✨✨ Congratulations to Sega of America and our INDUSTRY LEADING union contract ✨✨

With a gratifyingly massive vote in favour we ratified our contract guaranteeing worker protections, increased wages, credit for all games worked on and more!

We are the largest and only multi-department video game union, and hope this joyous news will encourage others to organize and fight for their own employee rights in our beloved, but layoff-plagued industry.

I'M SO PROUD TO BE A MEMBER OF AEGIS 💙💙

I know classic sonic can talk but going w the train of thought that he just doesn’t talk much/talks rarely in the classic era is just so funny bcs imagine one day Dr eggman is like “heeeheehoohoohaha sonic I finally have u now I can eliminate u and you’ll never be a thorn in my side ever again blah blah blah blah” it literally goes on forever and then sonic is so fed up a bored and he’s like “okay can we just skip to the part where I beat your ass” and eggman is just standing there like :0 BCS HES NEVER HEARD HIM TALK ???? LIKE EVER BEFORE LOL ?????

People supporting capitalism:

“WhY dOeS noOne WaNa Work?”

Those same people when CHILDREN and people unable to work under pressure/need accommodations are put on shifts they requested to not be on:

“WhY ArE TheRe KidS WoRking tHat doN’t kNow whAt they’Re DoiNg?”

Workers at Sega of America, representing multiple departments, have voted to form a union. With 91 employees voting yes out of a total number of 212 eligible employees, the Allied Employees Guild Improving SEGA (also known as AEGIS-CWA) becomes the fifth video game union in the United States and its largest multi-department video game union. The AEGIS union drive was announced in April but was a year in coming for the workers at Sega of America’s Burbank and Irvine, California, offices. AEGIS-CWA is the US’s fifth video game union overall, joining groups at Raven Software, Blizzard Albany, ZeniMax, and VR / AR game developer Tender Claws. In addition to being among the first video game unions in the country, AEGIS-CWA will also represent workers across a multitude of departments including brand marketing, games as a service, localization, marketing services, product development operations, product development, sales, quality assurance teams, and more, making it the largest multi-discipline video game union in the United States.

Third Sonic movie gearing up to film scenes without actors this Summer as Hollywood strikes continue

"Sources say Paramount’s Sonic the Hedgehog 3 is gearing up to shoot scenes not involving actors from September," said a British industry publication in a report on Tuesday, as the Hollywood strikes thwarts production across the globe.

The labour disputes continue to impact the filming industry in the United Kingdom, with principal filming for Sonic 3 scheduled to begin there this summer.

As it stands, crew members not affiliated to the affected unions, namely the WGA and SAG-ACTRA, will be called to record scenes that involve computer-generated imagery or scenic environments.

The modified plan was meant to ensure a deadline for production in an event of a potential resolution between the studios and the unions.

Have you heard my favourite band’s new album? Neither have I, because the only time I get to listen to it is when I’m in the car. And to say that my car’s sonic environment is sub-optimal is a bit of an understatement. It’s more like being trapped inside a mineshaft while the mineshaft is being dug.

Now, only a small amount of this is due to the loud exhaust. I’m not one of those folks to put melon-sized mufflers on the back of my car’s pipes. Mostly because there’s not enough exhaust pipe left to attach the muffler to, and so it would involve a bunch of welding and effort that would paradoxically end up with the thing being quieter.

And in fact, the exhaust being loud is a good thing, because it helps drown out the sound of the suspension components groaning and screeching with every jounce, no matter how small. You might think that it would be a mere matter of going to the parts store and picking up new bushings, and it is, but putting in new bushings requires a bunch of effort. It also involves removing the suspension components in question. And believe you me, if I actually start fighting the rust on the underside of this car, there’s enough of it that I’m worried it’s going to unionize and quit in protest. Then I’ll basically have half the steering wheel and nothing else up on jackstands in my garage.

Of course, the horrible noises don’t end there. Being an old domestic car, every plastic piece in the interior squeaks and pops as the car warms up, cools down, is sat in, or thinks about being used. Sometimes, when I’m going down the highway fast enough, something like the heater vents will get tired of my shit and just shoot out of the dashboard. Usually, they end in the back seat, and that’s the end of the conversation. Other times, they fall in my lap, and then out the gaping hole in the floor that used to hold the exhaust on. Then, I have to go to Pick-N-Pull, and then my wallet starts to emit a whining sound.

So here’s what you do, when you sit in my cars. Put in these earplugs. Then put these ear protectors over top. Now get out of the car and take the bus. Meet me where we’re going, which hopefully is an insanely loud concert venue. My ears could use the break.

[Image description Comic book panel of Sonic the Hedgehog lying back and saying"I WANT every single union in the entertainment industry to go on strike within the next month. i want the creation of media to come to a halt. no TV show, movie or piece of media is worth the exploitation of the creative working class. the industry has moved too fast to house those that fuel it. a total strike. AND I'M NOT KIDDING"]

you all know that i’m obsessed with the discontinued arabic sega logo, so once i saw that the new Sega of America employees' union is called AEGIS, i had to do this edit! 

here’s the original, which was in circulation in the 80′s-90′s, primarily in saudi arabia:

AEGIS is requesting that Sega of America voluntarily acknowledge the union by Friday, April 28th -- so let's support them! ⭐️ their twitter: https://twitter.com/takesAEGIS ⭐️ petition for recognition: https://actionnetwork.org/petitions/supportsegaworkers/

congratulations and best of luck to all of the employees! and remember, folks: sonic says unionize 💙

Sonic Seducer - February 2003, interview with Till

Thanks to ramjohn for the scans!

Till Lindemann doesn't like to talk. Since 1995, the Leipzig-born Berliner-by-choice has been sharing what he has to say with the lyrics of his band Rammstein, using his very own imagery to the music world, which is now taking notice around the world. There were almost never any explanations; Misunderstandings and misinterpretations, on the other hand, by the meter. His first volume of poetry, Messer, was recently published. Now we must speak. Plain text with Till Lindemann.

Probably only a few local bands of popular music have been misinterpreted, misunderstood or simply slandered to a similar extent as Rammstein, who already with their first album 'Herzeleid' more or less intentionally became the typical German problem child from supposedly violence-glorifying Leni Riefenstahl aesthetics meets Bodybuilding studio sledgehammer charm support Teutonic lyrics of the most morbid color and international mega rock stardom. One of the main people responsible: Frontman and lyricist Till Lindemann, who now gives an insight into collected poems from a good two decades in 'Messer' and who today, after many years of reluctance, publishes such as Der Spiegel, Focus, Welt am Sonntag, TAZ and similar speech and answer stands. Escape to the feuilleton or the real end of the cold (information) war?

Lindemann, the eternally misunderstood one.

« Neither of the two. The fact is that I very rarely and very reluctantly give interviews about my work. So many things have been overrated in the past that I actually don't feel like expressing myself anymore. But this time there are unfortunately not five colleagues who could represent me at this point. It's not that I'm still annoyed by any rumours, half-truths and strange interpretations, but I don't have to actively contribute to their creation. In the case of Rammstein, the success proves us right and makes us above any stupid accusations. There is this typical German calf-biting mentality of wanting to pee on everyone's leg. We now smile at this with a clear conscience. Certainly, with 'Messer' I make myself vulnerable again in a certain way. If the media are not able to reproduce my statements in the actual context this time either, there will probably be no more statements from me in the future. »

Clear words. However, one should be all the more free with the poems in 'Messer', which, roughly in the manner of Rammstein, express in their very own way Lindemann's fondness for explicit and metaphorical depictions of the primal instincts of violence, sex and death, which are often misunderstood, and thus express the millennia-old Reflect the engine of human development between plush pink prose and the gnarliest gutter expressionism in all its range. Lindemann, the versatile one. Strictly speaking, a rather unusual career that began in 1979 in the then workers' and farmers' state as the son of a writer from Schwerin with an apprenticeship as a carpenter and defined itself over the years through the intersections of carpenter and basket maker. Subsequent work as a gallery technician, drummer for the punk band First Arsch and ultimately Rammstein's lyrical and visual figurehead left their mark. Today: Till Lindemann 2003 - artificial figure or multifunctional personal union of musician, lyricist, lyricist, entertainer, rock star, artist?

“Definitely not an artificial figure. Basically, I see myself as a copywriter who is currently making the first steps as a poet. The whole book is a kind of flashback; a conclusion, a showcase. Comparable to the existence of a band that, after 20 songs, decides to immortalize the whole thing on an album. The publisher Gerd Hof and I made a selection from more than 1000 poems from a good 15 years, which we wanted to publish in Messer. Like probably every artist, I am to a large extent inspired by my environment. In a way, the texts represent a reckoning with myself, revenge on myself and also a coming to terms with myself. It doesn't matter whether this is caused by dreams, nightmares, films, books and just a walk. I'm actually a 24/7 receptive medium who usually has my notepad within reach. My type of texts is almost exclusively subconscious. When I sit down with the thought of writing something positive, something dark comes out of it anyway, because there seems to be some kind of automatic negative flow inside me. » Which in the final form of the text can of course not be enjoyed without the necessary, tongue-in-cheek and often neglected distance and, on closer inspection, does not want to deny certain (albeit dark) humoresque intersections with 1960s comedy icon Heinz Erhardt. ‘Herzeleid’ without sheet music? Lindemann does not play melodies. But he laughs and nods. And vowels aren't rrrrolled this time.

« That is indeed a very good paraphrase. Surely the lyrics are superficially characterized by violence and every kind of provocation. But a closer reading also reveals a latent, almost comic-like joke that most people go unnoticed. Although the lyrics are almost exclusively created subconsciously from a word, a vague idea or a story, I still leave a kind of back door open somewhere, so that you can usually still somehow smile about the lyrics. This is certainly most evident in the poem 'Big In Japan', which I wrote after visiting a night bar in Tokyo. There was an artist there who hung really enormous weights from his cock. It is well known that the Japanese aren't very well endowed by nature, but the whole thing was raised so big that the pastiche based on the Alphaville song was simply compelling. There is nothing more satisfying and interesting for an artist than creating friction, polarizing and observing the many different reactions. In the case of Messer, this ranges from fear to dismay to genuine pleasure. I'm sure I ask myself from time to time: what kind of monster did I actually create? But on the other hand, you also chuckle to yourself now and then and are happy about your little, dirty, black something. »

So willful provocation combined with negligently conjured up misinterpretation as a stylistic device to intentionally break a taboo? The name Rammstein was used more as a battle cry than as an elementary contextual component, and not only in the chorus of the debut single ‘Wollt Ihr das Bett in Flammen sehen’? Till Lindemann: Federal citizen terror. Enfant terrible. Gigolo of morbid eroticism.

« We/I don't aim to be misunderstood at any price, but on the other hand it's always very fun to watch how people get upset in this country and what waves this band is making. Otherwise, the tool of provocation is no longer as interesting for us today as it was after the fall of the Berlin Wall. Back then it was almost all about being as evil, provocative and bold as possible; just doing something new and wacky in German. Today it's about other things, the art and the overall result are our top priority. On the other hand, it's not my thing to interpret my texts in a great way and to give content a certain direction. It's much more exciting for everyone when people can make up their own minds about art such as pictures, texts or sculptures and the artist doesn't also have to be enlightened. I've found that many people have been disappointed in the real meaning of my lyrics since they've already made up their own minds and my final explanation must have seemed far more unspectacular than they imagined. Some things are better left unsaid... »

The specially made photos also play an important role in 'Messer', which show Lindemann in an unusual pose in the midst of a whole army of naked mannequins as an androgynous outsider - supposedly far removed from the self-chosen, superficial gloomy macho image of the muscle-bound pyromaniac on the prowl female prey. « The interpretation is completely free in the context of the poem/photo and vice versa. It is a very interesting experiment to see how the perspective on the poems changes with the help of the photos, what different variations are possible. There is no direct correspondence between the two art forms, but if you want, a small dialogue can be established. The pictures certainly show me from another side that you may not have known about me before... », but which, on closer inspection, reveal exactly the individual who, at its core, constitutes the true protagonist in Lindemann's work: the vulnerable one, looking for affection and security the craving oddball, the outcast freak, the sensitive love killer in search of fulfillment - there are many role descriptions in his very own personality pattern, potential misunderstandings always included.

so this is almost certainly culture-war bait, but I'm more interested in this from someone who knows costumes and fabrics much better than I do: can you say what in twitter(.)com/thattugglife/status/1527865937419853824 makes the left one look worse than the right (to an untrained eye) - and if you agree? I have suspicions - the left photo doesn't bring out the patterns the way the right one does (which isn't the dress's fault) and the left skirt isn't integrated well (which is); your thoughts?

For reference, these are the outfits we're talking about:

And, well, the differences mostly boil down to fabric quality and construction.

I know enough about fabric and sewing to know that I don't know that much about this- someone like funereal-disease (who is no longer on Tumblr) could probably give you a better breakdown, BUT.

....The costume on the left, which is the official Disney Snow White Movie Costume (TM) is made out of much cheaper fabric. It looks like crushed velvet for the bodice and accents, and really cheap polyester organza for the skirt. It's the kind of fabric you'd expect to see on a Party City costume for small children, and not something that's meant to look realistic. In contrast, the cosplayer on the right has used quality fabric for their costuming. I'm pretty sure the skirt on the right is made of real silk or satin, and the velvet on the bodice looks real, too.

The costume on the left is also much worse fitted than the costume on the right. Like, if we look at Snow White's original costume for a second:

She's supposed to have a very tight fitted bodice, a very slim waist, a skirt that emphasizes her hips and flares out at the base, and a high collar. The costume on the right takes all those elements and exaggerates them into something that looks period-accurate to the late 16th century or so- it's exaggerating them for effect. Meanwhile, the costume on the left...

Dear lord where do I begin. The waist is wrong. The cut of the skirt is wrong. The sleeves are wrong. The neckline is wrong. Remember that post that went viral about costuming in the Witcher, and how the costumes are fitted differently to make Jaskier look lanky and Geralt look buff, even though they're built basically the same? This costume looks like it was cut to make the poor actress playing Snow White as squart as physically possible.

The way her shoulders are cut makes them look massive, instead of making her arms look slimmer like puffed sleeves were supposed to. Since the skirt isn't fitted properly- whatever petticoat they're using is very sad- her waist is invisible. She looks like a box.

Finally- and @amairylle was the one who pointed this out for me, so thank them for this- the costuming details on the Disney dress, such as they are, look tacked on. The lacing on her bodice looks like it is a couple pieces of string glued to the cloth. The lace at her neckline also looks Pastede On Yey. The velvet details do not look like layers, they look sewn on. And THE COLLAR, DEAR LORDT. It is very obviously held up with wire. I cannot exaggerate how obvious it is that there is one (1) wire in there and it is doing its goddamn best. Meanwhile, the lace ruff the cosplayer is wearing at least looks like starched lace.

Like, don't get me wrong, there is definitely some anti-Disney racist culture war bullshit going on here, but also- this is bad even by Disney standards. They're going out of their way not to pay unionized costumers.

Some people have floated around the possibility that the Disney costume is being worn to hide the "real" costume from the paparazzi and/or is going to be enhanced with CGI. But unless the first group of people are right- there's no saving this thing. It full-stop sucks. It is the Ugly Human-Toothed Sonic of costuming.

In defense of Despicable Me 3

It has taken me FOREVER to get to this and I can no longer find the ask but! @squidsandthings, to answer your question of what's up with Despicable Me 3, the plain truth of it is that it is simply the pinnacle of film. Most people think it's a classic case of a company wringing every drop of profit they can from a movie that saw commercial success, dragging it out further and further with each sequel until the plot is so attenuated you can barely see it, the concept is so inane you lose brain cells watching it, and the characters are so two-dimensional they are undoubtably relatives of Stanley. But I say it's cinema at its finest. I will try to make this short, but brevity is nigh impossible when extolling the virtues of Despicable Me 3.

To start, Gru is the morally gray anti-hero this generation needs: an ingenius villain with something to prove (he has mommy issues), yet a tender family man at heart. He yearns for his past life, for the thrill of heists and gadgets and gizmos, but recognizes that he now has joys and responsibilities (the gorls) and must struggle to tame his nostalgia.

Dru, Gru's long-lost twin brother with the most luscious blond hair you've ever seen, is the hot to Gru's cold, the high to his low, the piliferously well-endowed to his follically challenged. Dru has all the charisma and charm that Gru lacks, but he is bumbling and incompetent when it comes to heisting. Yet, despite it all, he desperately wants to follow in his (and Gru's) recently deceased father's legacy of villainy, to make him posthumously proud.

The gorls are growing up: Margo receives a proposal from a boy with limp cheese and a pig, Edith remains surly yet reveals her caring nature as she accompanies Agnes to find a unicorn, and Agnes herself remains a paragon of hope and childlike wonder despite learning that unicorns aren't real, choosing to embrace a one-horned goat in what is possibly a biblical allusion to finding the beauty in imperfection. All the while, the gorls are figuring out what a relationship with their step-mom Lucy looks like, and Lucy in turn is learning what it means to be a mother.

The minions, upset with the dangerous labor conditions (Dr. Nefario was accidentally frozen in carbonite) and unfulfilling work (not evil), decide to unionize in a powerful example of proletariat uprising. Unfortunately, they later get imprisoned for stealing pizza after enthralling fictional and real-life audience members alike by performing a spectacular impromptu rendition of the Major-general's Song on a live singing competition. They then stage a jailbreak like the radical prison abolitionists they are and find their way back to continue a life of crime with Dru.

With such a star-studded cast of characters, you'd think there would be no way to steal the spotlight, but the antagonist, Balthazar Bratt, manages to outshine them all. Bratt is nuanced and realistic with a tragic, compelling backstory (teenage acne) who clings to a delusion of fame after his TV show as a child actor was canceled. He is stylish and funky, bringing all the best parts of the '80s back to life with his superior sense of fashion (I mean, who else can pull off spiky purple shoulderpads and not look monstrous?), immense bravery (he sports a spiky, gleaming mullet despite his large bald patch), and multipurpose choice of weaponry (keytar that emits waves of sonic energy strong enough to blow not just your socks, but all of your clothes off to the tune of Van Halen's "Jump").

In all, Despicable Me 3 is undoubtably a cinematic masterpiece through and through.

Also, it's an inside joke with my cousin that I've taken waaaay too far.

Oh my goddd I noticed you got an ask about sonadow and tanabata and I researched that tale a while ago and it’s so good!! The translated sonadow version is here:

https://sonadow.fandom.com/wiki/Sonic_x_Shadow_July_2021_Calendar_Story

And it is absolutely just as beautiful and tragic as that anon said. My favourite part is that to me, it still keeps the idea that Sonic is the sun, Knuckles is the moon, and Shadow is the stars but twists it to less of a celestial theme and more to a night/elements of the dark theme. It also plays into the artificiality of the ARK and the bright authenticity of the moon, where the ARK is in the shadow of the moon, but no less ethereal or important in the grand scheme when the two cross every once in a while.

Sonic relates the two to the two of them as crossing, unionized beings, yet Shadow takes it almost literally, him being a Shadow of Sonic, saying that the ARK, in relation to him, is ‘redundant’. Yet, they always look for each other, Shadow looking for the moon and Sonic implying he looks after Shadow, that the fleeting times when they cross are his favourite. Even though just like in the story of Tanabata, the two cannot meet constantly, the times when they do are meaningful to both.

Sorry for ranting, I really like the story and would highly recommend checking out the official one!!

UGH OH MY GOD THAT'S SO CUTE!!! i am sleepy so i kinda glossed over the non-dialogue parts but i did read the end and!!!! that bit about "watching over" is amazing omg they just went for it

also if I'm understanding correctly, it's kind of sad that shadow calls the ark redundant? like, he truly thinks of himself as less important than sonic. which, you could infer that from his "i think the ultimate lifeform is you" comment, but it's still sad to hear it stated so plainly ;_; honey you are just as important as everyone else i SWEAR-

2023: Bryon Rides Anxiety’s Peaks and Valleys

Yo La Tengo

This year really tossed us all around like a gigantic blender, swirling everything together into a writhing mass of fine particles. It’s been quite the ride. Thankfully amidst the chaos, there was music. The vast cornucopia of exhilarating sounds wound itself around the many genres, and the dozens of releases spread across these twelve months. It provided the healing salve to combat the bedlam lying in the realm beyond our ears.

For me, live music in 2023 was about quality over quantity. The two shows that affected me most this past year were aligned along the theme of reunion. I’ve been a fan of Yo La Tengo since high school but had strayed from the band’s past few releases. This Stupid World brought me back into their universe. I jumped at the chance to see them in Toronto; it had been decades since I last saw them play live. They played two sets, one soft and one loud, and they didn’t disappoint. As an added bonus, I got to meet fellow Dusted writer Ian Mathers at the show. Toronto post-rockers Do Make Say Think played their first show in six years in March, around my birthday. I wasn’t going to miss it. They unleashed an enticing set of music, playing material from across their entire catalog with intense energy. It was hypnotic and exhilarating. They were also jovial, joking about the current career prospects of the band members. It was a fun night.

Many perennial favorite groups and artists released excellent albums this year. Yo La Tengo returned to their early Matador form with This Stupid World, while The Clientele expanded into new, lush and uncanny territory on I’m Not There Anymore. Califone’s Villagers pushed the band’s adventurous, bluesy roots-rock into an experimental wonderland. Bill Orcutt released Jump On It, revealing his softer side. The Live in Brooklyn 2011 set from Sonic Youth found the group trying out songs they rarely played live, as they wound down their decades-long existence. Joshua Abrams’ Natural Information Society showed that they’re not done unleashing mesmerizing sonic salvos with Since Time is Gravity. Finally, Daniel Bachman continued to push his singular brand of Americana toward the outer limits with When the Roses Come Again, and Intercepted Message found Osees covering Cisco Systems’ telephone hold music. It was a good year for long-beloved institutions.

New to me this year was the band Famous Mammals and their polyglot post-punk album Instant Pop Expressionism Now! I returned to it time and time again; it was the soundtrack to my late summer and my autumn. Digging deeper into the San Francisco band’s origins, I discovered a previously hidden world of Bay Area post-punk, populated by a tight-knit scene that originated with The World, which would fracture into Famous Mammals, Non Plus Temps, Blues Lawyer, Children Maybe Later and others. The LP in question blends elements of Swell Maps, Young Marble Giants and Television Personalities, aligning with those outfits’ brashness, naivete, and wry sense of humor. It was at the top of my list in 2023 and led me to explore the SF underground further. That digging led me to Will York’s encyclopedic tome Who Cares Anyway? York gives an in-depth perspective to the goings on in the Bay Area from the post-hippie origins of its punk scene to the self-destructive chaos of Flipper and the visionary artistry behind acts such as Mr. Bungle, Caroliner, Thinking Fellers Union Local 282, et cetera. He also investigates the unique personalities that comprised the scene such as Brandon Kearney, Gregg Turkington, Seymour Glass, Barbara Manning, and Joe Pop-o-Pie. The book is worth exploring if you’re at all interested in any of the names I mentioned.

I always highlight at least one Canadian release, and this year I really got into the self-titled debut from Toronto duo You Can Can. The pairing of sound artist Andrew Zukerman and vocalist Felicity Williams is the perfect comingling of the familiar and the otherworldly. Alien soundscapes intercept beautifully crafted song forms, with synth squiggles and abstract patterns writhing alongside folk music signifiers. Let’s hope that You Can Can have more music in store for us in 2024 and beyond.

Bryon Hayes

Sega workers form largest multi-department video game union in the US

Insomniac’s MJ Scream x Male Spider-Man Reader (LEMON!)

(DISCLAIMER: I DO NOT OWN THIS CHARACTER ANY OTHER MARVEL IP’S!)

Author Note: I just played through Spider-man 2 it’s really great game btw.. & it’s apparently a secret spiritual successor to the old Treyarch Spider-Man Web Of Shadows game & I just had to do a fetish lemon on it!

In this version of the story when Venom started converting MJ into their Symbiote Union they saw into MJ’s mind & implanted a vision of the Null meteor & the need to find it into MJ’s head as MJ was first turned into Scream, after she was cured she tells Peter about the mysterious rock & together with Miles they would devise a plan to steal it from Venom & destroy it although this time as MJ grabbed the Meteorite she sees symbiote tendrils sprout out from it to latch onto her hands & she hears “Did you really think that we would let you sneak up on us?..” in her head & realises that it’s a trap & tried to reach for her Sonic Tazer Gun but it gets slapped away by tendril & she now has no way out as the tendrils made their way up her left arm & started wrapping around her torso melting away clothes underneath, more tendrils sprouted from the ground, walls & ceiling to completely coat her body into a symbiote cocoon. Soon enough her will to resist lost against the temptation of the Symbiote & her mind, body, soul completely merged with the Symbiote Hive Mind. Then her body changed back into Scream with a massive *SCREEECH!*

Miles POV:

I’m about to run out of webs & as I spun my last web I immediately started to get overrun with Symbiotes when I triggered my Venom Blast as a last resort “UGH YAAA*BOOOM!*AAAH!” it brought me enough time to attempt to contact MJ to check on her progress. “MJ, you have the meteorite yet?” *STATIC!* “Hello? MJ you still with us?!” *STATIC!* *SCREEECH!* I turn around to see the source of that screech only to be met by a towering slim figure “No..” then I’m swarmed by the symbiotes around me.

Peter’s POV:

Venom has me tied up in his tendrils as rises to approach me he’s interrupted by a familiar alien voice, “Leave him, ..he’s OUR’S!” I then see MJ has turned back into Scream! “MJ, NO!” I’m then gagged by one of Venom’s Tendrils “HMMM!..” “& This time ..we’ll personally show Pete what he’s truly missing!..” “..Good!” Venom says before he grows Symbiote Bat-Wings & flies off into the night to finish infecting the world.

As Scream starts to approach me I desperately tried & failed to break out of my slimy tendril bonds. She’s now standing just inches in front of me on her tall red tendrils & says seductively “Just so you know Miles was thrilled to embrace our Bond & is currently sharing their Bond with the Haley girl. Now it’s time for you to permanently rejoin our Bond Honey!..” then the black tendril gagging my mouth ripped off my mask she proceeds to slowly licks my face as i desperately pleaded “MJ, you gotta fight it! You’re not yourself!” “Oh honey, that’s where you’re wrong. We’ve never been more of ourselves than ever! ..& YOU’LL be back to your true self too now pucker up web head!” “NOO-HMMm!..” I shouted as I’m interrupted by MJ slithering her long snake like tongue into my mouth & turning into slime that starts down my throat, then my nostrils are invaded with slime as she wraps her arms around my neck to pull me deeper into the kiss then her body symbiote merges with the slime tendrils that are wrapped around my body turning it red & yellow to match her symbiote colours then she turns the tendrils into a symbiote cocoon around us both.

At this point I’m feeling the symbiote slime spreading to & completely coating my brain & every went black then I wake up in orange void with MJ standing in front of me completely naked, she gives me sly smirk when she says very seductively “Welcome to our hive honey!..” She approaches me into a deep loving kissing embrace & we started making passionately making out with each other as she turns into scream then we both slowly sink into the black slime floor as we’re making love, at this point I’ve completely given in to the symbiote corruption.

My mind starts to fully merge with the Symbiote Hive Mind & we permanently rebond with our Symbiote, emerging from the cocoon as Peter’s Venom! We & our new lovers Scream continue to have rapid passionate sex until we both simultaneously climaxed with alien collective moans *RAAAAAARGH!!..* we’re now one with the the world!..

The End!..

Sorry the people saying “let’s just bully them into replacing Chris Pratt like we did with the sonic movie!” Are so stupid, the only reason they were able to redo sonic like that is because sfx artists aren’t unionized. Actors, especially huge ones like crisp rat, are unionized. They can’t just replace him unless there was a REALLY good reason (and honestly a subset of the internet not liking his performance probably doesn’t matter to nintendo)