TheRedStranger

I have as well. It has been since the last update, and expected them to send out an update promptly - they have not. IPS has been having issues like this with their incremental updates. Disconcerting. I will have @Wulfsbane send out a report.

It will be good to do just that. But if these are going to interact in any way in a singular time line, it’s good to have an idea of where you are going with a broad outline. I hope to see an update soon.

I think a rejection is something he would psychologically avoid due to how engrained Maria is in his psyche. Here would be my idea: Shadow wonders with a bounty on his head for his escape, and fear of his ability. He's seen as unhinged, and perhaps he becomes aware of a plot to steal him via a double agent in some nuthouse. After getting nearly brain washed and psychologically tortured indirectly by the plotting of a vengeful Doctor Starline (so he could weaken him enough to infect him with his new virus perhaps, as well as get inside info on GUN?) he escapes an Inception style situation akin to Star Trek: The Next Generation's: Frame of Mind. While he wonders in the wilderness, escaping, and knowing of the Zombot and/or revenge plot of Starline, he gets stuck in the middle between a Romeo and Juliet style family feud and brings his anti-romantic notions to that romanticized situation, Fist Full of Dollars style. Bonus points if you can make relevant somehow to some post-Sonic Forces politics and current narrative context. You can help me with that part. This will be your comic where he battles with a rejection of Maria. Due to the brain-washing, he is still hallucinating and keeps hallucinating Maria. They argue over what he did and such. The plot can mirror their relationship and his backstory. The outcome he comes too at the end, will be a bittersweet ending, where his cynical position ends the quarrels at his profit, but with some bitter costs. An analogue of Maria is injured, but does not dies. Others do, perhaps rather almost needlessly. But he solves the issue. The analogue for Maria lives, but lives through distortion of his original promise. It's not a matter of rejection, but perversion, a misdirection from her promise. Before something is fully damned, there is always first corruption after all. The intoxicating part, is that this pragmatic compromise of previous worldview shows results. Of course its not pretty, in this case it has costs. But Shadow now has resources, injuries recovered from asylum torture, and his strong again, strong enough to save this Maria analogue even. Of course she is maimed or fractured somehow physically or psychologically, but unlike Maria - she is alive...and she can live her life. Perhaps this analog comes with him. The start of his band, his philosophy that speaks of a third road between the constant cycle between Eggman and Sonic, a fresh tertiam quid. Obviously this is a witty homage because Shadow is somewhat based off Clinton Eastwood in his portrayal. Let's explore the possibility space here more. I see three options, all of them relevant to my above idea. 1) The Zombot virus is destroyed. Perhaps it infects the asylum with Shadow, but Starline sees its trouble and him or his proxy villain is forced into reason to defeat it. 2) Starline sees the flaws fast, and tried to keep it lock and key. But fails to keep it fully contained. It's out...released into the world. Just a tiny bit, a moat of chaos...on a slowburn. This is a much slower and insidious infection, one more akin to The Thing. No one knows who has fully given into the virus. Paranoia slowly grows in the background of more peaceful standalone episodes. 3) We get our token Zombie apocalypse, shorty after the above mentioned plot. Perhaps it changes the balance of power in that plot and is somehow relevant to it. It's Fist Full of Dollars meets Night of The Living Dead at its end. The IDW plot line continues, but without Eggman and with this new take on Shadow. How that changes the original plot is up for debate. @Mike Arcade want to help us out with these possibilities?

I feel like they are just kind of there. And the virus is just too fast to be dramatic. The infection by touch seems scary for a one issue story. But that’s actually not a problem with a lot of the technology presented in this world. Honestly though, any ideas I would have to suggest on the zombot virus would probably be too intense for this comic. Which means you would love them, Perry. But since they are just fine - maybe I won’t share them. 😝

One thing I would do is make it more relevant to the main game. I would make specific unlockables contingent to progress in the chao garden. A special prologue epilogue and ending for completionists would also be interesting. Perhaps something that gives more backstory for Sonic Adventure in detail and bridges Sonic Adventure Two and One.

That means it probably has some truth to it. Hollywood at that time was basically an industrial wrinkle in the still very Wild West. The younger gunsligners were not even gray yet. Hollywood was the exact opposite of its current economic poltical identity, but the nasty social aspects were already forming around its monopolistic power. It was fiercely libertarian because New York’s stolid protectionism over Edison’s patents over film cameras. American Film began there (and independent film festivals are still big there to this day), but Hollywood was the refuge camp for young people with cinematic ideas. It’s a rich historical period to build off of. Big issue with the concept is that as a writer I would want to use real cinema history and real cinema stories. I am not sure how much of that would be in the public domain. Like the film makers fleeing from Patent-Mad Eddy, we still have to suffer through the pains of copyright.

Love to see your perspective on the three major Sonic Comics. The one from England, Archie, and IDW are radically different.

How would you redo Fiona Fox? @Alphamon_Ouryuken, @Akessel92, and @Mike Arcade

You know the drill: What If Threads are about discovering the weird possibilities of alternating plot points. If you want to give your own full spin on an idea also look into the WWYD threads. These mainly explore stories in their context and how a single plot point changes things, Want for A Nail style. @WarTravellerand I have been discussing this one. Wanted to share: What would have happened in the Zombot arc if Shadow or Rouge successfully assassinated “Mister Tinkerer?”

He got to see their last show then.

Well. We are growing well lately with a lot more active members. I would like to keep this momentum! I would like to thank @Senior Bobbert, @KlayaThePitbull , @Sargent Beeler., @Alphamon_Ouryuken, @GBHPrime84, @SGT Rock Vox for contributing to this site. You have wonderful ideas and fun things to say. I respect you all for enjoying your work. If any of you all have other people that you would like to bring here, I would deeply appreciate it. And if you want to help improve this site to better serve you. Let us know in the brainstorm section. We appreciate your ideas and voices. 🙂

As a person with ASD, I relate with Data. People are strangely surprised when they discover my faith and my more artistic perspectives, given how much, we’ll, like Data I am, very fact obsessed and coolminded I am. I always found that to be a deeply false causation, that idea that intelligence makes one irreligious. All the famous religionists are by nature scholars and philosophers. Humanism actually began in the church. Erasmus, Tyndall, Luther, Latimer, were all considered classical humanists. My hundreds of hours of college level eduction has lead me ironically to be more and more religious, especially my study of the brain. It’s an organ so complex, that if it we’re to be simplified in order to be understandable, we would be able to do so. 🤣 I disagree with Gene Roddenberry on a lot of things, but even he was not the full gestalt of Star Trek’s ethos. With that said, I think he too deep down had a spiritual side which bubbled out here and there, but was not allowed to flourish in his sub-culture. I think his San Francisco culture enslaved him to a dogma of being militantly vague and anti-dogmatic and inarticulate in that regard sadly. It’s the same relativist naval-gazing culture that gave us Political-Elitists like Waters and Pelosi, power-pervs like Winestine, Scientology (Gene was actually a friend of Hubbard, last time I checked), and of course New Age snake oil peddlers like Goop. I find the humanism in season one and two of TNG to be really saccharine and silly sometimes, DS9 put a healthy water on that fire. It’s playful positive perspectives of capitalism would sober the perspective of any utopian socialist. I think the series overall had more nuance than some of his ideology’s perspective could grasp, much like any art, especially when so many writers are in the mix. A writer’s intentions are sacred to me, but I do think we create things with a richness of sub-conscience that soars above our current social situation, especially in one so flighty and fickly, hypocritically relativistic as upperclass (a nowadays frankly feudalistic) southern California. I fear we in the Sonic fandom have a bit of a problem in this regard too, at least in the 2000’s. I was reading one big name in the Satam fandom in there closing address to a fan site, I was moved by the fact they admitted there was a deeply troubled time for those who loved Sonic as they saw him. I think there is angsty time where things we love don’t go where want them to, and we either lash out and want things to stick a certain way, or we entrench ourselves. We let that extend beyond that mere fandom, because it’s ultimately the you part you want to entrench. You make a “safe space” for adolescent ideas and such, a comfort zone in which we nest our fandom psychologically. I think that’s how a lot of fandoms get dogmatic corners and can be real weird, especially when forming identities like teens are involved. But, to take back to Star Trek, I think that was Rodenberry’s experience too. He was rejected by Hollywood badly in the 70’s and bitter, but also wanted to belong in that circle to make his dreams come true. And when he had the opportunity, he tripped down and entrenched himself without much listening to other people, and still fearing specific cultural pressures. I think that’s what made TNG so bumpy on the early seasons, some people got hurt even. I think it’s what makes some parts on our fandom like that on Twitter so toxic too. In the end, I think we need to not be like Gene. We need to question our humanity more, embrace faith (because we all have it in the end), and be intellectually brave with out ideas and sharing them. I think a lot of people in our fandom are alone together, much like certain creatives in Hollywood:

Phazers don’t kill people; Klingons kill people.

Alright. I have had that happen too, its very common. If you use word - I recommend updating the autosave feature to save every ten minutes. I think you can do the same with GD. GD is great for group projects. But final editing is best on Word. I use word for Screenplays as well. If you need to get it out of your head first and foremost, or retain your recollections of lost work - I recommend jotting down bullet points and add what tone you want to go for. Like a goal sheet, loose outline with writer's notes. This skeleton can also help you backtrack when detail is lost, and trim out any fat if you are loosing yourself too much in one part of the story. The LOCK method can help as well. Lead, Object, Complication, and Knockout (resolution). Then pepper detailed notes here and there for the two perspectives in writing: Characters & Reader. I. Chapter One A. Chapter One. - [Characters] [Conflict]. 1. Leads are in situation X. a. Character one is dealing with A. i. FORESHADOWING: for possible X, Y,Z 2. They have Objective A, B, C. a. Objective A could lead to X. i. Character Development: This makes character Y concerned about Y. 3. X,Y,Z suddenly gets in the way. a. Tone Note: Want reader to feel sympathy for villain C. 4.They do A, B, C to solve it. a. Future Plot Point: They may have won the day, but have lost X. This will effect them in Chapter N.

Fake news! We all know cats are sith, and dogs are jedi.🤣

I should really redraw that and vectorize the line art. I made this when I was - what? 17?

Tinsel town sounds awesome. It's cool to see strong female characters in a seedy era would actually had to be strong.

Pete Semeti is a great guy, persecuted by a bunch of crazies destroying comics. He's actually half-asian half-italian, yet the SJW's called him a "white supremacist." 🤣 @WarTraveller might relate with his work, he's dealt with stuff like that before.... I would really recommend these to any one who loves classic timeless comics without today-year politics that will be deemed offensive and irrelevant tomorrow, and are just tired of straining their eyes on digital ones. They strongly remind me of comics in the later silver and bronze age in their look. @Akessel92is a history buff - any he would like? @MoKatYou like classic comics right?

Should share the cow one sometime. 🤣

The greatest limitation Ian deals with is indeed SoJ. Sega of Japan want a mascot, not a character. The movie has put pressure on that like Satam did and still does. Sega's management needs to realize that Sonic is a character, not merely a mascot. That was ironically his strength over Mario, his humanity. Mario is loveable and well...flat in character as an icon as byzantine icon should be in aesthetic. With Sonic's more real edge, comes need for dimension. Sonic should cry, feel pain, and fail. He did in Satam. That's what makes him a good rebuttal, he's ideally the antimascot. He has an iconic look, but is deeper than a icon. Sega of America gave us a character in the mere lovable image.

Oh man, that's pretty gross. 🤣 Here is a good one! https://www.depop.com/products/t2fvkinlazy-vintage-90s-sega-sonic-the/

I am not too terribly familiar with Archie as a whole, being more a Satam guy. I can’t help but note from what I have read That his works suffer from the classic was Hype-Then-Abandon-Tension-In-Deus/Ex-Machina plot model. It has stretched to the zombot arc. Many are overwealmed and overpowered in daunting odds, but it just gets wiped away in the last issue. Reading his work is like chaining-upwards in a coaster, only to find yourself coasting on a sudden level plane for the rest of the ride. I will read more, but honestly I am currently not impressed.

Speaking of horror, I could not help but delve recently into the forbidden lore of Lovecraft. I pondered worse and worse, morbidly curious after the superstitious babbling of social blasphemies by the rainbow-vestmented lay-clergy of our current hegemonic orthodoxy. Rebuffing norms, as of young Dexter Ward before me, I did spy some social evils in his phantasmagorical works, and some of his physionogmic descriptions are most odious to those, like myself, see only equity in the races of men. However, his prose is arguably engendered with an erudition and cultural value that is most innervating to thought and imagining, and would prove to be a grave agitant to the verbal placidity of the attention-stunted minds of this queerly technophilic age. He had a bravery to delve into concepts many among us now would never dare face, the horrors of a pure materialism, darwanism, and nietzcheism that only a passionate New Englander, with puritan blood, could muster. In a tantamount passion, he could readily rebuff the childish utopian skepticism of 20th century modernism, soon to be dashed to oblivion by the horrors of the world's bloodiest century. I can understand why now that Lovecraft has influenced many, from Gygax to King, even if the latter denies his own loathsome heritage in fear of the babbling inquisitors wailing incessantly in their digital ecumenicals, Tumbler and Twitter, much like Lovecraft's own Dunwhich Horror. As for his more particular works, under specific scrutiny I found the Dunwhich Horror, The Mountains of Madness, The Curious Case of Charles Dexter Ward, and Color out of Space to be most interesting. Reanimator however I found deeply banal and frankly silly in its horrors, except in the fate of one of its nobler antagonists, which dripped with metaphor of grave social and philosophical import. Call of Chuthulu sadly is rendered somewhat anticlimatic in its ending, given its contemporary laudations. But nevertheless, its thematic depth of cosmic horror, sobers the blind optimism of utopic modernists, even Lovecraft's own. The expression of their individual horrors are most detailed, and framed in a paradoxically analytical yet emotionally tenebrous narration. The dialogue is infrequent, and its rustic characters have been decried as weakly spoken in a seemingly classist manner. I found those protestations to have a modicum of merit, however when heard spoken by those with the accents traditional to that time and place, loose some of its poignancy of argument. The exposition is dense, yet engrossing in its unvieling of mystery. If you have a love of academics, whether it be of liberal arts or hard sciences, you will be enchanted by the erudition of its academic prose, feeling like one reading and studying these mysteries in Miscatonic itself. The lore is deep as depths of its eldritch seas and stars, which themes decry his own flimsy veneer of material irreligion. If you cannot understand a thing I just said - then you should really read him. Hold your nose at some of the more stereotypical descriptions, but note it seems to be pretty equally-offending than inflated by several, white people, blond haired and blue eyed, are the most nasty villains in the bunch. His works are not mystical and will not turn you into a devil worshipper or clansman, unless you are so weak-minded to believe everything that you read (if so, it would be best to blind and deafen yourself and never speak again, for the benefit of us all). Lovecraft was more a snobbish, introverted person with morbidly curious love of eugenics and a deep social anxiety, much like Wells (who hypocritically has been praised for years, despite being the adulterous lover of the sanguine Margret Sanger herself). He oddly reminds of me of Roosevelt in his isolated Ivy League demeanor, one that dares think human life in anyway can be engineered with some mechanistic study. Hypocritical, given the subtext of his own work that rivals, perhaps overpasses, Shelly in its romanticist rebuttal of empirical hubris . Overall I see a many of great psychological disturbance, paralyzed by grave anxiety. He was a man in between a puritan world and dark tide of atheist science without spirit, and fanatical worship of man. His work was a canary-call for bloodletting and social-science quackery and the cruelty of the age, even if he was in part conflicted and infected with its horrors. In this regard, Lovecraft was akin to his haunted characters, slowly taken by maddening evils, embodying cultural conflict in a projection of cosmic perspectives. Overall, I pity the man and his premature death. He was a wayward soul, cognitively dissonant. I find it deeply amusing that modern science, economics, and his own political party has betrayed his faults as not fully fraternal to their own history. As one of the "mendacious republicans" he bemoaned in a private letter to his friend, I ironically am at his grave tolerating him in his death, though his future generations wish to erase him from their family tree, given his overwealming connection to their arrogant ehtno-socialism which gave us the segregation of his beloved president Woodrow Wilson, and that inspired the barbarisms of Adolph Hitler and FDR's interment camps and New Deal Quackery that gravely extended the Great Depression. Too bad he did not, in all his 1500 books (a measly amount to us posmoderns, though we do not read as we ought), could not read any Friedrich Hyeck and question the blind protectionism of his northern heritage, a bias that is tantamountly correlated and vile to his racism in its elitist pursuit of pedigree over natural progression of nature and the free volition of the populist, which by far are more epistemological aware of optimizing their own economic need. If only Road to Serfdom we’re gifted in his flaccid library twenty years prior. But overall, HP Lovecraft gives us insight in the controlling academic generation that gave us in response, non-white conservatives like King and Thomas Sowell, who like those ideologies during Lovecraft’s zenith in 1920’s, seek to silence in the 2020’s. One hundred years later, the insidious pursuit to tyrannize stands the same, haunting the hearts of psudeointellectuals and sophomores in their ephemeral gibbering, about the Azathoth of their own cultic collectivism. If there be anything to be woke to it would be to be woke against this arachic and false dream. *Cue spooky music.*