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olicitysecretsanta · 5 years ago

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Convergence

For @swiftletinthecloud

Hello! We have never met or spoken before, but I am so happy to have you as my giftee because now we have! I was so happy about your response to my anon ask about what kinds of fic you like, because so many of your interests are also mine. It was actually a problem because I had too many interesting ideas for fic that were inspired by your suggestions. Now I just have more fic to write, I guess.

Anyway, I decided to write this idea for you because it was the SHORTEST of all the ideas I had. You can see how well that turned out. What is below is 2 out of 3 total chapters. The last chapter still needs editing, so your gift will be fully complete when I post this to AO3. Until then, please enjoy these first two chapters of season 1 alternate canon!

Much love, @allimariexf

Title: Convergence

Warnings: No warnings apply

Relationship: Oliver Queen/Felicity Smoak

Tags: Arrow season 1, alternate canon AU, episode tag 1x21 (The Undertaking)

Chapter 1

Oliver Queen moved like a panther through the underground casino, a sleek and beautiful predator at home among the understated opulence. His eyes strayed around the room, a careless smirk masking his close assessment of the security.

Two pit bosses, a floorman, and six armed guards, two of which flanked a hallway that must lead to Dominic Alonzo’s office. If he was going to get in there, he needed to come up with a distraction.

His mind went back to the document he’d found saved on his computer. Like all the previous messages he’d gotten over the past seven months, it took the form of a simple text file, saved prominently on the desktop of his computer in the foundry.

December 12, 2012: Harold Backman deposits $2 million to Cayman Fidelity on behalf of Dominic Alonzo, known kidnapper.

Also December 12: Walter Steele goes missing.

Coincidence? I don’t think so.

I know I normally don’t agree with your ��shoot first, ask questions later” policy, but I’m willing to give you a pass on Alonzo. He seems like just the kind of low-life someone would pay to kidnap Mr. Steele. How many arrows do you think you’d need to put in Alonzo before he gave up Mr. Steele’s location - probably a lot, right?

Never mind, forget I said that. Alonzo’s private records are offline - likely stored in his office in his base of operations, an underground casino with basically its own private army. Not the best odds, even for you. But I have a plan that doesn’t involve arrows or any other pointy objects, so sit tight and I’ll contact you tomorrow.

The corners of his lips lifted at the memory. The anonymous hacker who’d been helping him certainly had a way with words, and in their months together she’d often surprised him with her uncannily insightful observations. But if she honestly thought he’d sit back and wait when they finally had a solid lead on finding Walter, maybe she didn’t know him as well as he sometimes suspected. Not when Walter had been missing for almost five months and the likelihood of him being found alive decreased every day. Not with the recorded evidence John Diggle had collected that seemed to confirm his mother had something to do with Walter’s disappearance - and that it was all connected to the List.

Oliver was tired of waiting for answers. This was something he could do. It just so happened that this time, he needed a bespoke suit of Italian wool, rather than green leather in order to do it.

Eyes tracking the movement of the guards, Oliver positioned himself at a well-situated roulette table. Several wealthy patrons crowded around the dealer, including an elegant brunette who instantly met his gaze.

“You’re Oliver Queen,” she purred, reaching out with graceful fingers to draw him toward her. Slipping easily into the role, he let his eyes travel down her body as she trailed her hand down his arm.

Choosing not to answer with words, he winked and held out his dice for her to blow on. It was enough to maintain the part he was playing, and in another life he would have taken her up on the unspoken invitation written in every line of her body. But as his eyes slid down her lithe frame, he barely saw her. Instead, he was seeking something else, some spark of her.

Huli jing.

His anonymous hacker ally.

His thoughts turned to her, as they had increasingly done over the past several months. Who was she, in her normal life? Where was she, what was she doing? When he mingled among the residents of Starling City by day, could she be right next to him, without either of them realizing it? Like always, the possibility sent a thrill of excitement through him.

Part of him was acutely aware that it was futile, even ridiculous, to entertain those thoughts, but as long as they only existed on the fringes of his mind, he indulged them. His life was his mission, and there was no room for anything else, but there was no harm in letting his mind play with the idea of her in his downtime. Not when there was no chance they could ever meet. So when he put in his appearances at Verdant, when he met up with Thea at her favorite cafe, when he picked up his mom from Queen consolidated, he allowed himself to wonder. And if his eyes caught on long red hair, a charming smile, or a long length of exposed thigh, he’d mentally compare the woman in front of him with his mental picture of her. But none of them ever had her unique, undefinable spark. And somehow, by comparison, every woman he saw seemed somehow less because they were not her.

She had contacted him for the first time seven months ago, though “contacted” hardly felt like the right term. He’d arrived at the foundry and booted up his computer one night only to find the entire system had been upgraded, and simple text document saved to the desktop:

I’m truly stunned that no one managed to trace the redistribution of Adam Hunt’s funds back to you. No one else, I mean.

Now that I mention it, I’m even more surprised you managed to steal that $40 million in the first place. Your system looks like it’s from the 80s.

(And not the good part of the 80s, like Madonna and legwarmers, to be clear.) I maybe spruced things up a little bit while I was in there. Seeing a network that poorly set up hurts me in my soul. Seriously it was like you left a crying infant on my doorstep, except it was like a 30 year old baby and it wasn’t my doorstep, because I was the one who kind of broke into your house. But my point is, you have a severely neglected computer setup, and I guess my maternal instinct kicked in. So to speak.

Oliver had barely finished reading the note before he’d ransacked the bunker, searching for evidence of a breach. When he found none, he read the note several more times, seeking hidden clues as to what the infiltrator knew, what they wanted. The program he used to take Adam Hunt’s money was something he’d taken from ARGUS, and no one should have been able to track it. Deeply alarmed, he read the note again and again. Not until the sixth time did he finally consider the playful tone of the note might be sincere, and only then did it occur to him that there might not be a threat buried in the message at all.

He remained on heightened alert for several days after that, but only on principle. The improvements she’d made (and she was a she, he was sure) to his system made his ARGUS programs run faster, and while using compromised equipment was normally a risk he would never take, his gut told him there was no danger. For reasons he didn’t examine, he found himself rereading the note, until he had it memorized word for word.

When he didn’t hear from her for three weeks, he told himself the sense of disappointment he felt was only because lingering questions felt too much like unfinished business. Not because he was intrigued by the hacker. Not because her note had made him smile the way no one had since he’d returned from the island.

He was starting to think of the incident as an amusing, but ultimately harmless one-time stunt when one night, after an afternoon of failing to get data off of Floyd Lawton’s computer and an evening taking his frustration out on a slum lord, he returned to the foundry and discovered a large data dump open on his computer - along with another note.

Blueprints to the Exchange Building, where the Unidac Industries auction is scheduled to take place. Gonna be a pretty target-rich environment. For the person who is trying to eliminate bidders in the auction via assassination, I mean. Which, to be clear, someone IS trying to do, according to the SCPD’s unreleased records. Anyway, do with this information as you wish. (Not “as you wish,” as in code for “I love you.” Obviously, I don’t even know you. Though from the captured video footage of you, I can say with confidence that you can really wear a pair of leather pants. Anyway, speaking of Westley, the papers are calling you “the vigilante” or “the hood,” but maybe you should consider adopting Dread Pirate Roberts. A name that inspires fear, so that you don’t have to do so much arrowing in order to get your point across. You should consider it. Good luck with the auction.

Oliver huffed out his nose, struck by her abrupt topic changes and her particular, rambly way of putting things before it even occurred to him to wonder how she’d managed to pull any information off Lawton’s damaged laptop. Or question whether she had any ulterior motive in doing so.

It was unusual for him to trust anyone so quickly, especially someone he knew virtually nothing about. But somehow, he did, and when her tip about Lawton proved sound, he found he wasn’t surprised at all.

After that he began to seek out her help, adopting her habit of communicating via text document saved to his computer. With each tip she left him, she proved herself invaluable to bringing down another of the city’s worst offenders. He could tell that she was brave, fearless even, and before he knew it, they had developed a rapport. And while it wasn’t exactly a partnership, it worked.

If I’m the the Dread Pirate Roberts, who are you? He asked finally, against the advice of the inner voice that cautioned him that the more he knew about her, the harder it would be to one day give her up.

But in answer, all she said was, You can call me Huli jing.

The Dark Archer, Ted Gaynor, Count Vertigo, Ken Williams, and the list went on. The notes came more frequently, and Oliver found himself looking forward to them, the first thing he’d check for every night. Even having never been there, she filled the dark, dank foundry basement with a bright presence that was just as tangible as John Diggle’s reliable support.

What do you think keeps these bad guys up at night? Probably not worrying about that one time they accidentally stared at a man for two full minutes while they were busy trying to figure out what the Cylons’ plan really was. They said they had “a Plan,” like capital P PLAN, you know? Anyway, despite what that guy probably thought, I was NOT creeping on him. But to my point, now that I think of it these criminals probably just close their eyes and get a full 8 hours every night. Sometimes it really sucks to have a conscience.

As the months wore on, he learned that she wielded a formidable intelligence, a sharp sense of humor, an unerring sense of justice, and, somehow, an unshakeable confidence in his mission. In him. She became a voice in his head that he couldn’t tune out. And he found, more and more, that he didn’t want to.

Anyway, while I’m at it, did you ever think about not killing some of these thugs? Look, I get it - they’re taking shots at you and you’re just trying to stay alive, but on the other hand, they’re just hired guns and you’re…you know. You. All I’m saying is, with your aim - which I have seen evidence of, so please don’t start with the false modesty - you could just as easily be shooting these guys in the hand or leg or something, you know? Anyway. Just a thought.

Before he realized it, she had come to haunt his thoughts. When he was wrestling with a problem, he found himself playing out imaginary conversations with her, unerringly channeling her firm conviction and steady support.

He didn’t even know what she looked like, but he couldn’t get her out of his head. Sometimes he thought he was half in love with her. No; that was ridiculous. It was the fantasy, the not knowing, that fascinated him. The idea that she could be anyone. He told himself didn’t want to know who she really was, because there was no way the reality could live up to the fantasy he’d built up in his mind.

A rough voice, intentionally pitched to grab his attention, cut into his reverie. “Is that Oliver Queen?”

“No, couldn’t be,” came a loud, theatrical reply, drawing closer toward him.

“Why not?” the first voice asked from somewhere right behind him. Oliver turned his head to present the speakers with a careless smirk.

“Because Oliver Queen wouldn’t be caught dead in a place like this,” the second man sneered, pressing a gun against his back.

The gun cocked. “Well then I guess he has a death wish.”

So much for blending in, he thought as they dragged him toward the back hallway.

* * * * * * * * * * * * * * * * * * * * * * * * * *

Felicity stilled her frantic movements to free herself from the ties that were cutting into her wrists as the door abruptly opened and a man was pushed inside. She tried not to gape as her captor stepped in behind him and roughly zip-tied his hands behind his back, exactly as he had done to Felicity not ten minutes before.

Despite her situation, she couldn’t stop the flow of words that spilled out of her mouth when she saw who had joined her. “Oh, great. It’s you.” The newcomer whipped his head up and she locked gazes with a pair of striking blue eyes.

Strangely, the first thought that crossed her mind was that if she had known her curiosity about the hood was going to lead to crossing paths with Oliver Queen, she would never have tried to solve the mystery of Adam Hunt’s $40 million in the first place.

Though to be fair, her interest in the Hood pre-dated the article that mentioned Hunt’s missing money, so she couldn’t entirely blame her entanglement with the vigilante on her compulsive need to unravel knotty mysteries. And it wasn’t just the allure of a dark and brooding man who could pull off leather, either. Something about his single-minded dedication and passion, at the risk to his own freedom and safety, was simply irresistible.

It was curiosity that first led her to him. Maybe boredom. Her job was monotonous and unchallenging, something she’d sought out after her brief brush with hacktivism had backfired so spectacularly. When she first read about the Hood, she dismissed him as some whacko loose canon. But she followed the story - and the police reports - for lack of anything better to do. But when she read that Adam Hunt claimed the Hood had stolen $40 million, Felicity was intrigued. A crazy person couldn’t - wouldn’t - pull something like that off. So she hacked into Hunt’s accounts, following the trail back to a program that emptied the money and redistributed it to Hunt’s victims. It was shockingly easy, like following a flashing neon sign, and she was legitimately stunned that the police hadn’t managed to do the same. They also had no idea that the missing money had been returned to its rightful owners. On impulse, she erased the digital evidence.

She could have left it at that, but the mystery was too compelling. She told herself she just wanted to make sure she hadn’t just enabled a psycho or terrorist to do even more psychotic and terrifying things, but the truth was, the fact that he’d quietly returned Hunt’s victims’ money to them cast him in an entirely unexpected light. She needed to know more.

She found that his system was alarmingly, disturbingly unprotected. And primitive. Really, it wasn’t even tolerable for the tiny amount of poking around and passive monitoring that she planned to do. Which is why she discreetly updated speed and capacity as much as she could without added hardware, then added a few dozen security protocols, because anything less was begging the police to come find him.

Then she established several monitoring programs and alerts, and waited. Just a few weeks later, she got an alert that an unprotected device had been plugged in - a quick remote in revealed that it was one of those Tuff laptops, with a damaged system. It was clear that the Hood hadn’t been able to access the drive, but Felicity was curious, so she remotely cloned the data and opened it on her own system. When she discovered the blueprints of the Exchange Building on the drive, she remembered that the Unidac auction was shortly going to be held there, which naturally reminded her of recent news that one of bidders, James Holder of Holder Group, had recently been murdered. Which naturally then led to a little bit of unsanctioned poking around the SCPD’s internal files, and before she knew it the she found herself composing a message to the Hood before she’d even consciously decided to get involved.

After all, she didn’t actually want to be involved. She was just an IT girl, and she intended to keep a low profile. But the possibility that she could help prevent another murder weighed on her conscience, so she left a message pointing him in the right direction, hoping her suspicions were false.

When she heard about the shooting at the auction, she poured herself a glass of wine - well, a bottle, really - and gave herself a talk. It wasn’t that she wasn’t glad she’d helped prevent an even greater catastrophe, because she was. It was just that the reality of the situation finally hit her, and she was faced with a choice.

Get involved, take a stance, use her powers in the real world again? She’d been down this road, she’d seen what her interference was capable of. She’d played with fire and hadn’t just gotten burned; she’d burned down her entire world - and Cooper’s.

But the Hood wasn’t Cooper. He wasn’t innocent. He wasn’t naive to the forces he was playing with. She wasn’t sure what he was. He’d killed, and he would kill again, she was sure.

But as much as she couldn’t condone the killing, she also couldn’t ignore the good that he’d done, and she realized she already didn’t have a choice. Something was happening in her city, the signs were all around her, and choosing to do nothing would only make her complicit.

From then on, she kept tabs on the Hood’s activities, always leaving documents on his desktop explaining, briefly, what he needed to know. It wasn’t long until he began leaving notes of his own.

Through unspoken agreement, they never asked each other personal questions, but between the lines, she gained a sense of the man he was. Compassionate. Loyal. Selfless.

When Oliver Queen was arrested as the suspected Hood, Felicity instantly dismissed the idea. She knew about the arresting officer’s personal grudge against Oliver Queen, which explained why he pursued him like a dog with a bone. But Felicity knew it was impossible; she knew what kind of person Oliver Queen was, and there was no overlap with the kind of person the vigilante was.

Aside from that, she purposely avoided speculating about who the Hood could be. If she had wanted to know, she could have found out easily enough, but she didn’t want to know. She told herself it didn’t matter; that the work he was doing was what was important. She didn’t want to put a face to the hood, because then she would begin to worry about him.

More than she already did, that is. Despite not knowing his name, she felt a connection with him that sometimes felt stronger for their mutual anonymity. His notes were always brief, especially compared to hers, but she learned to read what he didn’t say. And when he was repeatedly crucified in the media while his quietly heroic actions went unnoticed, he never complained, never faltered in his mission. He never even acknowledged the subtle tones of praise layered into her notes. She would almost suspect him of being a robot if it weren’t for the clear passion that underscored every action.

So when Walter Steele gave her the notebook that turned out to be filled with names that correlated with the criminals the vigilante was confronting, she didn’t say anything. There was too much she still didn’t know about the notebook to risk jeopardizing their relationship over it. Because if there was one thing she did know, it was that she trusted him.

When Mr. Steele went missing, however, she had to break her silence. Without giving away details that could expose her own identity, she presented him with digital evidence of Moira Queen’s involvement of the events that likely got her husband kidnapped, and asked him for help.

Which was how she now found herself in this hideously decorated criminal lair staring into the supremely beautiful face of Oliver Queen.

Chapter 2

“Oh great. It’s you.”

Oliver looked up at the sarcastic words being spoken by a stunning blonde. Even as he was roughly manhandled, his hands being zip-tied behind his back, he couldn’t help but be a little offended at her tone. “Excuse me?” Beautiful women treating him like some kind of disease was something he’d never experienced before, and while he wasn’t the same person he used to be, he had to admit his ego took a hit.

She stared at him silently, eyes flashing with undisguised contempt, until after Dominic Alonzo’s minion had left the room.

“Oliver Queen?” she finally answered distastefully, tilting her head at him in an exaggerated motion, as if his name was explanation enough. “Entitled billionaire and general asshole?”

Her stomach swooped as his eyes searched her face. Disturbingly, and contrary to the cool attitude she was projecting, Felicity found his presence a little overwhelming, not quite matching the plastic and glossy picture presented by the tabloids. Rather than being some kind of smarmy Trust Fund Ken, in person he was exquisitely human. Felicity had always suspected she was immune to the appeal of a man in a suit, but on him, the tapered line from broad shoulder to narrow waist suggested an essential masculinity that awoke a deeply primal response she’d never experienced before. In contrast to the brutal strength of his body, his eyes were startlingly expressive; his chiseled jaw was complemented by soft, sensual lips. In short, he was utterly, unfairly beautiful in a way that affected her immediately, physically, and urgently.

“Wow, okay,” Oliver scoffed, unaware of her internal struggle. “Most people lead with ‘Are you okay, Mr. Queen?’ ‘How did you survive all those years alone, Mr. Queen?’ ‘What does it feel like to be the only survivor in an accident that killed your father, Mr. Queen?’” He spoke harshly, wielding the crude words like a club. While he usually found the subject too intrusive to mention to anyone, let alone complete strangers, something about this woman’s fiery disdain was really getting under his skin, and extreme measures were called for.

Felicity smiled insincerely, holding on to her irritation like a shield from the confusing wave of sympathy that, along with his sheer attractiveness, threatened to undo her. This man slept with his girlfriend’s sister, she firmly reminded herself. “Well, I’m sorry, but my concern didn’t really seem necessary, given the fact that you seem utterly unaffected by what you went through. I caught your appearance at the opening of Queen Consolidated’s Applied Sciences building,” she added witheringly. “You seemed perfectly okay. Or at least as okay as you ever were.”

Oliver crossed his arms, bothered by her words even though the image she described was the exact public persona he’d been purposefully crafting. For reasons he couldn’t explain, he couldn’t stand the idea that this woman found him so completely and vehemently offensive. Shaking his head, he tried a different tack. “Have we met before? Have I done something to offend you?” There was something compelling and almost familiar about her, but he was pretty sure he would remember if they’d met.

She scoffed dismissively. “No, definitely not.”

“Well, you sure have a lot of opinions about me for someone who doesn’t know me.” His eyes ran over her again, trying to figure out why she seemed so familiar. She was undeniably beautiful, with delicate features animated by a streak of passion that was not characteristic of the type of woman he’d have gone for before the island.

“Oh, I know all about you, Oliver Queen. If it’s on the internet, I can find it. Not -” her eyes flew to the ceiling as she turned pink, “not that I’ve looked into you!” Her sudden lack of composure was completely unexpected and disarming, and Oliver was intrigued and charmed by the new side of Felicity it revealed. And, if he was being honest, gratified by the suggestion that maybe she was not as immune to him as he originally thought. “It’s just that I work for your company,” she continued, straightening her shoulders and meeting his eyes again as sarcasm crept back into her tone, “and it’s a little hard to avoid hearing about all your little…adventures and mishaps.”

“Hmm,” he answered, covering the dismay he felt at hearing her refer to his past actions when he suddenly, illogically, wanted her to know that he wasn’t that person anymore. “You work for Queen Consolidated?”

“Yeah, I do.” She pinned him with a fierce look. “But don’t go getting any weird ideas. I don’t work for you.”

Felicity rolled her eyes to illustrate how distasteful she found that idea, and to cover up the effect his nearness was having on her. This was Oliver Queen, Frat Boy Extraordinaire, Professional Heartbreaker. She should not be flattered by any interest he showed to her. Anyway, he was probably just talking to her because there was no one else to talk to, as they were both literally imprisoned together. Speaking of, she needed to stop being distracted by Oliver Queen’s whole overwhelmingness, and start figuring out a way out of her handcuffs so she could carry out her plan to infiltrate Dominic Alonzo’s computer. She was lucky that when they caught her counting cards they brought her here, at least. Though she would have preferred that she hadn’t gotten caught at all, so she could have found her way here without the zip-tie cuffs, as she had planned. But dammit, she was new to this. She didn’t know anything about going undercover in an underground casino. As evidenced by the very great misfortune of finding herself trapped with Oliver Queen, of all people. Well, at least his presence solved one problem. “So anyway, how is it that Oliver Queen ends up handcuffed in the back of an underground casino?” she asked, deliberately toning down her attitude in the hopes that he’d prove cooperative.

“I could ask you the same thing, Miss…” he trailed off in question, a clear indication that she should fill in her name, as he tried to figure out how to respond.

The truth was certainly not an option. Even if he could trust her with his secret - and for some inexplicable reason, he did feel generally inclined to trust her - doing so would put her at risk. He couldn’t even tell her a half-truth. Sure, the whole city at this point knew that his step-father was missing, possibly kidnapped, probably dead, but there was no good reason why Oliver Queen would be investigating that. Or that he should have figured out that Alonzo was the person who had him kidnapped.

Felicity met his eyes warily, aware that she didn’t have an acceptable explanation for being there either, and they came to a silent agreement not to press each other for information. For now. “Felicity Smoak,” she supplied.

He smiled. She stared back, refusing to be charmed, even though she detected a hint of dimple.

Needing to get him to stop smiling at her, because she was much more susceptible than she wanted him to know, she hastened on, “It’s good that you’re here, actually, because you can help me.”

Oliver raised his eyebrows. “Help you?” Help her do what? He didn’t expect his co-hostage to have any sort of plan; rather, he was busy trying to figure out how he could convince her to stay calm, and possibly hide in a closet, while he dislocated his thumb, got out of the zip-ties, searched through the office, and then called the police to come rescue them.

It wasn’t an ideal plan; he considered all the variables, all the things that could go wrong. Getting made definitely hadn’t been part of his plan. He’d hoped to sneak in the back without being noticed, not get thrown there with the attention of Alonzo and his thugs. And Felicity proved an even bigger problem. While he could easily hold himself back and take a beating if necessary, he wasn’t sure he’d be able to do the same if they threatened her; and if it came to a fight, he wasn’t sure how he was going to preserve his secret.

“Help me get out of these zip-ties,” Felicity answered, taking a deliberate step toward Oliver. Her heart was pounding at what she was about to suggest, but she schooled her expression to appear nonchalant, annoyed by the necessity, even. Not flustered. And definitely, definitely not turned on by the prospect. She took a deep breath. “I need you to get the knife out of my bra.”

Oliver blinked. No words could have been more unexpected coming from her mouth. “What?”

She rolled her eyes to distract from the fact that she was blushing. Eyes firmly locked on the ceiling, she elaborated, “There is a pocketknife in my bra and we can use it to cut our binds.”

Oliver stared at her in wonder, steadfastly ignoring the primal thrill that ran through him at her suggestion. It seemed he had severely underestimated Felicity Smoak. His mind was racing with questions, but the one that he blurted out was “Why do you have a pocketknife in your bra?”

“Mr. Queen!” she flared, exasperated nerves causing her to meet his gaze. “Do you want to get out of here or not?”

Oliver’s mind was suddenly reeling with images of what she was proposing. In an instinctual stalling tactic, he said the first words that came to him. “Mr. Queen was my father.”

Felicity gaped at him.

Oliver shook his head at himself, saying nothing as he attempted to get his head on straight. He considered her plan rationally. Aside from the question of why it was so important to Felicity that she get out of her cuffs, and the mystery of what she planned to do once she was free of them, the fact of the matter was that going along with her plan would free him to search the office without having to dislocate his thumb. Deciding to continue their no-questions truce, he nodded. “Okay. But…,” he trailed off, throat dry as he looked looking down into unexpectedly near wide blue eyes.

Felicity was pretty sure they were both imagining what he was about to do. “Yeah,” she exhaled, suddenly very aware of the cadence of his breaths, his intoxicatingly masculine scent. Throughout the course of their discussion, he had moved closer to her, and now his expressive eyes fixed on her, waiting. “You won’t be able to see what you’re doing, but if you’re standing, I can kneel behind you and you can kind of…feel around.”

Oliver’s eyes widened as she spoke, her matter-of-fact words making the situation more real. More shocking. It wasn’t that he hadn’t done more with women he’d known for less time in much less dire circumstances, but something about touching Felicity in these circumstances felt wrong, like a violation, and he suddenly, irrationally found himself wanting to get to know her first, and to tell her about himself, about the real him. He briefly reconsidered his original plan of dislocating his thumb.

Mortified by Oliver’s reaction to her words, Felicity tried to cut the tension. “I mean, I know it’s not ideal, but I figure it’s gotta be better than the alternative.”

Caught up, Oliver automatically asked, “What’s the alternative?”

Her eyes dropped involuntarily to his lips and she swayed a little toward him as she whispered, “Using your mouth.” But when her eyes flicked up to meet his, neither of them were laughing.

Oliver’s mouth fell open in surprise, his gaze dropping to the deep vee of her bodice, before dragging back up to her face. The action pulled him even closer toward her, and a rush of heat washed over him as he fully took her in for the first time. The red chiffon dress clung to her curves, outlining a deeply feminine, lush body. She was a study in contradictions, watching him through darkly-lashed eyes that were somehow both innocent and knowing; her face lightly dusted with freckles that contrasted alluringly with a sinfully soft mouth. She watched him with dilated pupils and parted lips, and his cock twitched in response.

But then reality crashed back in on him as she interrupted, “Not that I’m suggesting anything! I’m not coming on to you or anything.”

Oliver blinked, trying to regain control by reminding himself where they were and why. Catching her gaze, he nodded in an attempt to reassure her. Hoping that she didn’t pick up on just how affected he himself was.

Felicity took a deep, centering breath. It didn’t make any sense that Oliver Queen was having this effect on her. He was just some shallow billionaire, a douchebag womanizer. None of it made any sense. When he looked at her, it was like he saw her. And as much as she told herself it was impossible, it looked as if he wanted her. No. She had to be projecting. And she didn’t want him to want her, anyway. Sure, he was gorgeous. So, so masculine and touchable he smelled so good, with an essential manliness that was softened by those eyes…but no. He was still Oliver Queen, and the fact that she was so attracted to him only explained why so many women had given in to his appeal, despite the long list of reasons to avoid him. She might have judged those women in the past, but now she could not.

She squared her shoulders, trying to clear the attraction from her mind and prepare for what had to happen next. “So, okay?” She chanced a look in his direction, not quite meeting his eyes.

Oliver nodded, and Felicity took refuge in remembering her mission. After all, she was here to help the Hood, and she could not have her sudden weakness to very handsome men - or rather, one specific very handsome man - getting in the way of that.

“All right, just turn a little to your right,” she directed hoarsely, nodding encouragingly as he complied. “Okay, stop there. I’ll position myself so you should be able to locate the knife relatively easily.” She lowered herself to the ground behind him as she was speaking, her voice only slightly wavering with the awareness that Oliver Queen was about to feel her up. “It’s on the left side,” she rambled, masking her response to the feeling of his surprisingly rough fingers dipping below her bodice, carrying on as if this were normal, as if she were directing someone to the library, as if Oliver Queen’s very large hands weren’t currently sliding along the sides of her breasts…her words tapered off and she bit her bottom lip, concentrating on not moaning out loud because oh god, his fingers brushed against her nipple and her body responded as if he was tugging on a string tied directly to her thrumming core.

Oliver squeezed his eyes shut, trying to be quick, methodical, and clinical, but he had felt enough breasts in his life to know that Felicity Smoak’s were a rarity. As much as he tried to stay on task,he found himself getting distracted, unable to stop the picture that drifted through his mind. Perfect breasts, not large, but extremely full; firm but very soft, with tight nipples that his fingertips couldn’t help brushing over repeatedly as he wedged his large hand into the tight space of her bodice. Tight, very sensitive nipples, he corrected unhelpfully, judging by the way she gasped softly in response to his inadvertent touches. As her voice trailed off, he remained aware of the soft catching of her breath, and even with his back to her, he he felt completely in tune with her, much more intimately than if they had only been having sex. Finally, his fingers touched upon warm metal, and even though the entire encounter lasted less than fifteen seconds, he was out of breath as he withdrew the pocketknife and turned to meet her eyes. His dick was rock hard, and the look she returned him said she was equally affected.

She was staring up at him, speechless, so he took the lead, flipping open the knife and directing her in a soft voice, “Turn around. I’ll cut your ties.”

Felicity nodded silently, turning so that they were back to back and trusting that he wouldn’t cut her as he twisted around to line her zip-ties up with the blade. “Okay,” he told her when the knife was in position, “try an up and down sawing motion,” and they easily and wordlessly fell into a rhythm that quickly parted the plastic around her wrists.

“Oh thank god,” she exhaled as her hands came free. She instantly started rubbing her wrists, then silently turned to take the knife.

Oliver felt her warm hand close around his wrists, steadying him as she positioned the blade against his ties. He took a steadying breath as she freed him. “I probably shouldn’t do this,” she commented, “since my plan is to maintain the illusion that we’re still tied up and that would be easier to do if you actually were still tied up, but I have to admit that I’ll feel safer if your hands are free.” With a final tug, the plastic came apart, but she didn’t release his hands immediately. Inexplicably, her words inflated him with a disproportionate sense of pride and purpose. He liked that she felt safe with him, that even without knowing his alternate identity, and despite her pre-existing opinion of Oliver Queen, she somehow trusted him. He was struck with an acute desire to be worthy of that trust, and a deep yearning to prove to her that it was not misplaced.

After a long moment, Felicity dropped his hands, taking large step backward in a move designed to decrease the tension. Truthfully, she was a little impressed by Oliver Queen. He was a lot more gentle, sensitive, and thoughtful than she would have thought. She had expected him to be obnoxious, entitled, and immature, the type of person who, finding himself in this situation, would either panic or make a joke of the whole thing. Either way, she’d have expected him to be throwing his money around trying to save himself, not quietly and calmly following her lead. And no way would she have predicted he was capable of being so respectful of her body. Probably more respectful of her body than she was being of his. Not that she had forced him to feel her up…but she’d be lying if she said she hadn’t enjoyed it. Fleetingly, she wondered if it counted as sexual harassment to get turned on when a man was merely trying to locate a knife in your bra so you could escape a kidnapping situation.

For his part, Oliver’s admiration for Felicity was growing exponentially. She was much more resourceful and level headed than he would have expected anyone to be in her situation. From the moment she opened her mouth, she’d already proven herself smarter and more sensible than most people in his experience - she had a cautious, strategic manner that he was unused to in other people.

“So now what?” he asked, caught up in the intelligence in her eyes, the mystery of her presence. Even though he was the one with a plan and she was technically just an inconvenience, he momentarily set that aside because he just wanted to know. He wanted to know what she was planning to do. He wanted to know her. “You mentioned you have a plan, one that requires your hands be free,” he prodded, hoping she would fill in some pieces of the puzzle.

“That’s for me to know,” she countered playfully, holding his gaze as she reached into her bra, pulling something else out, “and you to find out.”

His eyes widened and dropped to her chest before snapping back up, unsure if she meant anything by it. Again, it was the last thing he expected. And again, it set his heart racing.

“Or, I mean, not to find out. There will be no finding out, from you. Just stay there and look pretty.” Her eyes grew rounder. “Not that you’re pretty, it’s just an expression. Just sit there.” She backed away until she ran into the desk, and then she dropped to the ground and started feeling around underneath it.

He watched her with amused eyes, interested in her actions and utterly captivated by her. “I’m not pretty?” he pressed, curious to know how she would react.

Her head popped up from the other side of the desk, sending him an exasperated look. “No! I mean, yes! Very pretty like, really very attractive, objectively speaking I mean, I’m not coming on to you. It’s science; you’re scientifically pretty.” Her head disappeared again beneath the desk.

Oliver stood up, drawn to her, until he was leaning over the desk looking down at her ass protruding from under the desk. “Scientifically pretty?”

Felicity visibly startled, then took a deep breath, then carefully, and with as much dignity as possible, crawled backwards and rose out from under the desk, smoothing down her hair. She arched her brow at him. “Don’t tell me you’re one of these anti-science climate change denier people.”

Oliver guffawed, unable to come up with a fitting response. She was unlike anyone he’d ever come across. Instead of answering, he watched as she sat herself at the desk and instantly penetrated the password protection, diving with singular focus directly into the files on Alonzo’s computer. “What are you doing?” he asked after a moment, fascinated by her actions. He knew time was precious, that he should be taking the opportunity to riffle through drawers, search filing cabinets, etc., but rather than pursue his mission, he couldn’t help but pull at the loose thread that was Felicity Smoak.

She lifted distracted eyes to him, giving the distinct impression that he had yanked her out of a very deep concentration, despite the fact that it had only been twenty seconds since she’d sat down. He expected her to crack another joke, but instead she blinked and said seriously, “It’s better you don’t know,” before returning her attention to the computer.

Surprised, Oliver slipped off the desk he’d been casually leaning against, the hair raising on the back of his neck; her words were like a warning, almost ominous. Who was she? Why was she here? What was she involved in? Habits shaped over the past five years forced him to question her motives: honest people rarely found themselves involved with guys like Dominic Alonzo; he had to consider that Felicity might not be as innocent as she seemed; he had to wonder if she might even be on the list. But as soon as the thought surfaced, he dismissed it. His five years away had also taught him to trust his instincts, and every single part of him was shouting at him to trust her.

“Okay,” she announced a few seconds later, “I need you to come here and keep an eye on this feed.”

Oliver stepped up beside her to where she was pointing at CCTV footage in a corner of the computer monitor. “What is that?”

“Security feed, showing the corridor just outside. This way we can know ahead of time if anyone’s coming.” Her eyes returned to the screen, where she was still methodically searching through the computer’s files.

“Felicity,” Oliver said firmly, coming to a decision even as his eyes obediently remained glued on the feed.

“Hmm?”

Oliver took a deep breath, his racing mind rapidly drawing conclusions that he couldn’t quite believe were true. But every objection he came up with was easily disproved; rather, every detail about her only seemed to confirm the picture that was forming in his mind.

Huli jing.

“Felicity,” he repeated, and this time the name felt familiar on his tongue, like he had been saying it his whole life, like he had been born to say it. “You need to tell me why you’re here.”

He knew. There was no denying it; when she spoke, it was with the voice he’d been hearing in his head for seven months. When she smiled, it was with the unique humor that had amused him like nothing else had been able to do since returning from the island. And when she looked at him, it was with eyes that perceived all the things he didn’t say. It was her. But he needed to hear her say it.

“Oliver, look,” she began, unexpectedly turning to meet his eyes. He was nearly flattened by the look of sincere regret and conviction in her eyes. “I’m sorry about before, what I said.”

His eyebrows draw together in confusion.

“When I said you hadn’t changed. I was wrong. The person the tabloids make you out to be - that’s not who you are. And I’m sorry I misjudged you.”

Oliver’s lips parted in surprise. “That’s not -”

“No, it is necessary,” she pressed, misunderstanding what he was going to say. “I made assumptions, and they were completely unfair.” Over his protests, she continued, “I don’t know what you did out there to piss off the casino bosses, but I’m really sorry you’re caught up in this. Please,” she emphasized, “just believe me when I tell you that the less you know, the safer you’ll be.” She reached out a hand but started to pull it back before it made contact with his chest, and he caught it between his own before she could fully withdraw.

“Felicity.” He fixed her with a steady, knowing look, and he heard her breath catch, and felt her pulse pick up under his fingers. “I need to ask you something.”

Felicity’s eyes widened at his sudden, inexplicable intensity and focus. She had no idea Oliver Queen was capable of such depth and sincerity. His large hands were cradling her, his thumb soothing over her wrist, and she had long ago surrendered to that penetrating look in his eyes. “What?” she breathed, not knowing what Oliver Queen could tell her that required so much intensity and passion, but suddenly very much wanting to find out.

His words were the last thing she expected to hear. “Are you here because of the Hood?”

Her stomach dropped. “What?”

Before he could respond, he caught sight of someone on the security feed walking up the hallway. “Someone’s coming!”

She turned to the feed, then instantly went to the computer and, with a blur of hands on the keyboard, logged off and put the monitor to sleep. There was no time for anything else, so without thinking any further, Oliver reached around her body, pressing her wrists together behind her in an approximation of being handcuffed, secured his own hands behind his back, then pressed his mouth to hers in an urgent kiss.

Felicity gasped in surprise, and he instinctively used the opportunity to deepen the kiss, coaxing her lips open, his tongue seeking hers. After a stunned moment, she responded with ardor, the passion exploding like a match to dry tinder.

Kissing her was like putting the last piece of the puzzle in place.

For seven months, he had been drawn to the woman with intriguingly contradictory parts: a dizzyingly sharp partner who amused and irritated and charmed and inspired him.

For seven months, the more space he allowed her in his mission, the wider the empty hole that only she could fill had become in his life. He hadn’t allowed himself to acknowledge it, but meeting her face to face meant he could no longer deny how he felt about her. He had been drawn to her since he saw her, his body seeking any excuse to touch hers. Everything about her provoked and challenged and called to him; her passion, her intelligence, her humor, her bravery, and the glimpses of vulnerability.

She was the woman he’d been waiting for, and if the way she was responding to him was any indication, she’d been waiting for him too.

He bore down on her, covering her with his body, and it was everything he could do to keep his hands behind his back. The need to touch her is like electricity in his veins, and he forgot everything but the urgent need to be close to her.

“What’s going on?” The voice broke into the moment like a bucket of cold water.

Oliver’s lips released Felicity’s reluctantly, and she met his eyes as she pulled back. Her pupils were nearly black, her lips parted and swollen, and the sight sent a jolt through his body to his already throbbing dick.

“Oliver Queen, you really can’t control yourself, can you?” asked Dominic Alonzo, striding into the room. “I’d almost be impressed if you weren’t such a pain in my ass.”

Oliver glanced once more at Felicity, and the last thought he had before turning his attention to Alonzo was that she looked utterly shell-shocked.

…to be continued…

#arrow #olicity #olicity secret santa #goodbye olicity #submission

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thewadapan · 5 years ago

Photo

I rewrote the most infamous Transformers comic of all time.

I wanna give fair warning here. See, when I started working on this comic, I wasn’t really expecting it to turn out quite as dark as it did, and I suspect neither are you. After all, this is The Beast Within, right? The story where Grimlock goes crazy and talks in Comic Sans? How bad can things get? It turns out that - with just a few decisions made in poor taste - the answer is “very”, to the point where I feel the need to stick some kinda content warning at the top of this post. Unfortunately, I also feel like I’ve got a responsibility to the story, and there’s no way for me to do so without ruining it, so this is the best you’re gonna get.

This isn’t the first time I’ve made a comic like this. All the way back in 2016, I made “its christmas... so what??”, a kinda-bad re-lettering of a four-page ‘80s Marvel comic called “The Night the Transformers Saved Christmas”. I wasn’t too happy with the result, so half a year later I tried again - producing “PASS”, a re-lettered version of an obscure six-page UK-exclusive Marvel comic originally titled “Peace”.

“The Beast Within (My Pants)” is quite a different, uh, beast.

Each of the three comics I’ve produced was intended to be the last of its kind - standalone, yet fitting into the same overarching continuity. You can read any one of them alone, or you can read all of them in the order I made them. They’re individually available as albums on Imgur at the following links:

“its christmas... so what??”

“PASS”

“The Beast Within (My Pants)”

Alternatively, you can download the whole set as .cbz files - renamed .zip archives of images which you can open with a standard comic book reader.

It’s not too late to turn back.

Still with me? All caught up? Good. You’re probably wondering what the hell I was thinking...

I. I Have Summoned You Here For A Reason

Our story begins all the way back in 2004. The UK company Metrodome, looking to spice up their DVD box-set releases of the original ‘80s The Transformers cartoon, hired some local talent in the form of Mr. Jamieson (owner of a then-notable fansite) to write up some bonus features. They also commissioned him to write a mini-comic to be packed in with the set - with art by Mr. Gibson, a self-proclaimed fan since childhood with seemingly no other ties to the franchise.

The comic wound up being published in two parts (the second being subtitled “Consequences”) across the “Season 2 Part 2″ and “Seasons 3 and 4″ box sets. As a kid, I actually owned the latter of those box sets, and would watch it almost religiously - to what I can only assume must’ve been great annoyance from my poor parents - but I have no memory of it including a comic of any kind. Maybe it did, but it got separated at some point, and is lying around in some forgotten folder. A damn shame, that is. No, seriously.

I’m sure some record of the fan response at the time exists out there, in the doldrums of one of the many hard-to-search often-defunct forums which existed back then. I can’t really be bothered looking for it, sorry. You’ll have to content yourself with this TFWiki talk page for “The Beast Within” from mid-2007, which speaks of “Consequences” in hushed tones - as though it is a fabled artifact, prophesied to bring about Armageddon.

Another record - this one from 2009 - comes in the form of an eight-page TFW2005 thread ominously titled “Anyone afraid of the Dinobot combiner?” If you’re reading this commentary, you’re already strapped in for the long run; I recommend reading the thread in full. Well, okay, I don’t: it made me wince throughout, and I’ll be explaining the salient bits here, so there’s really no point subjecting yourself to it.

User “Razorrider”, after reading the TFWiki article on the Beast, opened the thread, noting “I don’t feel afraid of him myself.” The reactions soon started to pour in - some agreeing that the design was in fact “awesome”, others describing it as “hideous”.

Just going off my own personal opinion here, I think it’s fair to say that effectively nobody on the first page of the thread had any idea what they were talking about - and the pages that follow fared little better.

I think the main issue stemmed from the fact that a lot of those users didn’t think to explain the metrics by which they judged a “good” design (or, indeed, a “bad” story). When one person says “I think Optimus Prime has a good design”, they might just mean “I think he looks cool”, or they might mean “I think his proportions and colours give him a heroic stature which reflects his personality”. In that sense, a “good design” is one that communicates aspects of a character visually, even if it’s ugly. The Beast is hideous, yes, misshapen, yes, and it looks like the result of a teleportation accident, fine - but those are all intentional design decisions that perfectly reflect the nature of the character. In the foreword to the first part, Mr. Gibson notes the following (you’ll have to imagine that it’s written in Comic Sans for yourself):

Creating ‘The Beast’ was probably the most interesting aspect of the project. I wanted him to be a grotesque, twisted character that contained the design elements of the Dinobots he is created from.

People proclaim that the Beast “should never have existed” - a line from the comic’s narration, note - but somehow fail to realise that this is the comic’s own intent.

(Compare the Beast’s design to that posted by one user on the second page of the thread, which - minus an admittedly-inspired Triceratops-fist - just looks like an upscaled version of Grimlock.)

Okay, the alarm bells should be ringing in your head now. This is all starting to sound disturbingly like I’m some sort of The Beast Within apologist, isn’t it? How slippery is the slope that leads from “the Beast is a good design” to “The Beast Within is a good comic?” Have the hours spent poring over this thing in MS Paint turned my brain to mush, capable of only vague all-caps-Comic-Sans-penned ponderings?

...Well, yes, but- look, just stick with me!

The most accurate recurring statement in the thread - though perhaps not in the way it is intended - is that The Beast Within reads like a work of “fanfiction”. See, Transformers is a franchise with an ever-growing history, and many of those who work on it now have been lifelong fans themselves. This is true of many franchises which have stumbled into the new millennium, finding themselves seemingly unable to die. We live in an age of fanfiction - yet some fanfictions are fanfiction-ier than others.

When compared to the likes of Star Wars and Star Trek and Marvel’s comics, one sees a marked difference in Transformers. Throughout the ‘80s and ‘90s, every story Hasbro put out seemed to fit vaguely into a single guiding narrative - each distinct strand of their multimedia barrage falling into contradiction with one another, yet still seeking to adapt some underlying premise. The 2001 series Robots in Disguise - in the West at least - saw a complete departure from that narrative. The ramifications of that strange borderline-afterthought cartoon cannot be understated, yet in retrospect feel like they’ve been a part of the franchise for as long as anyone can remember.

Almost every year since, Hasbro has effectively wiped the slate clean. Each new series tries to be its own thing. Continuity between series - if it exists - is understated, ignored, or overwritten. To date, this is still something that confuses us geeks; so used are we to the mired pits that are the canons of Star Wars and its ilk. This can be frustrating - there are only so many times one can retread the same story - but so too has this rare cycle allowed authors to really explore the concepts and themes presented by the premise of “car robots” to a level of depth which I believe is simply unattainable in franchises which adhere stringently to a single narrative.

That’s the bright side.

In practise, many Transformers stories have become increasingly myopic - existing only in service of themselves, or (more often) in service of older (better?) stories. The single most influential of these stories is almost certainly 1986′s The Transformers: The Movie, and it’s that influence which is felt most strongly in The Beast Within.

Of the countless insights offered by Terry van Feleday - if you don’t know who that is, don’t worry, I’ll explain later - I find that this one rings most true:

When Optimus Prime du jour mouths off “One shall stand, one shall fall” for the twentieth time, there is simply no longer that understanding that he will not be the one who stands.

Where so many modern Transformers stories are misguided recreations of the animated movie, The Beast Within is a reaction to it. But we’ll get to that. First, let’s talk a little about the story’s artwork.

Mr. Gibson himself, I believe, deserves almost none of the criticism he’s received over the years for his work on this comic. Though his layouts are occasionally cluttered, and he does seem to have been trying a little too hard to emulate the style of Pat Lee (the man behind Dreamwave Productions; license holder for Transformers comics at the time) in the first part, his panels have a strong sense of energy and tone.

Though he didn’t exactly get to explore a broad range of emotions over the course of the comic, he managed to keep the characters expressive - always a challenge, when dealing with visors and mouthplates - and, crucially for a cast of this size, on-model. Look at the fury on Razorclaw’s face! The way Prime’s fist flies out of the panel! Menasor, torn in two! Predaking’s sundered legs! The mishmash of heads inside the Beast! The sickly colours of the second half! While it lacks the practised ease seen from some fans-turned-creators on more recent books, it’s still impressive work.

Regardless, Mr. Gibson’s first outing with Transformers proved to be his last. He didn’t end up getting paid work from Dreamwave Productions as he’d perhaps hoped (though in retrospect, neither did most of the people who illustrated for that company, so that was probably for the best). There’s no mention of The Beast Within on his personal website, which bills him as a “children’s picture book illustrator”, amongst other things. To put it simply, the guy’s always been a talented illustrator, and his style’s come a long way since this comic - the portfolio work on his website is very impressive.

(On a whim, I went back to late 2004 on the internet archive, and did in fact find the comic’s first spread buried at the back end of his portfolio. The entire website is a product of the early-2000s - there’s a link labelled “Go to Flash site” in the sidebar, though the page it takes you to sadly seems to have been lost to time. It all seems like it was borne of another age entirely.)

Anyway, let’s get back to that TFW2005 thread. The thing that makes it particularly notable is that, on the fourth page, Mr. Jamieson himself wades in to try and set the record straight. It goes about as well as you’d expect.

For a lot of people, I think, the idea of interacting with an author might seem strange. They’re aware of J.K. Rowling’s online antics, and are becoming increasingly comfortable with celebrity interactions on Twitter, sure. But there’s a difference between those kinds of interactions and the kind that take place on forums or in chatrooms - places where everyone’s on a level playing field. I come from those corners of the internet, and am lucky enough to have had conversations with lots of people who’ve made things I like, and have seen almost the full range of approaches those people take when dealing with their audiences. It’s safe to say that Mr. Jamieson’s approach in that decade-old thread is just about the worse one there is: over the course of just five posts, he smugly lashed out at the people in the thread, whipping them into a fervour that lasted for three more pages after his departure.

Regardless of whether or not Mr. Jamieson was correct - in the attacks he levelled at the other users, in the defence he offered for his work - there can be no question that this kind of behaviour is grossly inappropriate.

(Whether it is more or less appropriate than digging up old threads and archived web pages in an attempt to justify a bastardisation of a much-maligned comic book remains to be seen, I suppose.)

The key point that Mr. Jamieson kept returning to is that he sought to avoid the dreaded “info dump” (a hallmark of early Transformers stories), and didn’t want his readers to be “spoon fed”. A recurring criticism of the story is that it seems to begin halfway through, with little explanation for what’s going on - but I, like Mr. Jamieson, don’t think that complaint holds water. The Beast Within begins “in medias res” because we already have the context: eighty issues of a comic, ninety-eight episodes of a cartoon, and - crucially - a movie. Everyone knows the story of the Transformers, because the story of the Transformers - ironically enough - never really changes. “Is it ever really over, Jetfire?”

(That’s the last line of the original version of The Beast Within, by the way. I had to add the comma in myself.)

Like the impact of Robots in Disguise, the impact of The Transformers: The Movie is kinda hard to see unless you were there at the time - and I wasn’t - but in 1986, it did something which was profoundly shocking to thousands of children: it introduced them to death.

That’s about all I’m going to say about the movie itself, because much more experienced critics than me have already mined it for every ounce of subtext. I’ve already quoted the work of Terry van Feleday, who did some excellent scene-by-scene analysis of the film in a thread all the way back in 2010 - and I’ll come back to her writings a few times in this post. This very year, sorta-famous YouTuber hbomberguy released his own long-form take on the movie - what I find interesting when comparing the two interpretations is that van Feleday struggles to find much merit in the movie outside of its opening, while hbomberguy employs a reading that allows him to be much more optimistic and charitable even towards the end of the movie.

In a way, I think Mr. Jamieson had an intuitive subconscious understanding of the subtext which both of those critics later brought to light, an understanding which directly informed the premise of The Beast Within. In the same way one can read the monster planet Unicron as a physical manifestation of death, so too can one view the Beast - and Mr. Jamieson (almost certainly unconsciously) posits that, although death does not belong in a children’s cartoon, it is an inevitability that all children must eventually face. It is the dark spectre that lurks beneath the surface of every childish thing made by an adult.

An author places some of themselves in a book - but the reader withdraws something of their own perception as well. I wondered what I might see in the book: a child believes a lie because they know no better; a grown adult sees the lie because it fails to line up with experience. In this way, a child’s story could be so many different experiences. With enough subtext, a thing made for a child becomes an entirely different world to an adult. [...] There’s no telling when subtext will defeat the facade of a thing.

(I’ll tell you what that quote’s from later.)

I wonder, perhaps, if the endless swathes of edgy reimaginings of children’s stories are something of a mass outcry from those who grew up being told - every Saturday morning - that when people got blown apart, they’d be put back together by the next week’s end. What was it like for those children, in December of ‘86, to learn that some people could never be rebuilt?

II. It Pleases Me To Be The First

It occurs to me that I never did really do a commentary on “its christmas... so what??”, although I did talk about it a little in the commentary for “PASS”. Its title is a reference to the famous (well, you know what I mean) cover of “Stargazing” (issue #145 of the original UK run), which featured a banner reading “IT’S CHRISTMAS!” over an image of Starscream, arms out, yelling “SO WHAT?”

(Side note: at first I thought that I hadn’t read that particular story, but it occurs to me that as a kid I used to borrow a lot of Titan Books’ reprints from my local library - and I do in fact have distinct memories of reading Transformers: Second Generation, which did collect “Stargazing” amongst other Christmas stories - so I guess I probably did read it, even if I don’t remember doing so.)

The Women’s Day comic is something of a curio, as explained in this excellent article (which reprints the comic - with its original text - in full). It’s basically the only US strip which was published outside of the eighty issues of the run proper. This rare, standalone nature is something I have sought across every re-lettering I’ve done - from the UK annual-exclusive not-by-the-usual-author set-in-the-future “Peace” to the UK DVD-box-set-exclusive set-in-an-ambiguous-cartoon-inspired-continuity The Beast Within. These works feel like they’ve been lost to time - and corrupting them feels like unearthing buried treasure (and smearing it in turds). But I’ll get to that.

Back to “its christmas”. As I explained last time, I just went through the comic panel-by-panel and changed stuff to whatever I thought would be funny. I didn’t edit the two-line introductory blurb (which ended up informing the backstory detailed in the new set of AtoZ profiles). I barely paid attention to established portrayals of the characters beyond Soundwave’s association with music. I had no large-scale plans.

There’s a lazy (and poorly-conceived) gag where the little girl calls Bumblebee “gay” (also note that at the time, I misinterpreted the art in the third panel of the third page - I thought it was the girl speaking, when in fact it was her mother - leading to some erroneous dialogue), which in retrospect feels like a less-drawn-out version of the excruciating opening scene from Freddery McMahon’s Combiner Wars abridged special. That spoof somehow manages to be less funny than its source material, and I sometimes think that the same holds for my own creations.

Still, that’s not to say that “its christmas” doesn’t do anything that I like. I’ll admit that lines like “lol without mustard christmas will be CANCEL suck it nerds”, “toot toot here come some flutes”, and “help me drag it to the hospital” still kinda make me laugh. I like the way Bumblebee drowns out the little girl’s insults by tooting loudly at her. The final panels - wherein the humans steal Bumblebee’s blood as the other Transformers watch impassively - have an offbeat intensity to them, and when it came to writing Bumblebee’s AtoZ profile it was those which I chose to call back to.

If I had to sum up “its christmas” in a single word, I’d pick “childish”. The jokes, the characters themselves, the entire concept behind the comic - all feel kinda immature, and that was kinda by design. Summer Meme Sundae was a terrible piece of work, but - if I had to ascribe a theme to it - that theme would be growing up; realising that you’re running out of summer holidays. “PASS” and “The Beast Within (My Pants)” kept that atmosphere, but became increasingly cynical and obscene. That was just the natural direction they had to go in.

III. Every Place Reminds You Of Some Place Else

I’ve long had an idle fascination with abridged series, and have toyed with the thought of making an abridged series of my own. Most notably, I’ve long fancied the idea of abridging Machinima’s Prime Wars Trilogy of Transformers cartoons. Here’s an extract from a message I posted in Allspark Chat (the Discord server associated with the Allspark Forums):

I'd probably try and keep Megatron mostly the same as he is in the show as it is. Optimus'd be kinda murderous - you can tell he can't wait for Rodimus and the rest of the Council to kick the bucket so he can retake unilateral control over Cybertron. I'd maybe try to go for something of a more sympathetic Starscream - he wouldn't actually have any plan, he just has Cybertron's interests at heart and ends up trying to use the Enigma solely to rid the world of Megatron and Optimus forever. Windblade'd maybe be trying to force some hero's journey stuff - picking fights with progressively bigger opponents in a misguided attempt to prove her narrative worth

As pitches go, it’s not much. It doesn’t help that, as I previously mentioned, Freddery McMahon himself - pretty much the only name in Transformers abridging - has already tackled the series; his style of parody isn’t really to my taste, but his production value is fairly impressive and would largely overshadow any improvements I made on a script level. I feel like the Prime Wars Trilogy has potential, because it’s a fascinating piece of media, but I find myself unable to answer the question of how to parody something that already feels so much like self-parody. Sound familiar?

By the time the last entry in that series - Power of the Primes - was wrapping up, I'd been posting semi-frequently in the Allspark’s threads with a borderline-apologetic tone. Takes included:

The emptiness of Cybertron lends it a Beast Machines-esque tone

The Mistress of Flame’s death is cathartic

You can see right through the script

I want to get off Machinima’s wild ride

Wow, Windblade sure screams a lot, doesn’t she

The finale of Titans Return is good, actually

Hearing Megatron say “piss me off” is an unpleasant surprise

Hey, this soundtrack’s pretty good

Wait, no it’s not, but Galvatron’s implied reversion to Megatron is

Narrative emergence gives rise to Buddhist allegories in TFTM

Grimlock acts like his cartoon self - but only around friends

Okay, for realsies, the soundtrack’s good now

They’re right to kill Sludge; he’s the least toyetic Dinobot

I’d probably describe a lot of what I saw in the Prime Wars Trilogy as a kind of narrative pareidolia - only instead of seeing faces in inanimate objects, I was seeing value and meaning in an indefensible web series.

The problem with abridged series is that they require a ridiculous amount of effort. You need to be a good writer in the traditional sense, but you need to be able to work around the visual material available - you’re gonna have to edit everything yourself, you’re probably gonna need to do custom animation, and you’re certainly gonna need to wrangle a cast of voice actors. All of that for ten minutes of animation that’s probably gonna get taken off YouTube within ten minutes of upload. It’s just not feasible - and yet there’s part of me that loves the idea: commentary and content, all rolled into one.

To pretend that it was Combiner Wars that led me to create “The Beast Within (My Pants)” is a little misleading, however. The real answer - I’m sorry to say - has more to do with ponies.

See, every now and again I get very acute nostalgia for My Little Pony: Friendship Is Magic, which was perhaps my first brush with fandom - or at least, proper fandom. It’s heard to measure these things, y’know? Anyway, when that happens, I realise that I don’t really want to sit and watch a cartoon for little girls, so I usually just listen to some fan-made music or - as was the case last time - rewatch one of the abridged series based on the show. I use the word “series” here in plural because there were in fact two (well, two that matter): Friendship is Witchcraft and The Mentally Advanced Series. There’s long been quiet debate over which of the two is the (soundwave) superior series, and I’ve historically believed that they’re (buy some) apples and oranges. The latter is a more thoughtful parody of the source material, while the former is more polished and standalone.

However, after blitzing through Friendship is Witchcraft once more in its entirety over the course of a couple of days, something about it clicked for me - a bigger-picture thesis - and I realised that it had much more to say about its source material than I (or, well, most people) had given it credit for. It was at that moment that I felt the awful urge to create a My Little Pony fanwork of my own.

(The quote I used earlier, about subtext in children’s stories, was spoken by Princess Celestia in Rainbow Dash Presents: The Star in Yellow, a Mentally Advanced Series special inspired by a fanfiction which, fittingly enough, was written by Matt Marshall (AKA Blueshift/blue/Yartek/RockLordsRock), who was also the man behind the infamous “JaAm” relettering which effectively inspired all of these projects of mine. It’s like poetry.)

As we’ve already established, making a fancy-schmancy animation was out of the question - but a crudely-edited-in-MS-Paint comic was the next best thing, clearly. I started glancing through IDW Publishing’s official My Little Pony comics - having purchased a few in a Humble Bundle many years ago - but, aside from a couple of promising stories, quickly realised I didn’t have much hope. The comics are just, to put it frankly, not as good or as interesting as the show, and the fact that I’d need to adapt at least two issues at once (over forty pages) to tell any complete story made doing so an unappetising prospect. Furthermore, IDW’s comics are still very much in print, and (as the abridged series show) any such parody would stand on shaky legal ground.

Seeing as I wasn’t about to delve into the dark realm of prose any time soon, and the idea of messing with some other fan’s work rubbed me the wrong way, I decided to give up on my equine dreams and instead turned back to more familiar territory. I glanced over the list of old Transformers Marvel comics, but nothing like those I’d previously relettered stood out to me. I perused the short stories included in Dreamwave’s 20th Anniversary Transformers Summer Special. I even looked into some Fun Publications stuff. Nothing sparked my interest.

Perhaps my most promising lead was “An Arcee Sort of Day”, a vaguely-maligned (as in, “meh”) three-page standalone comic released mere months ago by IDW as part of an anthology - but the poor resolution of the available scan (the comic had been released in its entirety as part of the free preview for the anthology) meant that editing it would be a nightmare, and there was very little in the way of dialogue for me to mess with besides. More than that, the idea of directly mocking a comic from a compilation designed to showcase female creators (particularly one featuring Arcee, who’s been a controversial character in recent years) struck me as tasteless in the extreme. If only I had an easier target!

Oh wait, I did.

IV. Let The Slaughter Begin

If I actually ever read both parts of The Beast Within before starting work on this project, I don’t remember doing so. I do remember reading the Beast’s TFWiki page when I was much younger, and remember feeling like the wiki’s take on the concept seemed disproportionately harsh. To be honest, it was quite vindicating to read the source material and discover that I still agreed with my younger self’s assessment - the problems with the story are not on a conceptual level, but in the execution.

I barely gave myself time to digest the story before diving in and working out how exactly I could mess it up. I knew from my previous comics that the Autobots would all be unrepentant shitheads, so the natural choice was to portray the Decepticons as favourably as possible. Where the Autobots are callous, poorly-spoken, stupid, and divided, the Decepticons would be caring, articulate, intelligent, and united. In the story’s context, these traits would be weaknesses: remember, only the Beast has the killing instinct needed for decisive victory in this endless children’s story. I also knew that everybody in the story would hate Grimlock, and that - unlike with Roadbuster in “PASS” - they’d be right to do so.

That was pretty much the extent of my planning. I gathered up all the pages and started clearing out the text from the speech bubbles. Already, I had something of a problem: the use of the infamous Comic Sans MS font in the first part of The Beast Within was one of its most iconic features, and I wanted to retain that, but my own previous reletterings had canonically established Times New Roman as the “voice” of the Autobots. In fact, as far as those older comics were concerned, Times New Roman was the voice not just of the whole Cybertronian race, but also of the narrator.

The only lines which used a different font were those where I’d chosen to retain the comic’s original lettering, and with Roadbuster’s dialogue. It’s hard to articulate what exactly the joke with Roadbuster was - he seemed like the odd-one-out in the opening panels of the story, so I ran with that by having him be persistently ostracised by the other Autobots. The twist, as you find out when he finally speaks, is that he seems to be the only Autobot who’s unambiguously a good person; the rest bully him for effectively no reason.

In the commentary for “PASS” I released earlier this year, I explicitly ask:

If these are the Autobots… then what were the Decepticons like?

My own gut feeling was, I think, that they were people like Roadbuster - genuinely good individuals who never wanted a fight - and so for this comic I knew I had to give them Roadbuster’s Arial voice. I also knew that I’d have to keep the Autobots’ Times New Roman voice for the most part. The only question, then, was what to do about Grimlock, the combiners, Jetfire, and the narration.

(It’s worth noting that Soundwave and Triton were both Decepticons too, yet they both spoke in Times New Roman. The Doylist reason for this is simply that, at the time, I was happy to have everyone share a voice. In Triton’s case, the Watsonian reason is that he’s trying to mimic the Autobots’ “accent” to better fit in. If I had to make up a reason for Soundwave, I’d say that he’s only recently defected from the Autobots, as a reference to van Feleday’s insane Soundwave-as-an-ex-prisoner-of-war theory. Had Soundwave had a speaking role in the comic, I’m sure I would’ve explored that backstory in his AtoZ profile - but alas, it wasn’t to be.)

In fact, there was initially some ambiguity over who the comic’s narrator would be - if I used Times New Roman, would I have to keep the voice of the same narrator as in the previous two comics? In the end, I decided to draw from my source material: the on-panel narration would be Grimlock’s inner monologue, rendered in full Comic Sans glory, while the "Interlude” would employ a more omniscient third-person voice. That third-person voice is, I think, distinct from the narrator of the previous comics, and feels like a more solemn version of the narrator of the AtoZ profiles I released alongside the commentary for “PASS” (or, indeed, the latest batch included here). Remember, I wrote the first two comics years before all of this recent material. More on the text-only pages later.

When he speaks out loud, Grimlock uses the regular Times New Roman of the other Autobots. In fact, the only dialogue which uses Comic Sans is that of the Beast, which I view as the true externalisation of Grimlock’s feelings. You can also view it as the “real world” (as depicted in the text-only pages) leaking through into the comic’s reality, in much the same way that an aware-of-death adult perspective seeps through into a seemingly-innocent children’s cartoon. The other combiners simply use a slightly bigger font than the individual Decepticons. Oh, and all of the combiners use red text.

In the original toyline, Jetfire was something of an odd-one-out, as he was really a Macross “VF-1S Super Valkyrie” toy licensed by Hasbro from Bandai (who had in turn purchased the molds from the recently-bankrupted Takatoku toys). Both Whirl and Roadbuster have similar origins. I was under no obligation to do anything special with Jetfire’s dialogue, but because of the way he’s introduced in the comic - and as a nod to his shared real-world history with Roadbuster - it felt right to give him his own voice. Though he still uses Times New Roman, the font is scaled up and he speaks entirely in capital letters. His dialogue was a challenge to write, as most of his speech bubbles are very small, but I think this worked out in my favour: his speech often ended up butting up against the bubbles’ outlines, giving the impression that he’s always speaking just a little bit too loudly.

The lettering in the first part of the original comic - aside from being technically legible - is generally shoddy on every level. For emphasis, it alternately uses italics or inconsistent font size. Occasionally, the dialogue switches to lowercase, which kinda gives the impression that everyone’s been shouting the whole time. Most of the text is left-aligned. Some bits of text seem to have been squashed. Most of the narration boxes are parallelograms, but some are plain rectangles. Red hand-lettered text is mostly limited to the combiners’ speech, but also sees use a couple of times for Megatron and Optimus Prime. Some of the combiners’ speech just uses normal red Comic Sans MS text. Meanwhile, the second part switches entirely to black hand-lettered text - presumably from Mr. Gibson - which is a marked improvement in terms of tone and consistency, if a step down in legibility.

It’s interesting to me that, despite my version of the comic sharing the dearth of commas and full stops which plagues the original, it reads very differently. For all its stylisation, it’s my hope that each line I write for these comics comes across realistically - not in the sense that it’s something you’d hear someone say, but perhaps in the sense that it’s something you’d maybe read on the internet. More on that later - first, some miscellaneous notes on the comic’s text:

When I first wrote it, I used the style of self-censorship from “PASS” (and, by extension, the rest of Summer Meme Sundae) wherein the first letter of any curse is replaced by an asterisk. It was one of my prereaders, Tindalos, who noted that “the censoring kinda takes a bit from it”, and I decided that I agreed with him - it felt like I was holding back. You can decide for yourself; I’ve collected the pages with lines that were revised between drafts in an album.

Through pure coincidence, it’s Springer (well, Bulkhead) who gets the first line of dialogue in the comic - just like in “PASS”. In case it’s not clear, the joke is that he thinks he’s safe on the floor and berates Jazz for not doing the same thing, seconds before getting stomped by Megatron. I think this sequence perfectly encapsulates a big part of what I wanted to show about the Autobots: they all criticise one another relentlessly, despite being deeply flawed themselves. It’s a dynamic that, to me at least, actually evokes that of the Autobots in Michael Bay’s movies.

The line “thats me grimlock in the corner losing my religion” is, of course, a reference to R.E.M.’s song “Losing My Religion”, which was itself included as part of writer James Roberts’ “soundtrack” for More Than Meets The Eye. Though he did not appear in the issue for which Roberts selected the song, Grimlock was a recurring character in that series. Hopefully my depiction of the character surpasses that one - though if you ask the people I usually talk to, I wouldn’t be setting the bar particularly high with that comparison.

Optimus uses the insult “grimdick” shortly after Grimlock’s narration provides the example “grimcock”. I intended this to show that, while the dynamic between the two’s been cemented for a good while, Grimlock is always a step behind and still can’t predict Prime’s actions.

Snarl’s line was originally “hey speak for yourself swoop me and grimlock are tight as *hit”, which expresses effectively the opposite sentiment to his final line. The idea that Snarl was okay with becoming part of the Beast was intended to add a bit of brevity to the sequence - but I decided it was better to keep as much emotional impact as possible in the moment.

A more minor change a couple of pages later is Grimlock’s line “how do they do it”, which replaced “love is stupid”. I wanted to expressly draw a parallel between the Beast’s combination and Predaking’s.

The line I’m happiest with is “eat shit megatron this is what you get for being such a fucking weapon”. One of my friends occasionally cracks out the word “weapon” to describe someone - and what better application for it is there than a guy who literally turns into a gun?

Megatron’s line about the “black hole” in Optimus Prime’s spark is a twist on Megatron’s own canonical link to a black hole - an aspect of his original bio which was revisited by Roberts.

I struggled to think of Menasor’s final words. The longer I stared at the panel where he gets torn in half - from which I’d already cleared the speech bubble - the more I was struck by the emptiness of the scene. If one considers Menasor to be a symbol for the Decepticons as a whole, then his silence in that panel is my way of showing that - from this point forth - the Decepticons no longer have a voice; the second part of the comic shows naught but their corpses. Death exists, and nothing is good any more.

None of the text on the final page of the first half remained unchanged between drafts. I wan’t happy with Optimus Prime’s original line at all, and the internal monologue “don’t you deserve happiness” felt a little too serious. The phrase “no u” is the archetypical low-effort comeback, and seemed like the perfect beat to end the first part with.

Prime’s line “gotta jettison some dead weight” is a nod to Astrotrain’s iconic line in The Transformers: The Movie: “Jettison some weight, or I’ll never make it to Cybertron.” I had to check for the exact quote just now and found “jettison transformers the movie” in my search history, so obviously I’d done the same when writing the panel. More than just being a trite reference, I was hoping to draw an obvious parallel and to contrast the unilateral decision Optimus Prime makes on the following page against the more shall-we-call-it-democratic process the Decepticons used in the movie.

I’m probably a little too proud of “big red irredeemable fucking monster of a robot semi fuck”, which is a line that could absolutely only exist in this travesty of a comic.

Jetfire’s use of the phrase “GOTTA BLAST” is a reference to a line spoken by the titular character of the early-2000s CGI cartoon Jimmy Neutron: Boy Genius, one which has turned into something of a meme. When I wrote the panel, I intended to imply that Jetfire was aiming to crash into the city - but I think it ended up doubling as foreshadowing for the fact that Jetfire flies his passengers into the sun. Additionally, the meme often sees use as innuendo, which shines through in the following panel: Jetfire expels propellant into the Beast’s face while Bumblebee remarks “gah okay i did not want to see that”. The less said about the sound effect “CHOOOM!”, the better.

Remember how all the text in the first part of the original comic was left-aligned? So’s the text in my version! MS Paint simply doesn’t have the option to change the alignment of your text - I actually had to throw in extra spaces at the start of each new line, eyeballing things until I had an approximation of centre alignment. This is something I never did with “PASS”, and I found that doing so gave me more freedom to squeeze more stuff into the speech bubbles.

As immortalised by countless memes, you can’t rotate text in MS Paint either. I tried to use this to my advantage on the comic’s first page, where the steps between the words in Grimlock’s narration give them a faltering quality.

Grimlock’s narration actually ended up being one of the most challenging parts of the comic to write. I wrote a draft of the first page pretty quickly, but decided I wasn’t happy with it and that I’d have to replace it later - which I did, but only after having written pretty much every single other bit of dialogue.

I think the central conceit of “PASS” - that somebody’s farted and the Autobots are trying to find out who dealt it - didn’t solidify until I reached the second page and looked at Rodimus Prime’s body language. In much the same way, the crux of “The Beast Within (My Pants)” didn’t solidify until it came to writing Swoop’s line.

V. Me Grimlock Not Nice Dino

At some point during the creation of “The Beast Within (My Pants)”, I started thinking a lot about incels.

(To be clear, this is the part of the commentary where things get a bit weird, and I start talking about storytelling decisions which I think were made in poor taste but which I don’t think come across overtly in the comic itself. Feel free to skip ahead to the next section. Or, y’know, stop reading entirely.)

Grimlock is childish, despite his age, and is desperate to be liked - no, respected - at any cost. His only asset is his BRUTE STRENGTH. He hates Prime, but wishes he was Prime. He has trouble treating any of the other Autobots like people. He rages against an outgroup whose ideals are - at least ostensibly - rooted in empathy.

I wouldn’t say “I wrote a comic where Grimlock is an incel”, because that’d be a pretty stupid thing to write and I’d feel pretty stupid saying it.

Looking back at a lot of my previous work on this blog, some things do crop up again and again. In abstract, I’d say that the idea of a character seeking friendship and/or respect - and failing to understand why they can’t find those things - is one that I’ve revisited a couple of times. This was a strong theme in the latter half of Another Son - a story which dealt heavily in misanthropy - which featured a character inspired by Sam Witwicky from Michael Bay’s Transformers. The protagonist of Retrace Steps spent the whole story unable to even ask the question “why am I alone”. Many of the characters in Are You Happy - particularly Mr. Hernandez - deal with similar problems to varying extents.

So this makes, what, practically four stories in a row? I didn’t set out to approach things this way again with this comic, but from the moment I wrote Swoop’s line I knew I didn’t have a choice. When people talk about the Beast’s combination sequence, they talk about how violative it appears. Metal tentacles spring from Grimlock like one of Alien’s chestbursters, penetrating or melding with the other Dinobots’ bodies. After that, the resulting monstrosity ambles around, horrifically murdering its former peers. As much as I can have the characters in the story play this stuff off for laughs, I’ll never be able to erase the undercurrent.

This isn’t supposed to be a direct mapping - a perfect metaphor - and by the time this commentary’s done I hope I’ll have pointed in the direction of some alternate perspectives. It just seems important to put my cards on the table and say that, when I was working on this comic, this is the kinda thing I was thinking about. We thought children were safe with Transformers, and then a gun came and shot people they cared about, and for some reason we were surprised to see that they got upset.

With all of that in mind, I take some solace in the fact that I actually found getting into Grimlock’s head to be extremely difficult. His dialogue was a breeze to write, sure - that’s the outsider’s perspective - but actually trying to construct his thoughts in anything approximating a convincing manner was very difficult. The first draft of his narration literally included the phrase “we live in a society”.

VI. Such Heroic Nonsense

I’ve already touched on Terry van Feleday’s opus a couple of times, but I think it’s worth delving a little deeper into how exactly her analysis influenced this comic. For some reason the idea that nearly five-hundred pages of borderline-conspiracy-theorist-level ramblings about perhaps the most maligned movie franchise of the 21st century might be a tough sell is one which I can’t quite wrap my head around. I’d say that it’s because I’ve read the thing and already know that it’s good, but in truth I was pretty much sold from the moment I found out it existed.

Anyway, I frequently get into not-quite-arguments with internet strangers about Transformers, and during those discussions I frequently find myself saying “a good Transformers story should do X”, and then I have to resist the urge to add “like Michael Bay’s movies” because doing so would completely delegitimise the point I’m trying to make. The problem is that, because I’m deliberately omitting the context of my opinions, they come across as being even more bizarre.

I think that same problem exists in some capacity with this comic, where I’m drawing on sources which are intuitive to me but completely alien even to a typical Transformers fan. I’ve yet to even mention the other primary inspiration for this story, which is even more arcane.

Perhaps it’s important to stress that van Feleday doesn’t offer a typical "theres actually zero difference between good & bad things. you imbecile. you fucking moron" take. Rather - and I realise I’m about to butcher this - she shows how the humans in Bay’s movies give increasing amounts of power to an alien cult leader because their only alternative is to get wiped out by an alien warlord. So in terms of this comic, “Autobots bad” is very much rooted in her reading of those movies, while “Decepticons good” is just something I thought would be funny.

Well, not exactly. I’ve already mentioned Combiner Wars; something that continues to baffle pretty much everyone who watched that show (and its sequels) is that, while it seems to have no idea what it’s doing most of the time, its portrayal of Megatron is an absolute riot. He is absolutely the protagonist of that series, the Only Sane Man in a world of bizarre psychotic caricatures. I think the same kinda holds in the continuity of my comic, only he’s had more time to bring the people he takes in around to his way of thinking.

Let’s not forget the official “good-is-bad” continuity of Shattered Glass, which - while heavily compromised - was the source of many interesting reinterpretations of popular characters. Effective reinterpretations require you to forget what you know about a character and strip them back to the core signifiers, which you can then put to different use. One of the posters in Terry van Feleday’s thread, “Lobok”, observes:

I like the idea that Bay or the writers looked at Optimus Prime and thought "What would a guy who calls himself that really act like?" Imagine you knew or heard of someone, a human, who called themselves the equivalent of "The #1 Bestest Superior" or "King Supreme Ultimate" - do you not picture either a 7-year old boy or a mentally deficient oo-rah alpha male? Maybe the two combined? Seems much more apt than a wise, noble father figure.

Of the course, I don’t for a second think that Michael Bay had any such thought - but the connection still exists for the audience to make. Therein lies one of the greatest unspoken strengths of Transformers storytelling: the sheer breadth and depth of the signifiers at play. Much of what van Feleday did in her thread was to boil down the concepts found in Transformers stories to reveal those core signifiers.

(Almost a year ago, I wrote a piece for the Refined Robot Co. blog which explored some of her findings by delving into the subtextual meanings of the countless alternate modes worn by Megatron over the years.)

By the same token, I think there’s something to be said for the way Grimlock’s alternate mode ties into his portrayal in my take on The Beast Within. He turns into a dinosaur - something which is rooted in the past, extinct, unable to develop - while most of the other Autobots turn into modern vehicles. Kids may love dinosaurs, but they’ll likely grow up to have a stronger interest in cars or tanks. Grimlock is immature almost to the point of childishness; his beast mode is the lizard king, and he doesn’t understand why you won’t bow.

(Obviously I’m making some big generalisations here for the sake of a point - the other Dinobots have their own prehistoric disguises, and kids’ interests develop in varied enough ways that perhaps this link is only noticeable to those who experienced the transition I describe. When I was much younger, I was obsessed with dinosaurs, and would consume all the dinosaur-related media I could get my hands on. Eventually, however, my crippling fear of sea monsters led me to stop reading books about them - I'd turn the page, see a full-spread painting of a pliosaur taking a bite out of a pterodactyl, and shit my pants. Okay, no, that’s a huge exaggeration: more likely it just got to the point where I knew basically all of the cool dinosaur facts already, and suddenly the deep lore of the grim darkness of the 41st millennium or whatever seemed way cooler. I just find it funnier to imagine that my prosperous future in paleontology was averted for fear that I’d discover the last living specimen of a plesiosaur.)

VII. Where’d You Learn To Talk Like That

Back in “PASS”, I think there was some question as to who exactly was the coolest dude; the biggest guy. Rodimus was in charge, but the others didn’t really respect his authority in the end. Although Triton was an underdog in that story, he wasn’t at the bottom of the pack - no, that role went to Roadbuster. Everyone seems to like Ultra Magnus, but it’s never really made clear as to why that is.

Grimlock’s personality and role within the Autobots was pretty much the first thing I solidified when it came to writing “The Beast Within (My Pants)”. I knew that he was the lowest of the low; the nail in every Autobot’s tyre. As Grimlock evolved, so too did Optimus Prime - the second-most-prominent character in the comic. "The #1 Bestest Superior" became a murderous jock, and the Autobots became his cult of personality.

Speaking of cults of personality, I’ve been posting regularly in the Homestuck Discord server since November of last year. There’s no other place like it on the internet, and - truth be told - I’m not sure any explanation of it I could provide would suffice. The server was created by some guy called Makin - at least, we're pretty sure he’s a guy - who nobody’s ever met but who seems to have an uncanny knack for managing online communities.

Major events in that server have been comprehensively catalogued since July of 2017 by long-standing moderator “Drew Linky” in his journal Several People Are Typing. Between the entries and the related materials, it’s probably around half a million words in length. There’s no other document like it on the internet.

For the first fifty or so pages, Drew had no intention of making his document public. Apparently, one of the reasons he wrote it in the first place was as a way of holding Makin accountable - the guy used to be (and sometimes still is) a bit of an ass. Now, I wasn’t around in 2017, so I can’t really comment on the accuracy of the document’s early entries - but as a newcomer I was struck by how different Drew’s depiction of the server was to my own experience there. If I had to guess, I’d say his style of prose and the cherry-picked nature of the document make it seem like a much more hostile place than it actually is.

In particular, Makin effectively starts out as journal’s main villain (alongside various problem users and Homestuck creators) - a capricious and unknowable entity with absolute power over the server - and many of the entries deal in some way with what users jokingly refer to as his “redemption arc”. Of course, in reality, he’s just some guy, and everyone knows that real people don’t have character arcs.

I still haven’t finished reading SPAT, but I was doing so around the time when I was working on the comic. At some point I started to draw parallels between my bizarro version of Optimus Prime and the journal’s bizarro version of Makin, and I decided to play them up. Much of Prime’s dialogue is inspired by Makin’s style of speech, using phrases like “shut the fuck up”, “nobody cares”, “holy shit”, “get fucked”, “lmao”, “literally”, “literally [...] who”, “guys”, “rational” and “you’re welcome”. I just checked and at the time of writing, with the exception of “literally who” and “you’re welcome”, he’s used every one of those phrases within the last week. Oh, and while the word “suckers” isn’t really a Makin quote, in Homestuck it’s associated with the not-quite-biggest-bad evil empress. It bears mentioning again that the complete lack of punctuation in the comic’s dialogue mirrors the most common style of typing I see online, where people drop their capital letters and full stops.

(In fairness, a lot of us kinda talk the same way in that server. I remember one time Makin said “I also need to worry about lmao becoming some kind of anime catchphrase for me”, which cut pretty deep as I’ve been overusing that phrase instead of “lol” or “haha” or whatever for ages. Look, it’s just a funny word to me: in my head I pronounce it “luh-mayo” instead of “el-em-ay-oh”. Like “I throw my sandwich in the air sometimes / saying aaay-oh / I ordered maaayo...”)

In the comic, the self-aggrandising Optimus Prime is hostile and dismissive to those around him. It might all be a front, but it might not. Even though Grimlock hates Optimus, the Dinobot seems to agree with him a lot of the time, and the narrative itself never really manages to conclusively condemn his actions. The name “Optimus” echoes the word “optimise”; so frequently thrown around in rationalist circles. One could even go so far as to say that Optimus Prime’s ultimate goal in the comic is to kill death-in-the-form-of-a-shitposter.

In seriousness, I’m drawing these comparisons in a pretty tongue-in-cheek way. I don’t actually think that the Homestuck Discord server is a cult of personality - even if, to check the user-contributed “SPAT Epilogues”, some of its populace seem determined to behave like it is. Even if this section of this commentary exists. At the end of the day, I’m gonna write what I know, and I like to think that I know a little about online communities and what happens when they go wrong. I wish I could say that “The Beast Within (My Pants)” is a cautionary tale to that effect, but in truth I don’t think it offers any conclusive answers in the same way that “PASS” perhaps did. “Only worry about the opinions of people who actually care about you,” maybe? “Death is an abomination and we shouldn’t let it anywhere near our kids”, perhaps? “You can’t force other people to like you”?

“You can’t force other people to like the things you made”?

VIII. Burnt-Out Toaster Ovens

In the re-released version of “PASS”, it seemed right to throw in something in the way of extra content. I had fond memories of the Seacon profiles published alongside the original “Peace”, and lifted the format to create short bios for all sixteen characters who appeared in the comic. These fitted neatly on a four-by-four spread (though I ended up merging Topspin and Twin Twist’s profiles and throwing in an extra one for Computron, who did not appear in the comic proper).

From the start, I knew I wanted to do something similar for “The Beast Within (My Pants)”. In fact, I already had two text-only pages to work with; each part of the original comic was prefaced with a prose introduction and a note from Mr. Gibson. I decided that I could rework the text-only pages and add another spread of profiles, using the freedom granted by prose to explain away many of the comic’s oddities.

It took me some time to carefully erase the existing text from the scans that I had, using nothing but the brush tool in MS Paint. It took me even more time to work out some potential approaches to take with the text itself. Eventually, I came up with the following ideas:

A flashback depicting Grimlock and Swoop’s breakup.

A conversation between Grimlock and Jazz (or, perhaps, Slash).

“How Ratchet Got His Head Back”, the interlude which I ended up using.

A synopsis of events between “its christmas... so what??” and “The Beast Within (My Pants)”, which ended up being my first stab at the introduction.

Some in-character commentary as Mr. Gibson, which I did end up including.

From the moment I conceived it, I was pretty set on “How Ratchet Got His Head Back”, and it ended up being a breeze to write. I didn’t end up getting a chance to squeeze in the title - a reference to an issue of More than Meets the Eye - as it didn’t really fit the original format of the page. The introduction, on the other hand, proved much more challenging. My main problem was that, were I to preface the story with a text page, I’d be asking them to read a bunch of probably-mostly-serious words before allowing them to read the comic proper. Not the best first impression!

Nonetheless, I gave it a go - you can read my first attempt in the album of the draft pages. It mostly served to lay out the continuity between my three comics. Rodimus Prime’s crew were abandoned on Cybertron by Optimus Prime (presumably Hot Rod changed his name in Optimus’ absence). Megatron, Optimus and their crews crash-landed on Earth, and millions of years later the events of “its christmas... so what??” occurred. Meanwhile on Cybertron, it took a few million years for the other Autobots to wipe out the remaining Decepticons, as seen in “PASS”. Humanity was wiped out by Optimus in retribution for their transgression (a nod to Mr. Gibson’s depiction of Earth as an empty wasteland), prompting the conflict seen in “The Beast Within (My Pants)”. Much of this timeline remains implicit in the final version of the comic.

When I wrote it, I was pretty happy with the way this information was conveyed in the first draft. It was the ever-ardent Gitaxian - one of my long-time prereaders - who made me realise just what a mistake I’d made:

Something was rubbing me the wrong way about that first prose page and I finally realized what it is / Expositing that Optimus is horrible right off the bat takes away a good chunk of the impact the comic had before you added it

He was right. My prereaders’ initial response to the comic was that Optimus Prime’s motivations were completely opaque, and I overcorrected, not realising that his inscrutability was one of the things that made him interesting. You kinda want him to behave like the Optimus Prime you know and love, but he keeps doing weird things and you never really find out why.

Suddenly, I was back at square one - no closer to having a clear idea of how to introduce the comic. Another of my prereaders, gearshift, had the solution:

It's Transformers or some shit. You've seen the cartoon right? The one with the tape guy? Yeah, the tape guy is barely in this one. What do you mean no sale? Look, fuck, it's got the dinosaur guy. He's right on the goddamn cover, you like the dinosaur guy right? Yeah, that's what I thought.

Bitch.

I liked her pitch because it seemed like it’d do a good job of filtering out readers who wouldn’t enjoy the comic. To quote Alexander Wales, author of Worth the Candle:

I kind of hate blurbs and taglines, especially for something so large and varied as Worth the Candle / My ideal synopsis would tell people what kind of story it was without actually telling them that much about the story; it would select for all the people who would fall in love with the story, and select against all the people who would find it a waste of time. / How to actually write that ... I've got no idea.

(Side note: I’m one of the people who fell in love with that story, to the point where I’ll use any opportunity to recommend it to others. It’s maybe my favourite thing written by anyone ever.)

A closely-related issue is that of content warnings: so far as I’ve been able to work out, there is no warning which I can give for “The Beast Within (My Pants)” which adequately selects against people who won’t like it while also preserving its conceptual twists and avoiding colouring the audience’s interpretation.

Getting back to the actual content of the introduction - I wound up writing less than I would’ve liked, leaving the page looking a little sparse, but hopefully making things easier for the reader. There’s relatively little to talk about in the way of trivia here. When I wrote the phrase “cut right to the spectacles” I was probably thinking of Carly Rae Jepsen’s “Cut To The Feeling”. When I mentioned “moist towelettes” I was probably thinking of Hawthorne Wipes. The phrase “truth time” was an iconic - to me, and literally no-one else in existence - line spoken by the trolling narrator of a crack story written by a high school friend of mine, the energy of which I feel like I’ve always been channelling with these comics.

The interlude, on the other hand, is crammed full of references and was a breeze to write. It was the first piece of prose I completed for the project. In general, I was trying to write in a verbose style that would be simultaneously at odds with the bulk of the issue and reminiscent of the prose of veteran Transformers scribe Simon Furman. He was known for using certain distinctive phrases repeatedly in his writing - one such phrase being “like some vast, predatory bird”. The phrase “neither sufficient inclination nor wingspan” is supposed to subtly evoke another Furmanism: “CANNOT, WILL NOT”.

In all likelihood, the interlude would not have existed had I not noticed that Ratchet’s head was in its cartoon colours in the first part of the story, but in its Marvel colours for the second. I had the idea to explain that error away in story - tying into the general schtick of “correcting” the comic - and did so by way of a reference to Ratchet’s original toy, which had a sticker with a face on it behind the windshield rather than a proper head. I was also determined to highlight the fact that Predaking’s legs remain standing for like three pages; I think this minor detail in the artwork is pretty indicative of the fact that Mr. Gibson did a good job.

The way Swoop’s contribution to the combiner is described as “puny” ties nicely to the history established between him and Grimlock in his profile. I like the way the Beast tries to hit Optimus Prime with a “truck-sized fist”. The “antimemetic shielding” was my attempt to explain the recurring disappearances of Optimus Prime’s trailer in a novel way - I did so by namedropping the key phrase from qntm’s There Is No Antimemetics Division; the trailer’s there, you just can’t perceive it and forget that it exists. Finally, “dull surprise” refers to the vague expressions that characterised Dreamwave’s house style.

For the most part, I was able to retain the ordering of the pages as in the original comic, to keep things print-friendly. The one exception to this is the prose page for the second part, which I unfortunately had to move forward so that its cover could fall across a spread. The original comics must’ve included something in the way of backmatter - art cards, perhaps, or adverts - which made up the space.

The huge cast of The Beast Within made creating a profile for every character an impossible task (especially when so many are just crowd-fillers like some of the Technobots were in “PASS”) - but it was perfectly possible to provide one for each non-combiner character with a speaking role.

(If you’ll indulge me in one last barely-relevant tangent as we head into the final stretch of this commentary, there are some rather odd inclusions/omissions in The Beast Within. On the Autobot side, pretty much every 1984-1985 character appears, with the exceptions of Trailbreaker, Hoist, Tracks, Smokescreen, Grapple, Beachcomber, Seaspray, Perceptor and Omega Supreme. The Autobot combiner teams are absent with the odd exception of Silverbolt. Twin Twist - who had been pretty much entirely absent from the original US fiction - makes an odd appearance without his partner Topspin. Steeljaw is the only one of the four 1986 Autobot cassettes to appear. Meanwhile, on the Decepticon side, oddities include the toy-inspired versions of Viewfinder and Spectro (most of the rest of the cast use cartoon-inspired character models) and the omissions of Spyglass and Buzzsaw. Some Decepticon combiner team members - Motormaster, Wildrider, Breakdown, Blast Off and Swindle - only appear in combined form. Just two of the four 1986 triple changers - Springer and Octane - appear in the comic, looking slightly out-of-place in a cast consisting mostly of characters present in the first two seasons of the cartoon. Oh, and the Deluxe Vehicles and Deluxe Insecticons are absent, but that’s to be expected in a cartoon-inspired setting.)

Here’s the first draft of Optimus Prime’s profile:

Unpredictable. Unstoppable. Unrepentant. Many words have been used to describe OPTIMUS PRIME, yet the abrasive leader of the Autobots remains something of an enigma even amongst his followers. He has ruled Cybertron for many millenia, by dint of the fact that he's apparently the only Cybertronian with a shred of competence.

It’s a product of the time where I wanted to really flesh out Optimus Prime and communicate his thoughts clearly to the audience, and as such is pretty blunt with how it characterises him. The final version is a little more subtle, drawing in elements of the scrapped introduction. I figure I may as well go through the other profiles one-by-one to give a sense for what I was thinking:

Megatron initially had a much more personal bio - which seems to have been lost to time - but I wound up cutting much of it to make space for elements of the story’s scrapped introduction.

Starscream draws inspiration from van Feleday’s interpretation of the character - she posited that Michael Bay’s version of the character was actually the Decepticon most loyal to Megatron. The contrast between that interpretation and pretty much every other in the franchise’s history (excluding Shattered Glass Starscream, of course) is pretty funny to me. I tried to use the phrase “fools errands” in as benign a way as possible, which I felt evoked a more traditional relationship between him and Megatron. “Starscream, you fool!”

Razorclaw has little in the way of characterisation in the comic beyond “noble warrior”, and his profile is a wholesale reference to The Chronicles of Narnia: he stands in for Aslan; the rest of the Predacons for the Pevensie siblings. So yes, this version of Razorclaw is a Christ-like figure. As for the witch... maybe Blackarachnia? Eh, who cares. Oh, and the idea of combining with a dead bot was one which cropped up a few times in IDW’s comics, most notably with the Combaticons in Mairghread Scott’s Till All Are One.

Onslaught was in a similar boat to Razorclaw. I found myself drawing from Till All Are One once more, hinting at a (complicated?) romance between him and another teammate.

Blitzwing has only one speaking role in the comic - a shared line with Megatron and Starscream - but I decided to count it for the sake of having a nice set of sixteen characters once more. In Transformers Animated, Blitzwing had multiple personalities, and would change forms depending on which was in control. This interpretation of the character has seen plenty of criticism, so I deliberately tried to come up with something new. I quickly settled upon the idea of tying his vehicle forms to his mood, a metaphor which seemed to dovetail nicely with the way aerial alternate forms were treated in “PASS” and which also allowed me to cement the Decepticons’ supportiveness.

Bulkhead was borne of the realisation that Springer appears prominently in both “Peace” and The Beast Within. This inconsistency is entirely the product of my decision to place my versions of those comics in the same continuity, and I decided to correct it in the tradition of “Bluster” and “Firster Aid” by having them be two separate (but related) characters. I named the new Springer after Energon Bulkhead, who was inspired by “Generation 1″ Springer - the name’s since been used more prominently by an Animated-original character and variations thereof, and is effectively fair game for “Generation 1″ stories. His actual characterisation was inspired by Springer’s behaviour in “PASS” - I liked the idea that Bulkhead bullied Springer, and Springer bullied everyone else in turn. Oh, and I wanted to tie their helicopter modes back to Blitzwing’s profile on a thematic level.

Bumblebee is the only character from “its christmas... so what??” to recur with a speaking role in “The Beast Within (My Pants)”. After scrapping the original introduction I’d planned for the comic, I was left with a single profile to bridge the gap between the two stories. My original idea was that, for their negligence in allowing the humans to steal Bumblebee’s blood, Prowl, Tracks, and Hoist would have been executed by Optimus Prime - though I’m sure he didn’t pull the trigger himself, it’s safe to assume that he didn’t warn them before setting off the nukes.

Ratchet has a characterisation inspired by something “Jonny Angel” posted in van Feleday’s thread: “Ratchet is an ambulance who practices no medicine”.

Jazz is an extremely prominent character in the comic, despite the fact that his only line is a scream in the opening panel. The comic relies on the wider context of the brand to let the audience be invested in him, but in a vacuum it’s kinda funny to see the Autobots fret so much over an effective nobody. Pretty much the entire joke in my version is just a reference to Ryan Gosling’s misguided quest to “save jazz” in La La Land - some of his character’s lines are lifted wholesale to comprise Jazz’s profile, which takes pains to avoid using any kind of pronouns (thereby maintaining the confusion over whether or not “Jazz” refers to the character or the music genre). His profile was the first I wrote.

Ironhide has a role amongst the Autobots loosely inspired by that of Drew Linky (or at least, the version of Drew Linky presented by SPAT) in the Homestuck Discord. I thought there was some symmetry there with Ironhide’s history in IDW Publishing’s comics.

Skids was a tricky character to portray, but ultimately his profile turned out to be one of the ones I’m happiest with. It’s kind of a loose riff on his portrayal towards the back end of James Roberts’ stories, where much of his arc revolved around his relationship with Nautica. According to Word of God, he had unrequited feelings for her - I decided to amp this up by giving him unrequited feelings for everyone. To tie this back to Homestuck, think Eridan/Cronus. Oh, and in terms of the Homestuck Discord server, think your typical hornyposter (and then follow the implications through in terms of Optimus Prime/Makin). The actual name “Skids Maximus” is a play on the way the suffix “Maximus” has historically been used for some combiners, “Optimus Maximus” in particular. I’m convinced I’m not the first person to do a joke like that, but nobody I asked could think of any older examples.

Grimlock was fleshed out pretty well by the comic itself, so I took his profile as an opportunity to expand upon the history of the Dinobots. I saw them as being akin to a group of friends who stuck together throughout school, winding up as an impenetrably toxic and incestuous mess with a ton of deep lore. In a way, there was a time when I was the Grimlock of my group of friends... but we all grew up.

Swoop is Grimlock’s ex-partner, a concept inspired by the other Dinobot combiner we all wish we could forget about. I’m pretty happy with the use of the word “bottom” in this context.

Snarl is based on a combination of various people I’ve known in real life - people who are perfectly nice and reasonable but have zero patience around certain other individuals. From the outside, it’s behaviour that comes across as pretty damn harsh, but - and please note that this is not an endorsement of such behaviour - it’s usually the product of a long period of aggravations.

Jetfire was the last character introduced in the comic, so it felt fitting to save his profile until last. His biography is effectively a mashup of his portrayals in the original cartoon (where he gets frozen in the Arctic Circle) and in Revenge of the Fallen (where he was a Seeker who wound up on Earth), a combination which neatly parallels Bay’s Megatron’s origins. It also references J.J. Abram’s infamous “mystery box” storytelling device, which I intended to mirror the offbeat lack of closure in the comic itself.

The final challenge I faced - one which had hounded me throughout the development of the comic - was what exactly to title it. Titles considered included:

“The BEE” (Tindalos’ suggestion)

“The BEE Within”

“The REEEE Within”

“SHIT” (Gitaxian’s suggestion)

“IM THE BEAST”

“AWWW SHIT” (Fear or Courage’s suggestion)

“AW SHIT ITS THE BEAST”

None of these resonated. Then, almost a whole month later, out of nowhere:

This was the entirety of Daniel111111222222’s contribution to the story - and what a contribution it was.

There were several reasons why I loved his idea. Firstly, it was easy to edit: most of the other suggestions would’ve required me to move lots of letters around, while this one would simply require me to append a few. More importantly, it felt like the title of a Chuck Tingle novel.

The subtitle for the second part - “No Pants” - seemed like a natural choice after that, the idea being that it evokes Grimlock’s inhibitions falling away with his transformation into the Beast. It narrowly edged out “Pants Off”, which I managed to squeeze into the final version of the introduction.

The parentheses in the comic’s title were my own addition, and in retrospect I kinda regret them. They seemed like a good idea at the time, but I’m not sure why. I was wrong to try and improve upon perfection.

IX. Why Throw Away Your Life So Recklessly

So far, the bulk of this commentary has mostly focused on the aspects of this project which I think went pretty well. In a way, that's probably fair enough, because - on balance - I'm pretty happy with how it turned out.

At the same time, I can't help feeling that “PASS” - a comic which I probably threw together in the space of one day two years ago - is both funnier and more meaningful than the one which I spent a couple of weeks on.

When I started working on “The Beast Within (My Pants)” towards the beginning of May, I expected to have the project finished and out of the door by the end of the month. If you glance at the release dates of the various things I made, you'll see that I like to put out major projects on the last day of a month - it's a way of setting myself a deadline and it lets me associate a given project with a given period of time.

My first draft of the dialogue was released to prereaders on the 11th of May; my second on the 13th. Around that point, exam season started to kick in and I decided to prioritise to other projects - the Retrace Steps commentary and the Are You Happy retrospective - which both ballooned out into much longer pieces than I'd planned. I successfully met my self-imposed deadline for those projects and pushed back the release date for the comic to the end of June. I released the first drafts of the text-only pages on the 9th, but the profiles didn't follow until the 24th. By the time you read this, I'll have been working on the project on-and-off for over three months; despite the fact that I was ostensibly on vacation for most of that time, I was somehow busier than I tend to be at university.

For context, it took me just four months to adapt Retrace Steps from a short film script to a webcomic (well, “webcomic”), and that was a process which actually required original artwork. At the time I noted that I needed to re-evaluate the way I approached commentaries, as the amount of time required to produce one of a high standard seemed only to increase - they're extremely valuable to me, and seem to be well-received by the few who read them, but are they justifiable if they take longer to create than the things they comment on?

All of this is my long-winded way of saying that I've probably spent more time thinking about The Beast Within than the vast majority of people who know about it, and that I kinda regret that. See, in the sense that The Beast Within provokes a visceral emotional reaction, it’s a “good comic” - but so too does a punch to the face. The Beast Within is not a good comic. It’s mean and deconstructive and poorly-done. My version is borne of contrarianism and hubris, and softens the blow not one bit.

At the time when I was writing Grimlock's dialogue, I found that my own typing style was becoming increasingly acidic.

The truth is that “PASS” is probably the most successful thing I have ever made, and I wanted to make a comic which would put it to shame, and I failed miserably. In fact, I feel like I’ve made something which only I could ever enjoy. It’s derivative in the extreme. As my deadline for this project drew closer, I resorted to drafting bits of the commentary on my phone in public, and at one point somebody idly asked me what I was writing, and - after failing to think of a convincing lie - I said something along the lines of “it’s kinda a long story, and I wouldn’t enjoy telling it, and you wouldn’t enjoy hearing about it”. They seemed perfectly satisfied by that answer, but I wasn’t.

Must we justify the things we create? Mr. Jamieson’s attitude seemed to be to say “screw you, I don’t have to justify myself to stupid people” (while pointing at everybody else in the room). My attitude, as evinced by this commentary, has been to justify every aspect of everything I make in excruciating detail, so that if you tell me “I don’t like X” I can say “I already explained why I thought X was a good idea” and you can say “well you were wrong” and I can say “maybe”.

You’ve probably twigged that, throughout this commentary, I’ve referred to the creators of The Beast Within only by second name. At first, perhaps, it came across as some mark of mocking respect - like citing a scientific source - but the real reason is cowardice, not confidence. Some people occasionally put their own names into Google. There’s a couple of people to whom I really don’t want to have to justify myself.

Over a decade after the release of the The Beast Within, Hasbro released a brand new set of Dinobot toys which combined to form Volcanicus. The creators of the Prime Wars Trilogy and of the Earth Wars mobile game gleefully included the new combiner in their stories, and the fandom at large embraced it wholeheartedly.

As her thread drew to a close, Terry van Feleday wrote something which I think about often:

Of course [...] let’s not forget that no matter the amount of earnest work put into something, sometimes it just turns out shit. There’s a strange perception I noticed in critical response where people seem to find it difficult to consider something both earnest or satirical and, well, not very well made. Sucker Punch can’t be an honest indictment of cinematic objectification and a somewhat poorly conceived, almost hypocritical attempt at being more clever than you should. Transformers can’t be an inversion of the traditional hero/villain narrative showcasing the effects of authoritarian propaganda and a meandering, under-focused, often poorly communicated, destructive mess. Maybe it’s a strange entertainment-version of the Just World Fallacy where lacking results must necessarily result from lacking effort, or maybe it’s modern audiences’ strange worship of subversiveness, where a work critical of old tropes must by default be better than the works it’s commenting on throwing to the dustbin of history, but either way, people are extremely resistant to the idea that films they found emotionally dissatisfying could express depth and meaning and tend to dismiss them as another ‘genre film’.

Mr. Gibson is a children’s picture book illustrator. The Beast has no place on his website.

X. Proceed On Your Way To Oblivion

TFNation - the UK’s biggest Transformers convention - has become something of an annual pilgrimage for me, and (as of the time of writing) I’ll be making that pilgrimage in a matter of days. If you see me there, feel free to come over and punch me. Or, y’know, just say hi. I’ll have some limited-edition printed copies of “PASS” to give out. For more information on that - and for infrequent Transformers-related musings and updates on future projects - wander on over to my twitter!

What are those future projects? Well, after the convention I’m planning to release an original short story. It’s not very good, but it’s got a few stylistic similarities to this comic (read: lots of swearing). I might have a little bit in the way of Transformers prose coming out down the line, but can’t really elaborate further on the form that’ll take. I’ve been planning to get back to Huskyquest for ages, and hopefully I’ll finally be able to do so once I settle back down at university. After that, I plan to focus my efforts on prose, so you may as well expect more radio silence from me.

If you’ve made it to the end of this almost-fifteen-thousand-word monstrosity, you, uhh... win all my internet points? Sorry, that’s all I have.

Remind me never to do this again.

#Transformers #comics #The Beast Within #The Beast Within (My Pants)#The Wadapan #14/08/2019

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