kakania would get more patients. But she’s also have to deal with countless people coming to her then giving up immediately because they couldn’t fix her immediately or soothe them. The medical community surely wouldn’t give them any hope. They’d look at Isolde’s case or similar ones and simply call it a result of community support at best or a midwife’s cure at worst. They’d tear apart all of the flaws in her results that Kakania would inevitably have from her total lack of experience in a formal environment and completely discredit her. Kakania’s incident in the start of Book 6 showed that sexism is still very much alive, so on top of being an arcanist when even having arcane blood can lead to immediate disapproval from some, she’d have to deal with doubts purely based on her sex.

In any other field or state of life, you’re 100% the victim even if you accidentally encourage a person’s obsession when you don’t want it. Accidentally exasperating someone’s issues when it isn’t your intention and becoming a victim is never the victims fault. Unless you’re a therapist encouraging a patient to be dependent on you. If Kakania was certified the first thing she’d learn is to be aware of dependency issues because it would be something researchers have seen show physically: people getting dependent on substances or other people to alleviate mental struggles. Also the fact that the Freud study, while from- well from Freud, it would’ve had other people interested as well. The question of if the mind is separate from the brain and self has been going on for years. Is a person their brain? Are you the neurons firing in your head? Are you your thoughts and is your sense of self you? Does your body and physical form also count as apart of oneself? The theories Freud posed that the mind can be ill in more than a physical way would undoubtedly peak the interest of research groups. Even if they hadn’t, I’d Kakania had fought to become certified instead, then she could’ve gone on to start one.

[technicolorfamiliar]

Der Student von Prag (The Student of Prague) Dir. Henrik Galeen 1926

So I'm going back and rewatching a handful of the titles from the initial 50+ film journey into Conrad Veidt's filmography. Some I'm revisiting because they made such an indelible impression on me the first time, others because I want to give them a second chance. The Student of Prague was among the first films on what wound up being a year-long deep dive into Connie's work and history. I loved it then, but even more so now.

I want to live inside this movie. Galeen and his crew made a hell of a picture, made all the more special by Conrad Veidt doing the literal most.

There is a bewitching quality to The Student of Prague, from Conrad Veidt's dual performances as both Balduin and his Double to the atmospheric cinematography and special effects. It's a dreamy film that really sets itself apart as a dark and lovely supernatural period piece.

Despite some very minor issues, over all it's genuinely pretty perfect. It's one of those films that, even with its faults, sweeps me effortlessly into the gothically Romantic world of the story.

Maybe the film could have benefited from tighter editing, cutting some of the longer sequences and unnecessary shots. But an argument could also be made that these longer scenes aid the spell the film is casting over its audience, the way Sciapinelli weaves his spell on the hilltop to draw Balduin and Margrit together.

The cinematography by Günther Krampf and Erich Nitzschmann is really something special. Shadow was a big motif and standard tool filmmakers used back then, especially those working in the Expressionist style, but for 'Student, maybe because of the early 19th century setting and the proximity of the natural world (both real and fabricated), the use of shadow here makes the film feel more like a fairy tale illustrated by Arthur Rackham than the Uncanny Art Deco of classic German Expressionism. The digital restoration really highlights how successfully they worked with value and contrast to create such a visually rich film.

And it fucken WIMDY. The use of wind throughout the film is really effective -- Sciapinelli's coat billowing out behind him on the hilltop, the rustling foliage behind Balduin after the duel, dead leaves blown into the Countess's bedroom, and the gales that follow Balduin through the city in the film's final act. Whether used on a studio set or in location shots, wind here feels not only atmospheric but also supernatural; it's Sciapinelli's invisible presence when he's not even in the shot.

Even the relatively minimalist score works. It's mostly piano supplemented occasionally by one or two other instruments, a flute or an accordion, and there are only a handful of repeated themes. Apparently the music that's in the most recent restoration was composed only a few years ago by Stephen Horne, so it's really anyone's guess what the original soundtrack by Willy Schmidt-Gentner was like. Regardless, the new music definitely feels appropriate not only to the period the film was made but also the overall Vibes.

On my first watch about a year ago, I was struck by the special effects used in this film. For the time it was made, the effects had to be incredibly impressive. The transitions where the Double appears and disappears in a ghostly fashion are fun, but there's an especially cool shot where he appears to walk through an iron gate, and a really great close up dolly shot towards the end of the film where the Double appears to float toward the back of the room. And I don't know if this was something they touched up in post-production or if the lighting on set was chef's kiss perfect, but Connie's eyes literally glow. There are shots where his eyes, especially as the Double, are like two beacons set in the shadows.

The other performances… they're fine. I mean, everyone who wasn't playing Balduin has to have known it wasn't their movie. Except for Werner Krauss as Sciapinelli who looks like if Alfred Molina was sent back to the 1920s and did as much cocaine as he could find. He's so creature coded that I genuinely don't know what to make of his performance. Everyone else, including Connie, is kind of doing a riff on realism to varying degrees of exaggeration but still relatively tame for the era (compare the acting in 'Student to The Hands of Orlac just two years earlier). But I guess Werner Krauss didn't get the memo, or because Sciapinelli is a supernatural character it's ok for him to be a little out there. He does some really delightfully creepy and borderline upsetting stuff especially in the scene when he makes the deal with Balduin. It's all very weirdly sexual and I hate it. Otherwise, there's unfortunately very little of note in the other performances. Elizza La Porta as the flower girl does the pathetic-cute thing well, but Agnes Esterhazy's Margrit is sadly pretty forgettable.

But the Balduin of it all. This is truly a groundbreaking role for Conrad Veidt at this time in his career. I feel like this film alone slingshot him into his meatier and more interesting roles in the late 1920s. Sure, Connie was doing some interesting and versatile stuff around this time (Ingmarsarvet and Carlos & Elisabeth come to mind), but this just hits different. Everything kind of lines up perfectly for him as this character, and the story is that unique Poe-inspired blend of the uncanny and capital R Romance that really suits him. Because of the nature of the story itself, Connie's free to play big when it works for the character, but also works in these incredibly vulnerable and subtle moments as well. I don't know if this is thanks to the director being hands-on with Connie or just letting him do his thing. Whatever the case, it works.

It's maybe worth mentioning Connie was 33 when they shot this. I don’t know how old Balduin's supposed to be, but he's probably at least ten years younger than Connie was at the time. And I buy it, I buy that Balduin is a young man, foolish and naïve in the way only someone that young could be. His youthfulness isn't just suggested in the character's decisions but also in his physicality. When we first meet Balduin, Connie's doing this sulky, pouty, petulant thing that I love for him. In the first act, he's clearly beloved by his fellow-students and by the flower girl, and he easily slips out of his misery about his money problems into a more lighthearted mood. He's moody one moment and playful the next, joining in a low-stakes fencing match for fun when just moments before he was brooding alone full Morrissey style in the garden. This initial lightness about the character sets him up for his eventual inevitable hard fall into shame and helplessness.

I'm afraid to admit it took me a whole 24 hours after watching this a second time to realize that Balduin is kind of a dick. But Connie's performance is so good and so empathetic that I didn't notice right away. He himself is stunningly, Byronically beautiful in this film. He's like a painting of a tragic, Romantic hero come to life, I can’t even handle it. And, my god, the yearning! It's palpable. In the wrong hands, I would probably hate this character. I haven't seen Wegener's or Walbrook's versions, but I can't imagine they're as charismatic as Connie is in the role.

But what I love even more than Connie as Balduin is him as the Double. I am FASCINATED by this performance and this character. I have SO MANY QUESTIONS. The way he consolidates his movements so that he practically glides through the frame, the way he keeps this performance distinct by slowing everything down and keeping a lot of the Double's anguish internal… it's so good.

I think we only see the Double four times before the last act of the film: first when he steps out of the mirror; much later outside the Countess's party; in the graveyard; and after he kills the Baron in the woods. Initially, when the reflection steps out of the mirror after Balduin signs Sciapinelli's contract, the Double seems pretty soulless. His dead-eyed, mask-like expression as he stalks out of the room makes it seem like he's just going to be a mindless puppet Sciapinelli can use to torment Balduin. And certainly in their first two encounters, Balduin's mirror image slinks out of the shadows as a reminder of his Faustian bargain but also as something of a stand in for his conscience. The first two times we see the Double out in the world are when Balduin is at his happiest, in his most romantic moments with Margrit, who is not only completely out of Balduin's league but also promised to someone else (even if that some one else is her cousin...). Nothing about the Double's presence in these scenes suggests that he's anything more than a phantom, a specter to haunt the protagonist from a distance.

But then, something changes. The Double isn't just a ghost that only Balduin can see; he's just as real as his counterpart, and his actions have consequences. Balduin promises Margrit's father, the Count, to spare her cousin-fiancée in a duel the Baron knows he cannot win -- Balduin is, after all, the best swordsman in Prague. They even say the fight is supposed to be with heavy sabers, which sound like they could really mess you up. But when dueling day arrives, Balduin is delayed by the wheels inexplicably coming off his carriage. He races through the countryside on foot in order to make his appointment, but it's too late. He stops dead in his tracks, frozen in fear, as the Double appears, approaching him slowly from the tree line. When the Double reaches him, Balduin sees the bloody sword and immediately recoils, fearing the worst. But what's most interesting about this scene is that, when the Double finally looks up, his expression is not that of a mindless zombie. When he looks up, the Double looks horrified. Realization slowly rises in his face, and he turns to Balduin with this look of abject horror and helplessness while Balduin cowers in fright. And as the Double turns to walk out of the clearing, he hangs is head in pained resignation and I AM OBSESSED. There are no intertitles in this sequence, but the anguished look he gives Balduin says, "Do you see now? This, and worse than this, is going to keep happening." Connie's performance in this scene suggests the Double may not be able to control his actions but he certainly has feelings about them. So does this mean the Double is in fact Balduin's soul? His goodness? His innocence? I NEED TO KNOW MORE.

The Double is also consistently dressed in the student costume Balduin wears at the beginning of the film. After Sciapinelli gives Balduin the money, Balduin buys a whole new wardrobe (honestly, who wouldn't?). But the mirror version of Balduin doesn't change to reflect Balduin as he is in the present; the Double wears the clothes of a student -- the cap, the velveteen jacket -- because he represents who Balduin was. He's the boy, the youth uncorrupted by excessive wealth and privilege, now made to do horrible things because Balduin so easily handed him over to Sciapinelli when they made their deal. UGH.

The final time Balduin sees his Double, his mirror self hounds him with measured steps, pushing him away from the fragile security of wealth and opulence back to his abandoned student flat. And the expression on the Double's face now is grimly accusatory, it's deeply solemn disappointment, it's a final judgment before an inevitable end. There's sorrow and resentment in the Double's eyes, but kept restrained and subtle, gradually building in wordless intensity until Balduin must finally face himself, literally, in order to end his torment, finding a pistol and shooting his mirror image and therefore killing himself.

Maybe a lot of the descriptors I use for Connie are hyperbole, but his work in this film is remarkable. Anyone interested in getting to know him as an actor, hell, anyone interested in film history period, absolutely should watch The Student of Prague at least once.

Final thoughts: For real, though, it would suck to not have a reflection. I recently had a whole conversation with my (straight, cis male) family members about this; not a one of them owns or even sees the need for a full length mirror. And maybe the big mirror in Balduin's student room came with the place when he moved in, but you get used to having something like that. I know it would drive me crazy not being able to check my whole outfit to make sure I don't look like a doofus before leaving the house.

[what-do-1000-swords-look-like]

Finally finished all ten episodes of Pitch. Started watching the show for Kylie, stayed for the cast and the incredible story. I cannot believe Fox cancelled that show and left so many things unresolved. It should be a rule somewhere that when a show gets cancelled, a finale episode must be shot or in the can that resolves anything left open and unresolved for all of the characters.

It is an absolute crime that we didn't get to see more of this:

or this

or this

or this

And Blip and Evelyn and Oscar and Al and Livan and even Charlie. The whole cast was phenomenal and the story was richly layered. A true ensemble and a treasure trove of impeccable characters. (and compared to Big Sky, Kylie's current show, the showrunner/writing team here knew how to handle episodic arcs in combination with an overhead arc and balancing all of the characters' stories while not diminishing the main protagonist's presence/story line) This should have made the cut, hands down.

[compacflt]

I just wanted to say as someone who has stumbled across your blog and has read your Wednesday wips and posts about anything topgun related that your thought process and consideration of mav and ice, specifically their political beliefs and relationships with their own identities, is honestly so impressive and cool. You have brought such realism and life to these characters which is just so refreshing to see. idk i just wanted to express how cool and awesome i think that is

Because of the thought into these characters does it make it difficult to like them or understand them if you have differing opinions from them? for me personally i feel like if i were to ever actually have a convo with ice or mav regarding identity politics i would actually start to lose my mind (like how one feels when your dad or fun uncle talks for too long at thanksgiving dinner). If it does make them difficult to like, does that make it difficult for you to write them sometimes?

oh yeah! i think, my ice i really empathize with & really love & really could get along with, once he grows out of the sexism of his teens & twenties, but my maverick drives me crazy. someone sent in an ask a while ago that was like “WHY is cyclone simpson your one true love??” And it’s because i too would absolutely hate maverick & hate working with him lol. people who are overly cocky & un-self-aware & a bit self-centered make me CRAZY. (narrator voice: compacflt is a hypocrite as all these things also apply to compacflt.)

Politically… It’s difficult to say. no one really wants to hear the intricacies of one person’s political journey, which is why i won’t give you mine, but suffice to say—since the start of the russian invasion of Ukraine, and my semi-concerted effort to learn more about the political landscape of modern warfare, my own personal beliefs have shifted a whole bunch. definitely aided in that shift by my top gun fic project that specifically aims to understand the conservative straight-passing male mindset as it relates to military matters… there are many end goals to a project like mine, but one end product is a filter you can take away and hold up in front of your eyes and see the world through it. When writing from the eyes of a conservative straight (passing) white man, your priorities totally shift. I had to write from the perspective of someone who doesn’t care about identity politics. Because they don’t! A core tenet of conservatism is very proudly not caring about that stuff, and being very annoyed when people (usually left-of-centers) make that stuff very visible and want you to care about it! “Don’t shove it in my face,” etc., etc. Don’t force me to care about this taboo, private thing I really don’t care about. It violates my freedoms, or whatever, to be forced to care—or even bear witness to—stuff that i don’t care about. Etc. And then, to be nominally a part of that community that you really, really don’t care about, and then to be told that you have to care about it because of your publicity… people asking you to be proud of something that has had a negative connotation for much of your entire life… that’s not a transformation that happens easily.

Jesus, I could write an essay about this. I have, several times by now in responses to asks over my blog. But there is so much that I could talk about. I think… I really worry that some of my writing falls into the first of the below categories:

I really try not to romanticize conservatism in my writing—I tried to show that ice and mav’s happiness is the price they pay for their conservatism. They’re actively choosing to be unhappy—but because they prioritize their honor over everything, due to EXTERNAL PRESSURES they cannot control, and which I think are often ignored in the fandom space for one reason or another. The fact of the matter is, in 99% of IPs, characters prioritize something other than their sexualities. It’s never Maverick’s personal identity that is at stake in either Top Gun or Top Gun: Maverick, because he has built himself so impermeably masculine that there are no grounds upon which to question his personal identity. He just isn’t thinking about it. He’s thinking about how to get into Charlie’s pants, how to win the Top Gun trophy, how to uphold his promise to Goose, et cetera. If he’s fucking guys on the side, it’s because he wants to and because hes maverick and he does what he wants without thinking about it—that’s the whole point of his character, from a story-construction standpoint. That’s his archetype. He’s a renegade maverick superstar who is both thoughtlessly brilliant and thoughtlessly dangerous. He’s thoughtless. His priorities are to survive and to look cool doing it, and that’s it. He is a savant in the Naval Air Force, where honor is your lifeblood, who feels he has been dishonored by his own family name, and who willingly joined the conservative post-Vietnam Navy right when/after Ronald Reagan was elected President, and who wears cowboy boots and who disrespects women to their faces, and who is eager to get into altercations with Soviet-Chinese-DPRK-X-second-world-country-coded-but-EXPLICITLY-Soviet-manufactured-Mikoyan-Gurevich-MiG-28s(-F-5s-painted-black)… I’m sorry. In my opinion, the conservatism is baked into him as a character. I find it extremely difficult to separate him from his conservatism, because in some ways his patriotic conservatism is his raison d’etre. IMO if you take that away from him, he ceases to exist.

Same thing with Ice and his unwillingness to openly rebel or go against the grain. That is his whole reason to exist in the story at all. I know that I’m saying this in a fandom space where the whole point is to change characters & put them in different situations (fanfic) but… in kind of a perverse self aware way, as in I know I sound ridiculous and pretentious, i guess i don’t really understand an impulse to change the core tenets of a character irreparably in fanworks. We are shown that ice always goes by the books in TG. Then we are shown that he achieves the fruits of that labor (four stars) in TGM. So he is rewarded for never rebelling, whereas Maverick, who always rebels (but NEVER in a way that challenges his personal identity), has stagnated in the ranks at full-bird O-6. And that’s Ice’s character. That’s what he’s there for in the story—he’s a tool to show us the value system of rank and prestige you earn by following the rules of the Navy. Why take that away from him? That’s his priority! Canonically, that’s his priority and reason for existence! And historically the way to achieve that priority is through conservatism.

And you ask me if it’s hard to like my ice and mav. Yes, but that’s not my choice. The movie already did that for me. They are not, I’m sorry, likable people. I am not a straight white conservative male writing about straight white conservative men to validate my own beliefs—I’m a queer AFAB person of color writing about straight white conservative men because I want to understand the limits of their conservatism. What they do and do not care about, and what it takes to make them care. And from what we are shown in TG… ice and mav would not care about ME. At all. And they would not want to be forced to care about me. Ice’s casual careless dismissiveness… “the plaque for the alternates is down in the ladies’ room…” mav following Charlie into the bathroom… turning the key in the ignition and driving away while pretending not to hear her… “what?? i can’t hear you! 🙉” … they do not care. They have no desire to care.

Again. Maybe I subscribe to a very very old-school and labored and pretentious ideology when it comes to writing… I know a lot of people write just to have fun. I do not. I wish i could, but I don’t. And when you’re not writing to have fun, you don’t have to like the characters you’re writing about. They’re nothing more than tools at your disposal to get your point across more effectively. No, I don’t like them! Of course not! My ice is cruel and cowardly and careless and hypocritical and subservient and weak, and my mav is demanding and dangerous and dismissive and oblivious and so, so, so unbelievably bitter.

And that’s what my story needed, to get my point across. So, shrug. My point was my priority. I don’t care too much about the characters themselves.

Re: icemav & identity politics. Part of hopefully selling this story is the attempt at empathy for the conservative male, to bring this discussion back to the top. Why write fiction at all if you’re not going to write about people different from you, and why write about people different from you if you don’t want to understand them? So… part of trying to understand them was to understand and have empathy for this shift in priorities. Conservative guys do not want to care about labels, or sexual orientations, or, God forbid, discussion of their gender identities. I can kind of see Ice tolerating it by the end… but, there are limits. Again, it’s supposed to be private. I think he’d chafe against getting labeled gay—he wouldn’t want to be called the first gay compacflt, or SECNAV, etc. He can’t say, “i slept with like a hundred fifty women before I even MET the ONLY man ive ever slept with,” because that’s like intensely private personal information!! No one deserves that information, but people still want to call him gay, even though in his head he really is not!!!! Again—from the conservative perspective, it’s a public imposition of left-wing, overly sexualized, too-neat labels and politics onto an area of life that has typically been kept private and respectable—I don’t agree with the conservatism, but I can at least empathize with it. Pre-Maverick’s death (pre-coming to terms with it), it would’ve been shameful & embarrassing to him; but even after coming to terms with it, it’s still not something he “takes pride” in. I think he thinks of it like this—most people aren’t proud of being straight. Like, it’s weird if you are. Same thing with being proud of being white, etc. Why be excessively proud of things you have no control over? Why not take pride in your ACTIONS—for instance, his career that he has actively sacrificed so much of his pride for? I can really empathize with that thought. I don’t necessarily agree, but I get it, especially in his professional circumstances, where he has so much to be professionally proud of, and yet people keep wanting him to publicly care about this private part of him he has no control over and can’t change.

Maverick though. I think he’d be actively hostile about talking about it in public. He Does Not Care. he does not want to care. It’s all an insult. They call him the first openly gay Ace cause he’s married to another man— “okay, but, like, I’m not. Stop calling me that. Neither of us are. Oh my god we have slept with so many women. Stop calling us that.” Ok then what do you want us, the press corps, to call you? First openly bisexual Ace? “No that’s worse!! That’s a word some teenager made up and doesn’t mean anything!! I’m sixty years old stop asking me to talk about this stuff im too old.” What do you have to say to LGBT kids who want to go into the navy? “😎👍 there’s a place for you etc etc. Let’s go back to talking about all the planes I shot down.” Maverick does what he wants without thinking about it. That’s the core tenet of his character. Very conservative. Don’t ask him to care too much.

Idk. No I don’t like them. But I understand them, if that makes sense. Like their conservative anti-label logic does make emotional sense to me. So that’s part of what I took away from this project, for better or worse… probably worse: I understand why conservatives don’t like the modern over-publicity of sexuality. They don’t care and they don’t want to care. And because they are small-C conservative, my ice and mav still don’t care lol. So, yeah. It doesn’t make them hard to write, because thats why I wanted to write them in the first place.

[arolesbianism]

Thinking abt Sif Odile duo looping au again and I wanna be able to plot everything out more coherently but act 5 eternally looms overhead and boy I do not wanna look up

[variousqueerthings]

@autistic-puffin i feel like i have nothing more to say about go2, like I excised my thoughts in one go 😭 especially considering it feels like so much meta/art has already been posted

(EDIT: AND THEN I WROTE THOUGHTS)

my main thoughts are also maybe a teensy bit hot take, because I'd assumed it was going to be a bit like certain narratives that are quite popular on here, but don't really do it so such for me, because they don't ground their queerness in anything substantial or they try to, but aren't informed enough to do it well (I admire the attempt and I have nothing against these pieces, I just don't personally enjoy them) and so it's more about the shipping or the memeable moments and that's not really what I get into things for

and it being disingenuous to fold it under narratives that are willing and fun enough, but ultimately made by people who haven't done toooo much work around queer themes before and fall (in my opinion) a bit for the simple narratives of "everything ultimately has to have stakes that aren't too high and play nice and don't distress their audience too much lest fragile LGBT+ people can't handle it" <- sweet narratives, easy to follow, a tad too candyfloss and ungrounded for my taste, often unbalanced in its comedy-to-drama scales and undermining sincerity by solving things too quickly and/or with too little delving into what these things mean

neil gaiman and john finnemore have been writing queer characters and themes for some time, and david tennant/michael sheen have played queer characters before (and heck, david tennant has at least one queer kid), it's not so surprising that this narrative actually isn't as mass-appeal as was assumed it was going to be before coming out (heh, coming out)

and by mass-appeal I don't mean that it doesn't have mainstream attention, but that there's seemingly confusion about what it's doing, when if you're into stories about non-conformity vs oppression (in this case mainly through a queer lens) it's pretty obvious, and I'm assuming very rewarding on subsequent watches

it's not fluff -- fluff works better for me in fanfiction than in original works, it's not aimless -- either in direction or in theme, it's not mainstream queerness -- although nina and maggie kind of have that "LGBT-unburdened-by-reality" kind of thing that I often don't vibe with, they're a part of three narratives about connection that ultimately ground queer non-conformity in action and feeling as explicitly dangerous to oppressive systems (in this case systems grounded in Christianity, which works very well)

there's a confusion in some reviews I've seen in the mainstream about why it matters that we follow these characters through thousands of years (well, millions technically, but the main thrust happens in the thousands), and coming to the conclusion that it's just because everyone's having a bit of fun, and then they're totally blindsided by the final 15mins and unable to place it in what they've watched previously

but it makes perfect narrative sense and I can pinpoint after one watch clues and foreshadowing leading to those final minutes, and why it matters that we follow the characters the way that we do, and (while I won't go too much into this because I think I'm late to the party and plenty of others have already spoken about it) threads that have been laid out that will clearly be picked up on in s3

I quite enjoy that this is a narrative about queerness that isn't so palatable to reviewers, and isn't for that matter so palatable to viewers who are used to measuring successful queer narrative via easy-to-follow tropes, I think that's one suggestion that it's done its job right in how it was constructed

I want especially straight mainstream reviewers to have to do the translation and if they can't, then it's not for them. that's a rarity in queer narrative that's released with so much attention and that also feels like part of the magic trick of the season -- am reminded of when black sails season 2 "revealed" that flint was queer and that this was a narrative centred around queer rage as an insight into other forms of oppression (which some things were done better than others of course, but that was the purpose, and madi really is that voice at the end!)

and how some straight dudebro fans felt cheated, while many queer viewers went... well yeah, obviously flint was queer, they signposted it (here I also note that some queer viewers didn't see it until that moment because we're also used to being signposted at and then not having follow-through because queercoding language is so ubiquitous to tv and film writing nowadays that many straight people don't know what it is or that they're doing it, or they went "hey we might do something queer winkwink" and then called fans disgusting for reading characters as queer ✌)

and that feeling is somewhat similar here in a way. "we thought we were in this for a bit of silly fluff, what's all this about themes? it's confusing, we don't like it, we're going to flatten it rather than acknowledge what is actually happening in the narrative, and then we're going to interact with that flattened version that we've created instead and call it self-indulgent and harmlessly silly."

so my hot take is that... it's not silly. well it is silly and fun and even at times indulgent, but it's also quite good at being a story that is Queer in ethos, and I prefer stories to be queer in ethos and not just have some ostensibly queer characters around saying the right words without knowing why or where those words originate

it's better than it's being given credit for, in ways it's not being given credit for, because it's not made palatable for a mainstream straight crowd or softened for fear of upsetting anyone

[hollowwhisperings]

that thing wherein you're reading something and just KNOW

"this person has completely forgotten that the characters here live in Japan/Korea/China/Russia"

and is, instead, writing like an American.

[bitchfitch]

For all the teething I've been doing on Pavo and Esti i haven't been able to like, actually write any thing for them recently mostly because I've been Busy.

But also because I'm snapping between like 3 ideas for them at terminal velocity and haven't been able to actually get anything written for them and it's like having pumas bouncing around my skull at mach fuck as though theyre house cats at 2 am when you're trying to sleep,

[c0rpsedemon]

my naming scheme for the resurrectionists causes me undue stress a lot of the time but when it works it Works

[luobingmeis]

i need to find more 3zun people to follow i love xi/yao with all my heart and soul but even i get a bit tired of either 1) nmj being entirely erased from 3zun esp when it comes to lxc’s seclusion or 2) nmj being overtly vilified 😭

[unproduciblesmackdown]

that moment when: everyone's lives are restricted and constricted and these imposed consequences are attributed to anyone's continual individual failures to seek, find, and follow the Correct Path through Life, and so everyone is left on their own to only be seeking & finding these failures as well as the only answer to how their lives can be better....versus Not seeing the world as the free marketplace meritocracy of everyone's personal failures/successes, nor everything in your own life, and thus not forever having to scrutinize Where You Must Be Bringing It Upon Yourself by fucking up or at least failing to do the correct thing, and exist only in perpetual punishment for your ongoing failure and occasional temporary reprieves from it. recognizing everything that wasn't & isn't & wouldn't be [this is because you're bringing it upon yourself] and thus having more capacity & capability to look at the realm of your personal individual self, reality, experiences, life through the perpetual instances of seeking, finding, and following your own needs/wants through one's inherent personhood and exercises of autonomy and recognition of where & when & how one recognizes moments of their existing freely & in more resonant genuine alignment with themself, you know? endless examples to be found in endless fractals of [where & how are people's lives made smaller]. and that of course this doesn't preclude the ability/option at any time to question one's choices, since you'll be able to find more Actual choices available to you (and, also crucially, find more actual choices made by others that are in the pursuit of limiting Yours) to look at, and people getting to exercise their autonomy isn't the same as "everyone doing anything they want regardless of how it affects others" since that [how does it affect others?] element instead being Regarded would be able to lead to recognizing that, in fact, an effect might be the infringement on others' autonomy, hence: There's A Problem....like the ability to just go ham with [questioning???] anything in existence, certainly including oneself, b/c the "norm" is such that rather you're only supposed to be able to question yourself for your failings (or those positioned as less than, thus, beneath you) and not even have the language to express a questioning of aspects of life beyond that b/c stop calling anyone "cis" they're just Normal, Just Be Normal and it would all be fine

[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.

[nebulaafterdark]

The Rats

Aegon ii Targaryen x Velaryon(Strong)!Reader

Summary: Aegon attempts to make peace with Rhaenyra after being forced to usurp her throne. Lucerys’ death complicates things.

18+ ONLY, MDNI. Targcest, smut, angst, violence. S2 SPOILERS

“I can’t be ‘Aegon the Magnanimous.’ No one knows what Magnanimous means.” Aegon drawls, slumped over in his throne. The hour is late and there are many places he’d rather be. Namely with his beloved wife, who he’s scarcely seen, since taking on his duties. Their children will already be asleep, but if they wrap things up here soon, he may have a few moments with Y/N before bed.

“Aegon the dragon cock.” One of the piss drunk men raises his cup to the king.

“That’s more like it,” Aegon claps his hands together.

The men hoot and holler at the name. Dissolving into laughter.

“Speaking of,” Aegon rises to his feet, “I must get back to my wife. I did not wed her to admire from afar.” Aegon tosses back the remainder of his wine, throwing his gauntlet down beside the throne. “Good evening, gentlemen.”

He wastes no time, taking the stairs two at a time up to his chambers. His queen is already abed, waiting up for him with a bit of light reading. “What story is that now, my dearest love?” Aegon asks, pulling off his boots.

“It’s a book about the plague.” Y/N bends it open at the spine, setting the bound pages on the bedside table.

“Seems a bit morbid.” Aegon frowns, “especially in these times, wouldn’t you say?”

“Do you have something better in mind, your grace?”

Aegon doesn’t miss the bitterness in her voice. “You are my equal, here of all places. Don’t do this to me, please. Do not ice me out, I cannot bear it.”

Y/N sighs, crossing both arms over her chest. “Helaena is frightened of the rats. I’ve been looking into their behaviors and customs.”

Aegon flops onto the mattress, unceremoniously. “The rats?”

Y/N nods, “to be honest, I’m not particularly fond of them either. Although, they are interesting.”

“No vermin shall touch you so long as I live, darling girl. The only thing nibbling your toes will be me.” He wiggles his foot against hers for emphasis.

Y/N huffs a laugh. Allowing the silence between them to hang heavy.

“I am sorry about your brother.” Aegon says, despite ordering his own brother, Aemond, away at the news and holding her through sobs, he’s yet to say the words. “I cannot stand your suffering. It’s made it nearly impossible to be away from you to perform my duties.”

Y/N brings his hand to her lips, kissing the knuckles.

“I want you to attend the petitions,” he decides. “At my side, in my lap, seated directly on my cock; whatever suits you.”

“Directly on your cock?” Y/N chortles, “your mother would have my head.”

“She will do no such thing, you are queen. You may do as you wish.”

“You spoil me,” that’s what everyone says anyway.

“You’re mine to spoil. They’re jealous is all.”

“Shall we practice then? For the hearings?”

“If you wish.” Aegon rolls onto his back, sliding both arms behind his head.

Y/N grins, devilishly as she slides off his clothes, allowing his cock to spring free. Her own nightgown and small clothes follow before she swings a leg over his hips and slides down his length.

“Seven hells,” Aegon groans.

His wife leans forward, pressing a gentle kiss to his lips.

“A tenth of my flock has been taken, your grace.” Aegon tells her, repeating one of the smallfolk’s concerns.

“Your what?” Y/N blinks at him.

“Sheep,” he continues, “a tenth of them gone, taken by your guard, just before winter. What say you, my queen?”

“Give them back.” Y/N sighs as his hands finally land on her hips, guiding her movements.

“That’s what I said,” Aegon hums, thrusting up to meet her.

“Did they listen?”

“No.” Aegon purses his lips, “they might need them to feed the dragons.”

“It’s much harder to concentrate this way, my king.”

“I know,” he coos, “but you’re doing so well.”

“The dragons,” Y/N pants, “have never required sheep from the smallfolk before.”

“We have never been to war.” Aegon says, through gritted teeth as she clenches around him.

“My mother will want revenge for Lucerys.”

“And I want this matter resolved peacefully.” Aegon assures her, “still I cannot give my brother up for the slaughter.”

“I don’t see how this can end peacefully now,” Y/N laments, feeling the coil in her belly tighten. “It will end in fire and blood.”

“What would you have me do?”

Y/N shakes her head, “We must stop Aemond from claiming Harrenhal at the least.”

“Consider it done.” Aegon beckons her down for a kiss.

The clatter of metal against the floor breaks them apart, “what was that?” Y/N’s eyes search the room.

“Twas only the wind, my dearest love.” Aegon smiles up at his wife.

The hairs on the back of her neck stand at attention. “No. Something is wrong.”

“I agree,” Aegon takes her nipple between his thumb and forefinger, rolling it to a taut peak. “You stopped moving.”

“Aegon,” she warns, “please.”

“Shhh,” he gentles her back to a steady grind. “I’m here. You are safe.”

Y/N offers a shaky smile. Still something seems amiss, though she can’t think much more about it with Aegon’s free hand toying with her pearl.

“Cum on my cock, then we will look into it, if you feel so inclined.”

Y/N nods, bouncing faster, harder. Trying to ignore the worry twisting at her gut.

Aegon’s bottom lip is caught between his teeth. “Fuck, I love you.”

“I love you.”

“More than anyone or anything, save for our children. I want you to remember that…always.”

Y/N nods, feeling herself teetering on the precipice. “I-” she wants to say it back, only her brain doesn’t seem to be working.

“Hush, sweetheart.” Aegon groans, because he knows. Rubbing his fingers harshly against her pearl to push her over the edge. Shaking and crying her release as she milks his cock. “Good girl.” Aegon fills her pulsing cunt with his spend.

She leans toward her husband, capturing his lips as they ride out their high. Once she has caught her breath Y/N rolls away, off of the bed, shuffling back into her nightgown.

Aegon follows her lead, redressing in his tunic and trousers. “Head to the children’s room, wait for me there. I’ll have the guards help me search the floor for any sign of…rats.”

Y/N wrings her hands, knowing how silly it sounds. “Thank you, Aegon.”

He closes the distance between them, pressing his lips to her forehead and cheek. “You’re more than welcome.” He watches her leave the room before heading in the opposite direction. Where is everyone? The keep is never so quiet, even at night.

Y/N scampers down the hallway to the nursery, it takes a moment for her mind to make sense of the scene before her. Helaena with a knife held to her throat by a strange man. His counterpart hovering over the children’s beds with a blade at the ready.

“What are you doing?” Y/N breathes, clutching a hand to her chest.

The man holding Helaena shoves her aside.

Y/N catches the woman in her arms, smoothing down her white tresses. Helaena clings to her. “It’s ok.”

The children sleep better together, they always have. Besides the maids prefer Aegon and Y/N’s children close to Aemond and Helaena’s for practical reasons, until they are older.

“Which of them are yours?” The first man demands.

“All of them,” Y/N lies. “All of them are mine.”

“You have but four children,” Cheese insists. “Here lie six, tell me which are yours and I will spare them.”

“If I don’t tell you and you’re wrong, my mother will have your head.” Y/N clenches her jaw. “For all I know of our true queen, this was not her request. So who’s was it?”

“A son for a son, that’s what’s fair.” Blood insists.

“What did they offer you? Gold?” Y/N wonders, “I’ll double it if you leave now.”

The men look to each other, undecided.

“Or you could take me instead. I’m worth more to my mother than any bounty.” Rhaenyra’s eldest child offers.

————————————————————————-

Aegon completes his sweep of their chambers, along with the rest of the royal floor. Nothing is amiss. He moves to the children’s quarters and finds Helaena, curled up on the floor. “What’s happened?”

Helaena takes her brother’s outstretched hand. “They wanted to kill the boy.”

The boy? “My boy?”

Helaena shakes her head, “mine.”

Aegon looks to his nephew, still sleeping soundly. “Where is Y/N?”

“They took her instead.”

“Where the hell is Cole?” Aegon demands. “Where in the seven hells is anyone?”

“I don’t know,” Helaena sobs.

Part 2