#this is meant to be the first part of a project also

[ghouldtime]

*slides into the DMS*

S O. What does social anxiety for König look like through your fantastic characterization then? 👀

(Love your Alone operator series btw. Got me on the edge of my seat with each chapter!!)

(Thank you!! 💚💚💚 I'm so glad you're enjoying :D you all have been so so sweet with it and Im over the MOON so many people have liked it)

To answer this question I'm going to have to be a biiig yapper and explain why I think of him the way I do

Going to say this to start, but I'm going with the true fact that König is indeed diagnosed with social anxiety - anything else I'm saying is based off of my personal interpretation of how he acts in game as a disclaimer

I'm also going to state that personally, the König I write is in his lower to mid 40's. Sorry not sorry, I don't see him as a young dude. Especially not when it's pretty much agreed upon that he's a colonel. So he's had a SIGNIFICANT amount of life experience, and a significant amount of time to work on himself and have introspection.

To me, it makes the most sense that he was diagnosed with social anxiety earlier on in his childhood since it was significantly more obvious when he was younger. Something that severe wasn't unnoticed by those around him because some of them did care about him. It's also stated he's suffered from severe social anxiety throughout his life so that's how I took it.

I personally go with he grew up in a more rural town in his homeland of Austria, which meant there weren't exactly others around during the first few years. "Go play with the neighbors kids" didn't really work when there weren't neighbors around. It was mainly him and his parents and an occasional relative over.

What could be brushed off as initial shyness clearly couldn't be anymore when he finally was enrolled in school.

Even on the first day when it's "introduce yourself to everyone", he fucked that up so monumentally it'll be engraved forever in his hall of shameful memories that he thinks about late at night. School was an utter nightmare, quite frankly, from moment one. The whole situation was too much, too stressful, and too different from the life he had at home. He flat out refused to get up and present in front of the class and wouldn't talk in group projects just for the fear of embarrassing himself. At that time, he was hitting all the indicators for social anxiety like they're the targets he shoots at today.

He missed out on a lot of interaction with other kids initially because of how awkward he was - and having any form of anxiety never helps in social situations. Talking to others wasn't something that came naturally and his own panic amplified it tenfold. Most times, he'd either pretend he didn't hear them, avoid them, or stray as far to the edge of the group as possible to avoid it. Unfortunately this made him an easy target because kids are RUTHLESS and turned him into even more outcast as well which only worsened it.

School always sucked for him due to that, despite the fact that he was a smart kid. No amount of smarts could save you from social persecution when you had nearly no social skills to boot. [ side note but I'm dying on the hill that he's incredibly intelligent and has a bachelors degree (at the very least)].

His parents kept him in therapy to help him manage because without it, he'd be back at square one refusing to go to school and faking a cold just to get out of it. And of course, therapy is a very important tool when it comes to healing, coping, and managing severe mental disorders. The whole reason why he doesn't show such bad anxiety anymore is because he kept the skills he learned and applies them so much that it becomes his second nature.

He's had at least 35 years of this, he's good enough to mask and to keep up his facade.

Another part of why he doesn't show it nearly as much is because he joined the military and was thrown through the wringer with it. Being bullied for so long was a major motivator for joining in the first place, as he needed something to get away from the peers who tormented him so and he needed a new life where he wasn't known as target #1. But he ALSO wanted to gain actual confidence and more certainty in himself.

Joining the military really means you're not left with such things as many choices when it comes to anxiety in social situations. You're forced into quarters with others, have to work side-by-side, do nearly everything together, so on and so forth. He knew that going in but at that point for him it was like extreme exposure therapy, the last step he needed to really put everything he learned in therapy to work.

That doesn't mean he didn't suffer or loved it. No, it was terrible, intense, and nerve-wracking. But he wouldn't have done it otherwise if he didn't want that. Being in the military didn't give him the leeway to avoid what made him anxious, it taught him to face it head on and fight.

Now that he's up there in age and has considerable more experience (and leeway with having a higher rank), the ways he expresses it [look at me finally answering the question] are more subtle.

On the field, you're likely not going to notice it. Because that's him turning the little auto pilot switch in his mind to on when he has a job. The job is his focus and everything has been so engrained in his mind that it's muscle memory. He's, quite frankly, focused on not dying and getting any job done over himself. The joking you often hear him do and taunting alike is part of how he's expressing the confidence he feels when he's in his element, when he KNOWS what he is doing.

If you look closely or approach him off the field, however, it's another story. He usually tenses or straightens himself out when people approach and will hold that until they leave (unless they're someone who he truly knows). Many assume that's a taught habit of the military, but that's only half-true. He did that before then.

Unlike when he's working, he doesn't have a guide or things he knows he has to do in a specific order to best ensure survival - no matter how much talking to other people feels like the heat of the battle, you can't (legally) solve it with a gun or throw a frag and book it out of there. There's no true guide to social interactions and that stresses him out. There's no manual, no field guide, no ten step card on how to successfully navigate them.

He knows things that are normal to say, he knows sometimes what he should say - it's just a matter of finding the phrasing and how to say them. Yet it seems like whenever someone doesn't follow his pre-programmed line of thought when it comes to their talking, his mind can shut down and go blank as he stares, trying to figure out where to go or what to say (spoiler: it usually doesn't end well).

He's usually awkward to talk to because he's running over everything in his head as he tries to think of what best to say to avoid further interactions or ones that could be more targeting to him. And, as mentioned, he lacks the average set of social skills that plenty learn in childhood because he didn't have that proper socialization. He's also still not the best at talking itself and can be blunt and to-the-point, which also doesn't usually go down well.

Not to mention, he's bad at small talk and has a terrible, sarcastic sense of humor that many can't read and it quickly turns things uncomfortable very fast because everyone takes him seriously. It never helps he usually doesn't explain himself all too well, usually leaving it as is as he secretly wishes he didn't talk at all when mortification sets in. Hurrying away with an excuse of some paperwork or something else to busy himself is his go-to after those.

When possible, he'll avoid small-talk and greatly prefers gestures instead. Someone who can appreciate his greater need for silence and a lack of talking is someone who he will greatly appreciate in turn. He's a firm believer that not all silences are uncomfortable and sometimes, it IS best not to say anything at all.

Due to his childhood too, he's not really fond of being around many people and will do his best to avoid it. Unless he has to grin and bare it, he won't. He finds his mind calmest when he can just be himself without having to worry about saying the right things to appease others or to be friendly. That way he can focus on what he wants, think how he wants, and feels how he wants without second guessing himself or having to worry about existing.

He's going to avoid most public settings when possible. Though he can now suitably manage his anxiety, they're something he passes up on. Grocery store trips are something he does maybe once a week or two, if that - stock piling so he has to go to the store less is his usual strategy. Anything he can do himself, he WILL do himself, if he doesn't have a trusted person who can do it better or can help.

Notably, he also doesn't have many friends. He's like talking to a brick wall and unless you're considerably persistent and understanding of his need for space, you won't get far. A lot of people don't have the time nor patience for it, but if you do get close to him, he does come out of his shell. He appreciates anyone who cares enough to actually get close to him and get to know him despite how awkward he can be, and will be loyal to the end because of that.

Another side effect is that he doesn't sleep well. Between the massive amounts of trauma from his job and the trauma from his childhood, he doesn't sleep well as is. But the social anxiety aspect comes into play because many nights, his mind is rerunning all the interactions he's had as he chronically overthinks them. He always wonders what he could've done, how he could've improved, and what they're thinking of him (even if they're someone he may never run into again). Its very hard for him to shut his mind off and doing such usually requires him drowning everything else and making himself not think about that, or anything, any more.

[Another side note: He's an avid reader. Reading gives him new things to think about and can help put him to sleep, especially before bed. It's a good way for him to stop thinking about whatever was nagging him and shifts his mind into thinking about other things he enjoys instead)

Basically, IN SHORT this isn't my full in-depth detailed characterization of exactly who I think he is - the reason he's not presenting it as an anxious ball of pure energy who is so uwu shy and soft is because he is incredibly well-managed with his severe social anxiety at his age and that's uh, just not him. Social anxiety doesn't mean he's a blubbering mess or will cry at the slightest inconvenience and reducing him to that or treating anyone with social anxiety like they're a child because of it does not help at alllll.

He's had extensive therapy for this, he's got his methods, he can mask very well. He's a WHOLE GROWN MAN who is responsible for not only his actions but how he manages his emotions and he knows it. But if you know him and know what to look for, you'll be able to pick it up.

(Also the sheer amount of scenarios I've seen where people think he just would... cry if you took his mask off??? Him???? HIM???? König, "I can make you talk, where are they?" the skilled PMC operator? That one? That guy? Yeah no, anyone dumb enough to do that better have signed their will prior or hopefully has an intensive love for scrubbing all the floors with a single old toothbrush. He won't tolerate people harassing or hustling him or pressing on his nerves. Sure, it reminds him of his childhood bullies, but quite frankly that behavior as grown adults trying that is RIDICULOUS, it pisses him off and immediately lowers his opinion on them.)

To whoever made it this far, I hope this made sense, I took melatonin before I got the ask so I'm in another realm right now LMAO. König is one of my favorites and was the first character I realllly really loved and I just hate seeing him done so dirty. Especially as someone with severe social anxiety myself, it irritates me when it's portrayed just so... wrong and quite frankly, in a lazy, offensive manner lacking any nuance especially in relation to the character who has it. Like just making him stutter and cry isn't all social anxiety is and there's SO much depth and things to work with despite the... actual substance as far as his bio goes

[lotus-tower]

somehow when writing all this I forgot about the prosthetic phallus. gintoki the true protagonist whose sword is made all the more sword-like because its non-literality conveys more efficiently that what it embodies is the swordconcept—prosthetic also because it’s being forged before our eyes (though without us noticing at first). gintama says “if you don’t have your own, store-bought is fine” about the great institution of the Cool Signature Shounen Sword, which is funny, but mainly gintama posits that in the end you have to craft your own with everyone’s help anyway.

it’s then really interesting for gintoki’s evil clone to have, quite literally, a prosthetic dick. and kintoki knows that the dick is the key, that the dick is fundamental to gintama’s language of worth and its basic fabric—and he clearly understands that non-literality, that prostheticness is okay. in fact, maybe from his perspective, being designed to be what he is, the cold “facts” of gintoki as a character are quite obvious to him—blueprint data he was given as part of his construction. he at no point seems to have any real investment in the idea of being a human vs being a robot. he’s here to usurp gintoki as an animanga character, as a protagonist, so it really doesn’t matter. whether he’s artificial doesn’t really matter—according to his instructions manual gintoki is also artificial. and so someone as arrogant and self-absorbed yet relationally aware as kintoki feels neither inferior nor superior for being a literal robot.

but he doesn’t understand it, not really. he doesn’t understand the whys of the prosthetic phallus or the gintama swordconcept in general. this is, of course, because he isn’t gintoki but was instead designed to be Golden Boy Alpha Male gintoki, and gintama is fundamentally a story based in loserspace. by which I mean not an “objective” space where all losers go (kintoki is obviously a loser too), but a space focused on, preoccupied with, and making productive, loserhood. every part of kintoki’s body was designed in a way that makes him fundamentally incompatible with this, so of course he doesn’t understand.

tama, like lake toya, is a character whose artificial nature only serves to make her thematic package starker and easier to receive. gintama is generally blunt in its messages. just like lake toya is more sword-like by visibly carrying the naked idea of the sword, tama is made more human by being a robot that gained sentience through the Magic Humanity-Granting Seed. gengai’s introductory episode also very effectively used a hollow robot holding a very tender and sincere message inside it for sentimental effect. this is also a reminder that the first time we meet gengai, he’s constructed artificial facsimiles of his son—not meant to replace him, though, but rather for him to project his emotions on, and to embody a certain kind of will.

so by the time of kintoki’s introduction, we know that robots can be sentient, and this doesn’t really require any real storytelling or justification. and we know that gengai isn’t the type of character to actually think a robot can replace a person, as that person—rather, he built kintoki because he agreed with shinpachi and kagura that gintoki was fucking annoying, and he built kintoki to replace gintoki instrumentally. and, to his credit, kintoki does what he’s designed to do. and he doesn’t want to replace gintoki as a person—he does understand his assignment, he understands the blueprint data, he understands the instructions manual. if he wanted to replace gintoki as gintoki, he would have killed him from the getgo. he wants to replace gintoki as the main character, instrumentally, and for this purpose making gintoki part of his harem serves to convey how effective he’s been at accomplishing his goal.

he reboots the world as a vapid moe harem because that’s the kind of series that is most straightforwardly built around how important, unique, and special the main character is. he has no use for loserspace—he reads the abridged gintama script and sees that the ensemble cast must trust him, rely on him, and have their hearts moved by him—and he’s like, well, okay, but why is he a loser then? it would be more efficient like this.

which is to say, kintoki understands that he must be the recipient of all these relationships and emotions, but he fundamentally does not understand Hole. many, many people project all sorts of things onto gintoki. gengai projected his grief over his son onto his (very much non-sentient, yet all the more endearing as a carrier for it) robot. no one can project onto kintoki. kintoki understands that he’s empty inside—he’s a robot, after all, and he’s like two weeks old, and he sees the script, he sees that gintoki is too, it all checks out—he sees that gintama is lame, that it’s stupid, that it’s gross, that time doesn’t pass meaningfully, that time can keep cycling—so why not turn it into an incel fantasy harem? What is the difference between his dick joke and gintoki’s (gintama’s) dick joke? It’s still a dick?

I think that gintama’s lack of interest in engaging with dichotomies like human and non-human (in the biological or racial sense), organic and inorganic, is a large driving force behind what gives kintoki an interesting, understated texture. again, he is not concerned with being a robot. if anything, he is assured by it, he’s certain in his purpose and his goals and his ability to achieve them. there is no insecurity over being a hunk of metal, there is no insecurity about his humanity or lack thereof (see, he can just take his head off to wash it), there isn’t even loneliness despite him being one android in a huge city of people unlike him, because the protagonist is inherently a lonely role anyway (and gintoki is human and still lonely among humans). he feels no envy or animosity towards flesh.

instead, you could almost argue that he’s secure in artificiality. he thinks that because his dick is prosthetic, he can succeed as the main character. because his dick is prosthetic, it will last when others wither. because his dick is prosthetic, the world will revolve around him. it’s a fascinating concept, to have a main character with a prosthetic phallus for the sake of an embodied spiritsword, and to then create an evil clone of him who fixates on the prosthetic, and literalizes the wrong part of the metaphor. or maybe, literalizes it in the opposite direction? rather than the prosthetic (wooden) sword being a vessel for the thematic spirit of gintama, it’s gintama’s spirit—understood here not incorrectly by kintoki as its places, relationships, and symbols—that are twisted in service of the prosthetic sword, to highlight how shiny and prosthetic it is, how golden and stainless and immortal.

all this because he doesn’t understand hole. classic straight man mistake

[cowboyinternist]

patches and stuff that i made (and didn’t!) for my wtnv jacket :3

little project Ive have that’s been in progress for a couple years :3 more details below the cut

glow cloud patch, this is just scrap fleece that i colored with old copic markers and hand sewed :) also tiny animals + beads that i stuck on there with fabric glue. the glitter is this holographic glitter paint that i love? i use it on everything.

(left) void patch is just canvas + paint marker and safety pins. the pin above it is from the attic tour, and the pin on the collar is from the haunting of night vale ^_^ the babydoll parts are earrings but i don’t usually wear earrings like that so i repurposed them

(right) eyeball pin is polymer clay and made by me, angel pin is from ultrainfinite on instagram :) little name tag is a repurposed gift card that i just painted and glued over :3 the cecil drawing is meant to resemble me a little more than the cecil i typically draw lol.

patch and sheriff badge are from the wtnv merch site, cowboy cat pin is from pinkgabbercat on instagram. the fake flower pins are technically for a different project but this is their home until i’m ready to use them for the other thing. the little eyeball emblems are made from a linocut stamp that i created a few years ago for a different project

patch for the back!! i rlly love how this came out, the dark purple is an old pillowcase and the moon is the same scrap fleece that i used for the glow cloud. my hand sewing ia kinda fuckass but it adds idk. plus glow in the dark stars!

i made the king city patch a while ago but it’s just canvas and paint pen too i think. plus fly pins that i also made!! little desert landscape button is magazine paper scraps. the cactus and house pins are from the tours i mentioned above, and unfortunately i cannot remember where i got the possum patch :( this is the back right panel of the jacket, for the back left panel i wanted to make a dark owl records patch eventually

i hope to have a little something from all the books on here at some point! something for each of the villains too (which u can see i’ve already kinda started with the beagle patch in the very first image)

this project is still super unfinished!! i have a desert bluffs jacket too that is also still in the works, so i’ll maybe post about that soon too!!

[devils-minion]

"Don't get me venting on friends who resent you 'Cause all you've ever done is been a noose to hang on to They thought was a necklace and reckless they fell into hell Where you both hang with nothing to do but

Scratch, kick, let gravity win like Fuck this, let gravity win like You could leave it all behind Even the Devil needs time alone sometimes"

[theunconcernedembalmer]

idk how long my laptop will survive seeing as i hardly use it anymore so anyway here's an abandoned project from a couple of years ago where i ambitiously tried to make an rpg with the yokai outfits. here are some sprites i made

[warriors-rebound]

does barley exist? (I’m sorry he’s very special to me that’s why I asked)

HE DOES HE DOES HE DOES HE DOES!!!!

I drew these quite a few months ago when I was playing around with designs so take 'em!! (Also drew the beginnings of a comic at that time which hopefully I will finish up in due time :D!)

His sideburns make him look older but in our canon he's only like a handful or two of Moons older than Cedar and the gang :D

also important: He's got a funny little hat :) -Mod "Barley is in my top 10 fav's can you tell?" Dawn

[sillyfreakx5]

it's so annoying how abbreviations repeat in psychiatry. like when i see "ASD", my first thought is autism spectrum disorder. but noo, in this article it's acute stress disorder

WHYYYY

/lh

[outeremissary]

Having one of those weeks of "is this the monthly Malaise or am I about to have a real mental health rut"

[dire-kumori]

Aaaaaaaaand the Dining Room at last! The Aftons sure eat a lot of take out.

Full house map under the cut.

[saltpotion]

the zelda ii backstory idea had morphed once again into a LU fanfic idea bc i cannot stop brainrotting aurora and dawn’s relationship, esp in light of everything that happens with aurora pre-sleep curse

might also give lu hyrule daddy issues. stay tuned

[lhrry]

x

[magentagalaxies]

idk why my brain decided folding laundry while listening to rollercoaster by bleachers at 11:26pm was the perfect conditions to finally process the fact that other girls is going to be finished in less than three weeks but im genuinely gonna lay motionless on the floor letting all these feelings wash over me rn????

[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.

[nymphaerie]

GOD LOUISE REGAILIA MAKES ME SO FUCKING INSANE EVERY TIME I THINK ABOUT HER I FEEL LIKE IM GOING TO EXPLODE INTO A MILLION LITTLE PIECES. ITS JJUST LIKE. girls when they havce to kill their former selves in order to survive. girls when the self they take up in turn is constantly destroyed and remade in order to never be attached to one life. girls when the only way they know how to save themself is to lock themself away. girls when they’ve forsaken their home and in turn been forsaken by it. girls when theyre both the abandoner and the abandoned. girls when they think theyre the most sane completely normal one hundred percent hinged person in the world. girls when they already know they didn’t deserve what they went through but can’t imagine a world in which they can heal from it. girls when they won’t let themselves heal because they don’t know who they are without their hurt. because they killed that girl. and theyll keep killing her forever and ever and ever and pretend thats the same as healing her.

[almostempty]

Never made it as a wise man

(joel miller x f!reader)

Description: Joel solves your car troubles for free, and you try to return the favor with a homecooked meal. When you accidentally interrupt his jerkoff session, you take a chance and help him out.

Note: y’all are out here answering god’s toughest questions, like what if emotionally unavailable Joel was loved unconditionally? or what if Joel was the Mothman?, and I deeply appreciate that. 

However, today, I am here to answer a question that nobody asked– What if Joel was a divorced dad rock kinda guy? 

You know, like, listening to Nickelback on an old-school boombox in his garage, or unironically singing Creed on the way to work, or bonding with Ellie over Papa Roach? And also, (inspired by a genius) what if he was a little bit pathetic? 

Anyway, I present to you: divorced dad rock dilf, Joel, ta-da! (my humble submission for @hellishjoel‘s hot dilf summer challenge) obvs dedicated to: @auteurdelabre

ao3: read here | masterlist: here | part 1.5 here

Tags/warnings: AU no outbreak divorced Joel x f!reader, Sarah is not mentioned, but Ellie is your adult coworker, reader is clueless about cars and so am I, gratuitous smut and horny thoughts, implied jorkin’ joel but no witnesses, hand job, fingering, premature ejaculation, touch starved kinda loserish but hot divorced dilf joel, he’s a real tiddy guy in this one and idk why it just happened, pwp, is it a crackfic? maybe, but i meant it wholeheartedly so idk  

WC: 4.2k

You pull onto the long driveway, hoping to see Joel’s truck. You forgot to text first to see if he would be around, but he did tell you to come by if you ever needed anything. You mostly just hope he’ll be willing to accept your gift. 

Last week, he’d helped you out by fixing your car. He told you what the issue was, but he might as well have been speaking another language when he described it. You had already brought coffee and a plate of cookies to your coworker Ellie to thank her for dragging you to Joel’s to ask for help. Being in a new town was hard enough, but you had no idea how you would handle the price for diagnostics, let alone whatever the repair would’ve cost. You tried to offer Joel the cash you had as a thanks, but he wouldn’t accept it. You tried to argue with him, but Ellie told you it wasn’t worth arguing with him. He wouldn’t budge. Instead, he had offered to change your oil for you, making you feel even more indebted to him. 

At first, the most you got out of Ellie for intel on Joel was that he was the one responsible for you having to listen to “One Last Breath” and “Lips of an Angel” at ungodly early hours. Ellie claimed that her music taste was deeply influenced by Joel, and somehow, Ellie is always in charge of the music at work. When you rolled your eyes calling it divorced dad rock, she let it slip that you were right about that. 

That explains a lot when you remember the brief time you spent in his house and shop. The house was clean inside but not tidy. Stray beer bottles and travel mugs dotted the counter and coffee table. But the shop had all the Divorced Dad Barbie accessories. 

The project car and crates of assorted parts. The beer fridge and the plastic lawn chairs in the corner for bullshitting with whoever stopped by. The boombox on the workbench with the stack of CDs. And the fading calendar from another decade with the naked woman kneeling on the beach. 

You hadn’t been able to stop your eyes from darting to her sultry expression and swimsuit model-perfect breasts when Joel had been explaining what he was going to do to your car. You wondered if the heat burning in your cheeks had given you away, but he didn’t notice then. Ellie sure did, though, and she had rolled her eyes at you, noting it had been up so long she even forgot it was there. 

Luckily, Ellie didn’t notice your eyes lingering on Joel’s body. You weren’t trying to be a creep, but the way his arm flexed when he opened the hood of your car gave you some feral brand of intrusive thoughts. The ratty band t-shirt and the faded jeans were working for him, too, or at least they were doing something for you. Time slowed when your eyes trailed over his arms and down the muscles of his broad back. He just seemed so… solid. You finally understood what your friends back home meant when they said they wanted to climb a man like a tree. You had jumped a little when Ellie slammed the fridge behind you and shouted at Joel about how he can’t just live in the shop drinking shitty beer and eating beef jerky. She had grabbed your arm to drag you to the house for an iced tea while he worked. 

Her comment sparked your idea. You figured Joel must be a utilitarian type. He probably lives on frozen pizzas–or even worse, those Hungry-Man frozen TV dinners–instead of making himself something fresh. Maybe he’s one of those guys who got really into smoking meats instead. Either way, you hope the lasagna you made from scratch and the other tray of cookies will be an acceptable thank you for his help. He can’t refuse it if you already made it, right? 

You pull up next to a truck, assuming it’s his, and that he’s home. Before you grab the tray, you pause to check your reflection and adjust your breasts in your white tank top, making sure your cleavage pokes out as temptingly as possible. 

You check yourself in the mirror with a look. Why does it matter what you look like? It’s not like you’re trying to fuck your only (almost) friend’s dad, right? Although she calls him by his first name, not Dad, so maybe there’s like a loophole or something if she’s adopted. You think about the calendar model and her perfect tits hanging on the wall over his tools. It can’t hurt to just do a little harmless flirting, right? Maybe you aren’t even his type anyway. 

After knocking on the door a couple of times, you frown, wondering if he’s not home. On the way back to your car, with your head hung in defeat, your ears perk up at the sound of something clanging in the shop. Of course! 

You skitter back to the front porch to leave your goods by the door and head for the shop to find that divorced DILF–Joel, you mean. It’s sweltering out, and sweat is beading on your chest after only a few minutes in the heat. The closer you get, the more easily you can make out the sound of his little CD player blasting another brooding, raspy ballad sung by a white man with a troubled love life. 

The garage door is shut, so you knock on the door on the side of the building. You wait a minute before testing your luck and opening the door yourself. Assessing the shop, you don’t see your man, sorry, Joel, at first glance. The music blasts, and the calendar model gives you the same impish smirk through her false lashes and a layer of dust, but there’s no Joel. The evidence clearly dictates that he’s in here somewhere, as his tools are strung around his project, the lights are on, and a beer with a sweating label sits on the edge of the workbench. 

You aren’t trying to be sneaky. You didn’t think to holler and announce your presence over the music. Plus, you didn’t fully get your bearings the last time you were here. Now, you can pick up a few more details as your eyes absorb everything they can about anything that gives you a hint about who this guy is. 

The guy that’s been haunting your dreams for a week. Last week, when you walked back to the shop with Ellie to check on your car, you nearly tripped, watching Joel wipe the sweat off his face with the bottom of his shirt. You had just caught a glimpse of the trail of hair disappearing under his jeans, but it was enough to replay in your mind every night as you created your little scenarios to carry you off to sleep. 

The scent memory was somehow worse. It was so easy to transport yourself back in time with the thought of the sweaty musk and the grease or oil smeared on his fingers. It shouldn’t turn you on, right? 

You remember thinking he seemed so knowledgeable when describing the issue. You had no idea what he was talking about, but his low voice and patience were enough to tell you he could talk you through anything. 

You notice a few other details as you enter his sacred space today. The woodworking projects, the band posters, and the pictures with Ellie and other family members tacked to the wall over another workbench. 

Still, no Joel, however. 

You circle the partially disassembled project truck and see a door to another room. It would be the office if the shop were a professional business. There’s a window along the wall, but instead of a boss watching an employee, it’s you hoping to see that brawny man and his dark curls. 

As you step closer, you nearly squeal. There he is. Well, at least, you can see the broad shoulders and back you’ve been picturing above you in bed. You practically skip to the door. It’s already open a crack, and you give it a knock, calling his name as it swings open from the force of your rapping knuckles.   

The next moment is a blur. 

“Shit, fuck, hold on!” Joel shouts gruffly as he slams the door in your face. But you already heard it. The phony wailing noises that came from the busted speaker on his phone. 

You still face the closed door, trying to process the interaction before he wrenches the door back open. He’s breathing rapidly, chest rising and falling, as he looks at you with wide eyes that quickly narrow. 

“What are you doing here?” he barks. 

Your hands fall to your sides, and you start to step back, ready to turn and run. 

He catches your fear and tries to adjust, but you’re faster. 

“Sorry,” you mumble as you turn and try to dash away. Joel’s quick, too, though, and he grabs your wrist. 

“Hey, wait,” he loosens his grip when you spin back towards him, “I just didn’t hear you comin’. Wasn’t expecting you.” 

“Sorry,” you repeat, stuttering as you continue, “I-I just, uh, just wanted to say thanks for your help last week.” You stare at the floor. Unsure why you’re embarrassed, you feel so small after he saw your face and practically shouted at you. 

“All right,” he rumbles. You’re too busy staring at the crack in the concrete floor to notice how his eyes are glued to your exposed skin. Or to see the blotchy red flush that crawls up his neck and toward his face. 

But your brain starts to catch up. Joel might’ve snapped at you, but you’re the one that caught him in the act. You don’t lift your head, but your eyes trail over his stained and faded jeans until you’re studying his crotch. 

Bingo. It’s almost too easy. You can make out the outline of his erection tucked up in his waistband. Even more glaring evidence is the open fly. You wish you had caught what he was watching. How does he like it? What does he search for when he wants to jerk off in the back office on a hot Saturday afternoon? 

He clears his throat, and you snap your attention to his face. “Was there somethin’ you needed?” He asks. 

“Yes.” You tell him you’ve got a lasagna that should get into a fridge before it reheats in the sun. He follows you toward the front door and into the house, not missing how your hips sway as you lead. 

Once the tray is shoved into the fridge, nestled between some takeout containers, he turns to thank you. “You didn’t need to do all that,” he gruffs over the cookies and homemade meal. 

You step back to lean against the counter, littered with mail and more coffee cups, and let yourself check him out up close. His faded Creed t-shirt has holes around the neck. He’s got that same sweaty man musk going on, and you wish you knew why that stirred your arousal, but your pussy lacks logic. 

“I know, I know,” you reply, “but you really saved my ass with the car, and I wanted to do something for you. You know, some way to pay you back?” 

“All right, well, thanks,” he trails off. He doesn’t seem to know what else to say. Maybe you should be on your way already, but he’s not ushering you out the door. 

This time, you do catch when his eyes drop to your chest. There’s no way you’re imagining the tension between you as you stand in his kitchen while he stares at your barely clothed tits, right? Fuck it. You’re gonna go for it. 

You take a step towards him. “I wasn’t sure if it was really enough,” your voice is soft and tempting, and your sweet perfume wafts towards him like a lust potion. Joel swallows thickly as you approach.

He knows you must’ve put it together, but he tried to delude himself. Maybe you couldn’t hear the theatrical screams of the woman he was watching get railed before he slammed the door in your face. He hopes all you heard was Chad Kroeger’s voice screaming, “This time I'm mistaken

For handin' you a heart worth breakin'” from the stereo.. on the other side of the shop. 

“You worked so hard,” you continued with one final step, and now you’re nearly toe-to-toe in front of him. “There has to be something else I could do.” You’re so close to him. He forgets to respond. It takes all his power to keep his eyes on your face. 

You have a wild urge to taste the sweat on his neck, but you keep your tongue to yourself. He hasn’t made any move to encourage you, but he hasn’t stopped you yet either, so you figure it’s worth taking a risk. 

“Maybe you’ve got a problem I could help you with.” You go for it, reaching your hand out to palm at the bulge in his jeans. 

Again, too many things happen at once. Joel snaps out a “What?” in disbelief. His hand circles your wrist tightly. His hips jerk, involuntarily bucking into your palm. Your glossy lips part into an “o” shape at the size of his not-quite-hard cock. And now you’re both locked into this position like statues. 

His fingers stay firmly wrapped around your wrist, but he doesn’t pull you away. Your fingers squeeze over his jeans, and your eyes flash wide as you can feel his cock twitch and stiffen at your touch. The touch that rapidly overrides your better judgment, drowning you in want. Your clit twitches itself in response, your nipples strain under your thin tank top, and your eyelids feel heavy immediately. 

“What are you doing?” His voice crackles like he hadn’t just used it. You slide your hand to pop the button on his jeans, and he releases your wrist as you flip it to slip your fingers under the waistband of his boxers in search of his cock. 

“Let me help,” you say in more of a whispered tone. The searing heat between Joel’s legs makes you salivate. Your fingers graze coarse curls before you acquire your target, wrapping your palm and fingers around his thick shaft. His size has your cunt throbbing in your shorts. 

Joel’s eyes are squeezed shut. He looks nearly in pain. You pull your hand back out to let the pool of saliva on your tongue drip into your palm. 

“Jesus,” he breathes out, watching your lewd maneuver. “You wanna help?” He repeats your plea in the form of a question, a little dumbfounded. He’s trying to figure out what’s happening right now. 

“I do,” you answer in a honeyed voice as you dig your hand back into his pants. He’s unable to respond with words as you swirl your palm over the head of his cock, mixing saliva and precome, but his body eggs you on. He bucks into your fist, and you work quickly, pumping his throbbing length. The slick noises are muffled by the layers of clothing, but the grunts that catch in his throat shoot piping-hot desire straight into your core. 

He looks a little desperate, eyes slammed shut again, jaw slack, arms hanging uselessly at his side. And for god knows why, the entire scene pulls a moan from your lips. The sweet sound snaps Joel back to attention. His hands shoot straight to your breasts, cupping them gently to feel them bounce against the motion of your arm wrestling with his jeans to keep stroking his cock. 

They’re so close to spilling over your tank top on their own. Joel can’t resist tugging the thin material until they spill over the top. The sight alone nearly has him coming in his pants. But then you moan so loudly when he squeezes them both and pinches at your nipples, and he really can’t stop. 

“Fuck, fuck, wait,” he spits out, but it’s too late. His hips jerk erratically, thrusting into your slick fist, and he’s coming. It coats your hand and wrist and makes an absolute mess.  You relax your grip when his whole body seems to shudder and gently remove your hand. He tries to choke his groan of frustration before it surfaces, but he immediately pauses his shame spiral when he sees you suck your come-coated fingers one by one. 

“God, that’s so fucking hot,” you tell him. At the same time, he’s muttering curses at the sight of you. You’re feeling a little giddy that all it took was your hand and showing your tits to have Joel losing control and spilling his load for you. It has your mouth curling into an impish grin. 

He’s got the sight of you half topless in his kitchen, licking your fingers, looking awfully proud of yourself, etching into his memory. Before the blood can return to his brain, he grabs you tightly by the ribs and walks you backward towards the counter. He lifts you onto it and wrenches open your shorts, yanking at them as you lift your hips so he can slide them off of you and drop them onto the kitchen floor. 

Yes! Yes! Yes! The horny little goblins in your brain shriek and chant, incited by the rough and impulsive way Joel gropes at you. It’s barbaric, and that delights you. 

Sitting on the counter, you give him such perfect access to put his mouth on your breasts that he forgets what he was going to say. He mouths at each of them wetly, his beard tickling you as he’s busy sucking marks into your delicate skin. He sucks and bites at your strained nipples until your loud whines turn into a sharp gasp, and he pulls back. 

The heavy-lidded look on your face has him diving back in for more, and you groan and arch into his touch. You rake your fingers into the curls at the back of his neck and tug at him. He grunts and moans into your skin, and it drives you wild. You need to feel him closer. 

You grab the worn cotton on his shoulders until he lets you slip the shirt over his head and drop it onto the counter next to you. It gives you the briefest moment to take in the sight of his built chest and shoulders and softer midsection with that trail of hair you had memorized. You need to taste the salt on his skin. 

Spreading your legs wider, he slots his hips against yours at the edge of the counter, and you run your tongue along his neck. You slide one of your hands down the smooth golden skin of his shoulder, and the other nestles back in his messy curls as his mouth finds yours. 

He tastes like cheap coffee and the peppermint nicotine gum parked above his teeth along the left side of his mouth. You know it’s wrong that you can’t get enough. But you're helpless when he pulls your bottom lip between his teeth, and you mindlessly roll your hips, seeking any relief. 

He’s grumbling in your ear about how it seems like you need help now, but you couldn’t care less about the words coming out of his mouth. His deep voice alone could get you off. You let out an uninhibited whine at the thought. 

“Jesus Christ,” he pulls back. His head hangs, staring at the floor. He shakes it in what you assume is disbelief. You don’t want to wait for him to think any further. You grab his hand, pulling it between your legs.

“Really, fucking, hot.” You echo your earlier declaration. Doing your best to sound assertive. You figure at least your soaked panties will prove your point. 

“Fuck,” he stifles a groan. You’re so wet it coats his fingertips through the thin material. He nudges his fingers into you, over your panties, and you whimper for him. The fabric sticks to you and makes an obscene sound as he toys with you for only seconds. “Oh, you do need my help. Hm?” 

You nod, spreading your legs wider for Joel to have access. He scoffs at you, displayed eagerly atop his kitchen counter. “Just desperate for me, aren’t ya?”

You snap your legs back shut with a glare. 

“No way,” you press, jabbing a finger into his chest, “you don’t get to laugh at me like I’m a slut for you when you just came in your pants for me.” 

His nostrils flare, and blotchy red patches creep up his neck again. You aren’t sure what kind of bear you’ve just, quite literally, poked. 

“But you are, aren’t you?” He challenges. “You came all this way in this excuse for a shirt, just for me.” 

He wedges his hand back between your closed thighs, and you relax just enough to let him work his way back to your core. Your breathing gives you away when it hitches and stutters as he traces his fingers along the hem of the fabric between your legs. You let your legs fall a little wider apart, and he sinks a finger beneath the hem and right inside of you to the knuckle. 

A whiny noise rolls in the back of your throat. 

“Shh,” he sinks a second finger inside of you, and your muscles spasm and contract, “that’s better, hmm?” He slowly pulls his fingers almost all the way out and then plunges them back in. He repeats this, and your core tenses as you writhe for him. 

“You need more?” 

“Yes.” 

“Yeah, you do.” He adds a third finger, and the slight stretch makes you hum. 

“You just need to be filled up, hm?” He teases you. Awfully confident now for a guy you just caught watching porn on his phone in a grimy back office in the middle of the afternoon. 

But your noises and impatient movements spur him on. His sticky cock is filling out his jeans again. He nearly drools at the thought of the wet walls of your cunt, currently wrapped around his fingers, sliding over his cock instead. He knows you want it, too.

“Don’t you?” He asks like you could read his mind.

“Hm?” You hum absently. Empty headed. You’re still taken by the entire pulpy, messy scene. 

Reveling in the vulnerability of being spread open on his cluttered counter as you’re both half-dressed and panting in the other’s hot breath. Any semblance of the lightness of your mood is quickly replaced with a blinding need. His fingers work into you, making obscene sounds, and then you add your own fingers. Circling your swollen clit just as he lets you in on his vision. 

“You wanna bounce on my lap. Fill this pussy with my cock.” 

“Yes,” you hiss as you hover at the edge. 

“Yeah, that’s it,” he watches your fingers working deftly over your swollen clit. The encouragement tips you over. Your body jolts erratically as you contract around his fingers, and bright sparks of pleasure course through you. 

“Yeah, you’re gonna ride me like fuckin’ champ,” he decides. You pull at his wrist when you start to feel overwhelmed, and he slides his wet fingers over your soft inner thigh. He’s ready to grab you and carry you to the couch when both of your heads snap to attention at the sound of a door slamming in the driveway. 

“Shit,” he grumbles, looking for the clock on the stove before he remembers it’s definitely not set to the right time. You move nimbly, shimmying into your shorts, snapping your straps back over your shoulder, and brushing your hair out of your face. 

“Hey, wait,” he calls for you, but you’re on the move. 

“Let me know when I can pick up the baking dish,” you call over your shoulder. Luckily, Joel’s next guest seemed to know him better. They were off to search the shop first, so you didn’t collide with anyone before you got to your car. Joel stayed locked in the kitchen, catching his breath while you started to pull away. He didn’t see that you stole his dirty Creed shirt off the counter before you skipped out the door. 

When you grab it later to wear to bed, a naughty little smile tugs at the corners of your lips. When you pull the worn fabric to your nose to inhale deeply, you wonder if it’s one of those weird pheromone matches or something because you’re sure the sweaty man musk should be wrinkling your nose. 

Instead, it makes you think of his big arms and chest filling out the shirt. And how his shoulder and back muscles ripple under his sun-bronzed skin. What they’d look like coated in a sheen of salty sweat as he railed you, bent over his workbench, under the watchful eye of the calendar model and her flirty smize. 

The image has you interrupting your own scenarios-before-bed time. Maybe Joel needs a model from this decade. You giggle, bunching up the t-shirt to snap a tasteful shot of some underboob cleavage, with the faded Creed logo on full display. 

You send it off with no context, figuring it’s self-explanatory. It’s less than a minute before your phone buzzes, and you feel the intoxicating rush rip through your body before you pick it up to see just the heading on your lockscreen: 

Joel

Attachment 1 image

divider by @cyberangel-graphics

Please let me know if you enjoyed or hated this or a secret third thing (???) heheh

[godzexperiment]

i might be working on being less -vibrates anxiously- at the mere thought of following somebody first,etc but im still silly goofy naturally <3 but i do really find everybody super neat! like i do intend to get things going and be like 'hi yes i love your writing and character(s)' more+directly lol