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thewadapan · 1 month ago

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So why did Transformers One bomb?

Look, I'm just going to say it right off the bat: no, Transformers One is not the best Transformers movie of all time. I am (gritting my teeth) very happy for every single Transformers fan except me, who all seem to have liked it, and most of whom seem to have loved it. I agree that, as a production, it meets some baseline level of technical competence. It's a perfectly fine movie.

It's also the worst-performing Transformers movie Paramount has ever made.

Hopefully, now that its theatrical run has unceremoniously ended, people aren't going to try to rip me to shreds for theoretically threatening this multi-million-dollar film's box office revenue some miniscule amount by sharing a few teensy weensy complaints with my fifty followers.

Because I do just have a few little nitpicks, which I've tried my best to communicate, over the next 17,000 words of this post.

If you're not a Transformers fan, sorry, this essay is mostly written with the assumption that you've seen Transformers One. However, it might still be of some interest as a window into the current state of the franchise. I've written a basic plot summary of the movie to bring you up to speed, in that case. Because Transformers One purports to be the perfect introduction to the story, no homework needed, I've also done you the courtesy of elucidating background context as needed—think of this less as a review, and more as a history lesson, or maybe a "lore explained" YouTube video. After all, that's pretty much all that Transformers One is.

(And if farcically long posts aren't really your thing, you might prefer to listen to the special episode of Our Worlds are in Danger where my pals and I chatted about the film. Many of the hottest takes and silliest bits in this essay are shamelessly stolen from Jo and Umar.)

We've been waiting for Transformers One for a very long time. It's the first animated Transformers film to get a theatrical release since The Transformers: The Movie came out in 1986. It first entered development around a decade ago. Many fandom members I know online got to see it as far back as June. Its US premiere was in September; those of us in the UK had to wait a full extra month before seeing it, for no clear reason. This is a film which purports to show, in broad strokes, for the first time on the big screen, the origin of the Transformers: where they come from, who they are, and why they're fighting.

By the end of its runtime, Transformers One does not actually answer these questions. Don't get me wrong, it takes great pains trying to answer a lot of different, related questions—just ones which nobody was really asking in the first place: What does the word "Autobots" mean, if not "automobile robots"? What does the word "Decepticons" mean, if they're not actually deceitful? Why is he called "Optimus Prime"? Why is he called "Megatron"? If they were friends, why did they fall out? Why does Starscream sound Like That? Where does Energon come from? If "Prime" is a title, what were the other Primes like? How do Transformers transform?

Writer Eric Pearson, coming onto the project as an outsider to Transformers, describes having to go to Hasbro to ask these kinds of questions:

they had a script that outlined the story that they wanted to tell. I knew Optimus Prime and Megatron and I knew Bumblebee as well, or B. I had to ask about some of the other deeper ones, the mythology, “what exactly is the Matrix of Leadership?” Stuff like that.

See, Hasbro does in fact have the answers written down somewhere. The story as I understand it goes something like this. During the wild west of the '80s and '90s, Transformers "canon" was largely a by-the-seat-of-your-pants consensus-based affair between the freelance writers and copywriters the toy company would bring on to advertise their toys. That changed around the turn of the millennium, when late later-CEO Brian Goldner saw how Hasbro's licensed IP lines (such as Star Wars) were more financially successful and realised they could make more money by aggressively promoting their own in-house IP, which they didn't have to pay licensing fees for. (For the curious, a similar thought process at rival toy company Lego was what led to their creation of BIONICLE.)

The guy basically singlehandedly managing the Transformers brand at the time, Aaron Archer, eventually set to reconciling all the self-contradictory lore surrounding Transformers, an endeavour which dovetailed into the creation of the HasLab internal think-tank (best known for Battleship, the 2012 store-brand Michael Bay knockoff which was a failure critically and commercially but not in my heart) and ultimately the creation of the so-called "Binder of Revelation", an internal story bible which cost over $250,000 to produce and has strongly influenced nigh on every piece of Transformers media released since, but which we hadn't actually seen until it got leaked a week ago. As it turns out, the document itself (compiled mostly by marketers and toy designers) is patently useless to any writer: it's a typo-ridden internally-inconsistent wishy-washy mess that mostly describes the characters in terms of a made-up form of Transformers astrology that has otherwise never seen the light of day.

So although the Binder is the baseline story bible for most modern Transformers media, its influence isn't direct per se; it's more accurate to describe it as being an elaborate game of telephone between high-profile cartoons, comics, and other internal documents, with the Binder itself apparently just sitting in a drawer somewhere at Hasbro; Eric Pearson says that he never received a "binder", with the "script" he mentions either being the earlier draft from Andrew Barrer and Gabriel Ferrari (the guys who originally pitched the story), or some other unseen internal document. Director Josh Cooley, however, definitely seems to have been physically handed the Binder or its mass-market adaptation:

I knew that there was a lot of origin to be told, and when I first started, [Hasbro] gave me the Transformers Bible. I could not believe how big it was. I was like, "This is way more than I ever anticipated."

When trailers first dropped for Transformers One, a lot of my friends who are savvy were immediately like: "Oh, this is a weirdly faithful adaptation of the Binder of Revelation, huh."

I. The One True Origin of the Transformers

Half of the people reading this are Transformers fans, and half of you literally could not give less of a shit about Transformers, so if you're in the 'former group (so to speak), you'll just have to bear with me while I bring the rest of us up to speed.

Before the Transformers' civil war begins, Cybertron is being oppressed by the Quintessons. The Quintessons are a race of five-faced aliens (as in, not Transformers), who execute everyone they come across, first introduced in The Transformers: The Movie, presiding over a kangaroo court on a castaway world. In the followup cartoon five-parter "Five Faces of Darkness", writer Flint Dille established that, gasp, they were actually the original creators of the Transformers! But basically nobody else at the time was particularly compelled by this idea, it seems, with most fans preferring the more mythological origin story conceived by Bri'ish writer Simon Furman for the Marvel comics. I think people kind of just didn't like to think of the Transformers as being robots—mass-produced, a fabrication, programmed—as opposed to an alien race of thinking, feeling beings like us. But because the cartoon was important to many kids, a lot of early-2000s media tried to reconcile the cartoon and comic origin stories by stating that the Quintessons didn't actually create the Transformers; rather, they simply colonised the planet early in its history and pretended to be the Transformers' creators, until the truth came out and they got kicked offworld. This is how the Binder of Revelation ultimately paid lip service to the Quintessons. In Transformers One, the Quintessons are just sort of here, they're these evil aliens secretly skimming Energon from its miners, they don't speak English (or whichever language the film was dubbed into in your market region), they're just these nasty societal parasites.

Energon is Transformers fuel. In the original cartoon, it was these glowing pink cubes the Decepticons were always trying to produce using harebrained Saturday-morning-cartoon energy-stealing devices. There was a Cold War going on, America had just been through an "energy crisis", maybe you're old enough to remember any of that. Transformers are these big, complicated machines, so I guess the idea is they need this hyper-compressed superfuel to run off, and their homeworld has run out. By the time of the Binder of Revelation, the concept had been telephoned to the point where Energon is like the lifeblood of Primus or some shit.

Primus is the Transformers God—but not the kind of God you have "faith" in, rather this actual guy whose existence is objectively known in various ways. He transforms into a planet, that's kind of cool, right? Where does Primus come from? Look, it doesn't matter, he's like, the God of Creation, he was there at the start of time. He created all of the Transformers. All the other species in the galaxy, though, they evolved naturally thanks to "science". Actually wait, didn't that Quintus Prime guy go around the universe seeding all the planets with different kinds of Cybertronian life? That's why they're called Quintessons. See, now you know. Who's Quintus Prime?

Okay, so the Thirteen Original Transformers, or the Primes, are the thirteen original Transformers created by Primus. Most of them correspond to different kinds of Transformer: Nexus Prime is the god of Transformers who can combine, Onyx Prime is the god of Transformers who turn into animals, Micronus Prime is the god of Transformers who are small, and Solus Prime is the god of Transformers who are women. You might remember the Primes from Revenge of the Fallen, although there were only seven of them there for whatever reason.

Honestly, The Fallen was the only one who mattered for a long time. The whole reason there's thirteen of them is because thirteen is kind of an unlucky number, right? Twelve would've been fine. But throw in a thirteenth guy, and he betrays everyone, he's this fucked up evil guy. In the Binder of Revelation, though, the Thirteenth Prime is his own special guy shrouded in mystery, because they kind of liked the idea that Optimus Prime would secretly turn out to have been the Thirteenth Prime all along, and he just forgot or something, because that means he has the divine right of Primes. In IDW's 2010s comic-book reboot, the Thirteenth Prime was called "The Arisen"—in reference to that one line in The Transformers: The Movie, "Arise, Rodimus Prime!" (this margin is too narrow to explain who Rodimus Prime is). Towards the end of his run, writer John Barber did some actually interesting stuff with the concept, playing with the ambiguity over whether-or-not Optimus Prime was actually the chosen one.

All of Optimus Prime's immediate predecessors as Autobot leaders, Sentinel Prime, Zeta Prime, the lineage seen in "Five Faces of Darkness"... they're all false Primes. They're Primes in name only. In fact, IDW had a whole procession of these cartoonishly evil dictators thanks to a few continuity errors leading to the addition of a couple of extra narratively-redundant fuckers. Transformers One tries to simplify it slightly by just saying that Zeta Prime was one of the Primes for real—occupying that thirteenth "free space"—and it was just Sentinel Prime who was only a normal Transformer pretending to be a Prime, then Optimus Prime who's a real boy.

But if he's not a Prime from the start, Optimus Prime needs another name in the meantime. In the '80s cartoon episode "War Dawn", before he was called Optimus Prime, he was called "Orion Pax". Have you noticed that Optimus Prime is kind of an odd-one-out amongst all the straightup-English-word names like "Bumblebee" and "Ratchet" and "Jazz"? That's because his name was one of a tiny handful from very early in the franchise's development, before writer Bob Budiansky came onboard and came up with identities for the vast majority of the toys. Practically everyone Bob Budiansky named is called like, "Bolts" or some shit, long before the characters even know of Earth, which has always just been a contrivance of the setting you're not supposed to think about.

Presumably to create a parallel with Orion Pax's transformation into Optimus Prime, someone at Hasbro in the 2010s came up with a new name for the bot who would become Megatron: "D-16". In real-world terms, this was nothing more than a dorky reference to the Megatron toy's original Japanese release being number 16 in the line ("D" stands for "Destron", which is what they call Decepticons in Japan). But in-universe, the name "D-16" was drawn from the sector of the mine where he worked. I don't get the impression it was originally intended to be part of a broader pattern.

Which is why I'm baffled as to what the hell the reasoning was behind Bumblebee's pre-Earth name, "B-127". There's this bizarre situation in the Bumblebee film, where the name "B-127" first cropped up, where literally every other bot gets a normal cool name with personality like "Cliffjumper" or "Dropkick" except for Bumblebee, who is stuck with this clunky sci-fi name until he makes friends with a human teenager on Earth and she gives him the name Bumblebee. I guess I don't find it confusing that the writers would (correctly) realise it's a bit weird for Bumblebee to be called Bumblebee on an alien planet where bumblebees don't exist. What I find confusing is that they didn't extend that logic to any other character.

So despite everything else in the franchise's direction pointing away from "robot" and towards "alien", Transformers One ends up with this ridiculous situation where two of the most important guys are, for practically the whole movie, simply referred to as "Dee" and "Bee", I guess because the writers correctly realised the numbers sound fucking stupid.

And if you squint, "Elita-1" sorta fits this naming scheme. But the great irony of it is that the very same cartoon episode which coined "Orion Pax" simultaneously established that Elita-1 also used to go by a different name: "Ariel"! Like the Little Mermaid. Y'know, because an "aerial" is a type of electrical component- oh, forget it.

By the time the script made it into Eric Pearson's hands, it's obvious that he simply was not thinking about it that deeply. He describes the genesis of a scene where Bumblebee introduces his imaginary friends, "A-atron, EP 5-0-8, and Steve." A-atron was impov'd by Keegan-Michael Key as a reference to one of his own skits on Key & Peele. Steve ("He's foreign.") was literally just because Pearson thought it would be funny. It's true that Steve is an inherently funny name, and I guess if you're struggling to come up with jokes of your own, it can be handy to fall back on something which is inherently funny.

And again, our silly answers to these silly questions beget yet more questions. If he started out as "D-16", then where did the name "Megatron" come from? And if all the Primes have epic made-up fantasy names, then surely that one guy can't just be called "The Fallen", right? That's not a name, that's an epithet. Unfortunately, someone at Hasbro had the bright idea to answer both these questions at once: The Fallen's real name was "Megatronus". Later, for consistency, they threw on the title, and we get "Megatronus Prime", which sounds like what a thirteen-year-old on deviantART in 2014 would call their Steven Universe fusion of Megatron and Optimus Prime. So you see, Megatron actually named himself after Megatronus Prime, famously the most evil of the Primes. In Transformers One, this is changed slightly so Megatronus is merely the strongest of the Primes, as part of its overall effort to make Megatron not look completely insane.

Which, it must be said, is a tall order. Better stories have tried and failed. Back in 2007, Scottish writer Eric Holmes came up with Megatron Origin, a perfectly-fine comic miniseries which drew heavily from the miners' strikes that took place in the UK from 1984-1985, coinciding with the inception of the Transformers franchise. In that comic, Megatron is a lowly miner who, through a series of chance events, winds up at the head of a dangerous political revolutionary movement.

For some reason—I guess because nobody had ever tried to make Megatron anything other than a bloodthirsty cackling madman before—this take on Megatron as a guy who rose up against a corrupt system became the defining interpretation of the character, copy/pasted pretty much wholesale into the Binder of Revelation. Orion Pax also opposes the system, and bonds with Megatron over it, but they disagree on how to fix it: Pax believes in peaceful reform, Megatron just loves to kill. In Transformers One, the problem everyone has with Megatron is basically "whoa, this guy's a little TOO angry!" and there's a point towards the end of the film where Megatron suddenly starts jonesing to kill literally anyone who stands in his way, because he's irrationally angry.

The core problem here—and it's kind of the Magneto problem, the Killmonger problem, whatever better-known example you care to insert here—is that these guys all fundamentally exist just to be a big villain who loves to kill people and who ultimately gets defeated, but the kids who grew up on this stuff in the '80s are now adults who are no longer satisfied with cardboard cutout villains. People like a complex villain, they like a villain who has a point. They like to root for both sides. And in fact, it's easier to sell more toys to people who are rooting for both sides, if your villain is just another kind of hero. But you don't really need to take the same effort with the good guys: they're good by design, righteous by nature. They don't need to stand for something, they just need to stand against the guy whose whole thing is that he loves to kill people.

But again, we're starting from a place where the evil faction—who half the planet will ultimately align themselves with—are literally called "Decepticons". It's a name you'd only ever call yourself ironically, maybe reclaiming it from your enemies. In this film, there's some tortured logic that implies they're called Decepticons because they were deceived by Sentinel Prime. Like if you met a gang of guys who call themselves "The Robbers", but it turns out to be because they got robbed one time, and they actually have zero intention of stealing from anyone.

The Autobots are easier, of course. "Auto" is a prefix that just means, like, the self, or whatever. And the most agreeably American ideal of all is selfishness the power of the individual, the freedom to seize one's own destiny. Prime's original '80s motto, "Freedom is the right of all sentient beings," is bastardised in Transformers One into the slightly less rolls-out-off-the-tongue "Freedom and autonomy are the rights of all sentient beings," because (I can only assume) they forgot to work the word "autonomy" earlier into the script. If they ever greenlit Transformers Three, I suppose the motto would have ended up as something like "Freedom, autonomy, ruthless efficiency, and an almost fanatical devotion to the Pope are the rights of all sentient beings." Even though bodily autonomy is one of the most salient motifs present in the film—all but referred to by name—I suppose the filmmakers were worried that you might think, when Prime says "freedom", that he actually means something completely different. So now you see! "Autobots" is actually the descriptive name of a political movement which believes in obviously good things. Like "Moms for Liberty".

Okay, so the cannier among you have probably spotted the mean rhetorical trick I'm pulling with this encyclopedia-entry-ass introduction. By sarcastically relitigating all the storytelling choices I dislike from the last 20 years of Transformers lore, I can build up a negative association with Transformers One without even reviewing the movie itself! On a subtextual level, I'm deliberately misattributing these bad ideas to the filmmakers, conveniently ignoring the mountains of evidence to suggest that they were just trying to make the best of whatever Hasbro handed them from on high. If anything—you might think—the filmmakers deserve even more credit, for spinning this shite into something even remotely good on the big screen.

Like, you'd be wrong, but I can see why you might think that.

II. The Spider-Verse of Transformers

Okay, I can see that I've spat in your soup. I'm sorry. There are lots of good bits in Transformers One. I can even think of one or two of them off the top of my head, without really racking my brains.

Maybe halfway through the film, there is one specific moment where the story suddenly promises to get good. You can pinpoint it down to the word, down to the frame even. Our heroes have just discovered that their planet's leader, Sentinel Prime, is a complete fraud who's been secretly exploiting them ever since they were born—and worse, castrated them by removing their transformation cogs. They are all very cross about this. Orion Pax expresses that he wants to come up with a plan to expose Sentinel Prime. Megatron is too angry to listen. Orion Pax asks, "Don't you want to stop him?" And Megatron replies, "No, I want to KILL him!" And there's like, a little tint of red creeping into the glow of his eyes.

Whoa. Chills. Up to this point in the film, Megatron has been kind of surly at times, but he's otherwise a generic kids' movie protagonist. He's often chipper. He makes quips. He has this banter with Orion Pax where he's always complaining. It's literally that one "Optimist Prime"/"Negatron" comic, committed to film. Like I'm not even being facetious, one of the film's few obligatory "emotional moments" has Elita-1 sit Orion Pax down and say, "You know what I love about you? You always see the bright side. Like you're some kind of OPTIMIST or something." And then later completely unrelatedly God gives him the mandate of heaven and says "ARISE, OPTIMUS PRIME!" Y'see, as originally conceived, "Optimus" is the word "Optimum" if it was a name, which is why people sometimes localise his name as "Best #1". But it's genuinely kind of cute to reverse-engineer the etymology as coming from "optimist", I guess. Like, it's stupid, but it's cute.

Argh, I got distracted with naming minutia again! Entirely my bad. That's the last time, I promise. Where was I? Right, we'd just found out that Megatron is kind of scary. Brian Tyree Henry's line delivery as he growls "KILL" is his crowning achievement in this film.

Where Optimus Prime's character arc in this movie sees him change from a funny, rebellious spirit to a complete personality vacuum, Megatron's character arc is kind of the opposite. When we're first introduced to him, it's weirdly hard to get a handle on who he is. He's a fanboy for Megatronus, the strongest and most morally-unremarkable of the Primes. He looks up to Sentinel Prime. He likes sports. He doesn't like breaking the rules. In fact, we get the sense that, were it not for his friendship with Orion Pax, he would be literally indistinguishable from the legion of silent crowd-filling background characters he works with. But the moment he starts to become Megatron, it's like everything starts to click. Gears catch, where once they ground and idled. There is something in this guy that was made to fight, made to kill, made to rule. It's sick.

And the underlying tension in his friendship with Optimus suddenly snaps into focus. Megatron is mad at Sentinel Prime, but Sentinel Prime isn't there, he's somewhere else, far below... and he can't help but turn that anger on the next closest thing to an authority figure he has in his life, which is his peer-pressuring bestie, Orion Pax. There is a part of Megatron that wishes he'd never learned the truth, and he blames Orion Pax for his cursed knowledge, for constantly leading them into predicaments on his stupid flights of fancy. Now that he knows, he can't go back to how he was. He can't stop thinking about it.

I'll be honest, it rules. Obviously it rules. It's complicated and toxic and darker than this movie was marketed to be. In interview, Josh Cooley describes the draft of the script he was presented with when he joined the project as having been far more jokey, light-hearted, glib—and it seems we can credit him for saying "Look, this ain't right, the minute the credits roll these guys are going to be at civil war for millions of years."

So, they started talking about it in — what did you say, 2015? I came on board in 2020, and when I came on board there was the first draft of the script. So I don't think they'd been working on it that entire time, but they'd been thinking about it, for sure. And the script that I read was a little more comical? But it was clear that that wasn't the right tone for this film specifically, because we know there's gonna be a war, civil war on Cybertron, you can't have everybody making jokes and then all of a sudden there's a war. So, um, the stakes were really important for this film. And because our characters at the beginning are a little naive, and just on the younger side, not as experienced, it allowed more freedom for them to be a little looser and have fun really getting to know these characters. But once they realize something's going on and things are getting real, it needs to get real.

Cooley also describes his "in" on the film as being the brotherly relationship between Optimus Prime and Megatron (they're not literally brothers in this film, though they have been in the past), which perhaps explains why Megatron and Optimus Prime get to be characters, instead of just like, guys who are there.

That was always the goal from the beginning and what got me on board. It was this relationship between these two characters that was very human and brotherly. I thought about my relationship with my brother and how I could bring that in. It’s not like we’re enemies, but we grew up together and then went down our different paths, but we’re still brotherly. I became a writer-director and live in a fantasy land, and he became a homicide detective who deals with reality, so we’re two very different mindsets. I have always been fascinated by the idea of two people who come from the same place but end up in different ones. From the very beginning, I was like, ‘That’s something I can relate to.��

Anyway, things I liked, what else. There's that joke at the very start, after the excruciating lore powerpoint, where Orion Pax does a fake-out like he's going to transform, the music briefly swells, and then it just cuts to him legging it down the corridor. In a similar vein, I liked the idea behind the Iacon 5000, where Orion Pax has them run in the race. I felt like the execution of the race left a bit to be desired—the only other participant who matters is Darkwing—but it's still honestly the best big action setpiece in the film. There's also that bit at the end where Megatron and Optimus Prime are both changing into their final forms simultaneously, and it's basically a Homestuck Flash (what would that be, "[S] OPTIMUS PRIME. ARISE."?), so obviously I liked that. Oh, and I really liked the environment design where the planet's landscape is constantly transforming, that's brand-new, someone had an Idea there, and it creates visual interest during the initial Energon-mining scene... even if I wished it had actually paid off in a more meaningful way than "the planet's crust opens as Prime falls to get the Matrix"—like, someone really should've gotten eaten by the planet, that's a cracking Disney death scene and they left it on the table! I also liked getting to see my blorbo, Vector Prime, on the big screen.

I think, as a Transformers fan who's had to sit through a lot of really quite sexist, racist, and plain bad films, you're well within your rights to come out of this one ready to give it a fucking Oscar. You should be ecstatic! It has none of those pesky humans clogging up the frame. It has plenty of robot action. It has jokes which- well I struggle to call many of them "funny", but they're at least trying to be funny in a different way to Michael Bay's films. The film is obviously a massive love letter to... honestly every part of Transformers except the live-action movies. It is an incredibly faithful and earnest adaptation of all the lore and iconography that has randomly accumulated the way it has over the last forty years of bullshit.

My main point of contention, then, is with the overriding sentiment I'm seeing from pretty much everyone else in the fandom: that this is not just the best Transformers movie, but that it's a great animated movie period, that it does for Transformers what Into the Spider-Verse did for Spider-Man, what The Last Wish did for Puss in Boots, and what Mutant Mayhem did for Teenage Mutant Ninja Turtles. That, in effect, this film will make you "get it". That it's better-looking, better-written, and more meaningful than a silly toy commercial has any right to be.

I think you can definitely see some loose influence from Spider-Verse in the overall look of the film—particularly in its color grading, and in the design of its main setting, the underground city of Iacon, where the upside-down skyscrapers hanging from the ceiling evoke the iconic "falling upwards" shot from Spider-Verse. Like The Last Wish, it's an animated franchise film that spent much longer than you'd think in development, only for the release of Into the Spider-Verse to have an immediate impact on its visual style... without actually affecting the basic story to the same extent. Both Transformers One and The Last Wish, in many ways, feel like stories concocted using an older formula; in particular, Transformers One bears startling similarities to a similar toy-franchise-prequel, BIONICLE 2: Legends of Metru Nui, which was released twenty years ago! By contrast, Mutant Mayhem—which had a much shorter development period—is a direct reaction to Spider-Verse in both aesthetic and narrative, and it has a much more distinctive creative direction as a result.

If you look at how all these titles have performed in cinemas, I think you can make a pretty strong case that audiences are perfectly willing to go out and see this kind of flick. A glance at Wikipedia tells me that Mutant Mayhem, The Bad Guys, and The Last Wish grossed double, triple, and quadruple their budgets respectively. In terms of the pre-existing cultural cachet they were banking on, we're talking about Teenage Mutant Ninja Turtles, a children's book series I'd never heard of, and fucking Puss in Boots. You cannot tell me that Transformers, as a brand, is on the same level as any of these properties. Meanwhile, Transformers One hardly broke even, while The Wild Robot—another DreamWorks film based on a children's book I've never heard of, which it ended up competing with in theatres—grosses three times its budget. My friends who've seen The Wild Robot say it made them cry.

Face it: Transformers One has not lit the world on fire. I've seen a lot of people cope with this by suggesting that it's to do with the film's staggered release, or even by claiming that the film's marketing was somehow misleading. I'll be honest, upon seeing it, it did not strike me as being at all dissimilar to the trailers. You can maybe say that the trailers undersold the depth of Orion Pax's and Megatron's relationship—which is its best aspect—but honestly, I think if they'd taken a lot of those scenes out of context and put them in early teasers, audiences would've laughed it out of theatres. Like, c'mon, it's toy robots, stop pretending it's Shakespeare. And otherwise, what you see is what you get; it's exactly what it says on the tin.

I wonder how many Transformers fans, on some level, have noticed that even when we're supposedly "eating good", and watching "peak cinema", our films just aren't as good as everyone else's. They're something you'll enjoy if you're already highly predisposed to enjoy them. But otherwise, they're not turning heads. They're not as funny, or as heartfelt, or as complex, or as exciting, or as charming, or as memorable, or as beautiful as these other films. Unlike with Spider-Verse, there's no word-of-mouth amongst normal people to say that this is a film worth seeing.

What I perceive in studios hoping to recreate the flash-in-the-pan success of Spider-Verse is a misunderstanding of what made people go crazy for that movie in the first place. Yes, it changed our conception of what an 3D-animated film could look like. Yes, the multiverse is very cool and all that. Yes, it had a huge IP attached to it. But on a more fundamental level, that movie has a fantastic story underpinning it. The script is razor-sharp. The story is beautifully complex. The vision of New York City it presents is a living, breathing place, populated by real people. It has the kind of craft to it that can only come from truly obsessive creators cultivating an absolutely miserable professional environment for a legion of passionate animators.

In interview, Transformers producer Lorenzo di Bonaventura actually spoke surprisingly candidly about his view on crunch:

I probably shouldn't answer this question, because I'm not exactly PC on my answer. I think the nature of filmmaking is, we're really lucky to work in a business that's about passion. Passion doesn't fit really well into a timeline, so inevitably you come to a crunch time. It's just true in the live action, it's true in every movie, and authors always tell me that about when they're writing their books — it's the same thing happens to them! There's something about the creative process that's not — it's unruly. So, I think if you're enjoying it, you need to recognize that. Like, you know, I don't wanna abuse anybody, and y'know — if you get into that period where people have to really work too hard, you gotta help them in that situation, then. 'Cause it's gonna come. It does on every movie. I've never seen it not come, no matter how well you plan, et cetera. 'Cause it's not a science what we're doing at all, and there's all these discoveries that happen near the end, which makes you go "oh, let's do some more, come on!". We discovered that on this movie, where we're calling ILM going "we've got a few ideas, you know, do you have enough man-hours?". [...] Like, you gotta be conscious of it — in live-action, for instance, there are some studios that are so cheap that when you're on — sort of medium location-distance and you're shooting 'til midnight, they don't pay for a hotel room. It's like, well, no-no-no, you pay for a hotel room. You protect the people.

According to everyone who worked on Transformers One, everyone who worked on Transformers One was very passionate about it. But there are parts of this film where I think you can say, pretty objectively, that it's falling short of its intended effect. So I guess maybe they weren't that passionate. I'm not saying that to be mean! It's just... isn't that better than the alternative—that this was the best they could do?

III. I did not care for The Godfather

At one point in the film, the gang's magic map leads them to a scary cave, which looks like this:

Bumblebee fills the dead air by saying, "A cave, with teeth. Nothing scary about that!" The joke here is that this is a cave that looks like a mouth. But as depicted, it's a cave that looks like a mouth that doesn't look like a cave! I get that this is an alien planet, but stalactites don't grow that way on Earth, so when you see the cave onscreen, your gut reaction isn't "oh my, what a frightening cave!". No, this is a cave that makes you say, "that's not a cave, that's some kind of alien monster".

(It's not like "cave turns out to be a monster" would in any way be a fresh twist. In BIONICLE 2: Legends of Metru Nui, there's a bit where a character swims into a scary cave, and it turns out to be the mouth of a massive sea serpent. In The Empire Strikes Back, the Millennium Falcon briefly hides in an asteroid tunnel which turns out to be a giant space worm. So I'm definitely not saying Transformers One would've been a better film if it had used this stock trope.)

Then once the heroes go inside, we're whisked off to an entirely different set of concept artwork, for this lush organic underground paradise. There's no danger there. The cave itself is reduced to a strange little footnote. Maybe it's only in the story because a concept artist drew it before they'd worked out the finer points of the narrative, and Keegan-Michael Key just ended up ad-libbing the "teeth!" line when he was told to vamp for a few seconds. Or maybe the teeth gag was fully written into the script from the start, and the environment artists just interpreted it way too literally.

Like, I'm sorry, I don't mean to start off on the wrong foot here by harping on about the cave thing—it's not a perfect example anyway—but to me it's a microcosm for my frustration towards what I perceive to be a lack of creative vision in this film. So much of the film feels like it's not there to be entertaining, or meaningful, or narratively load-bearing... it's just obligatory, something they threw in for the sake of having anything at all. It's colors and sounds. When you see the spiky shape onscreen, you think, "ooh, this film was pretty bouba earlier, but now it's more kiki!" They get the comedian to improvise a few one-liners while the characters walk from place to place. And it's like, yes, this is a film for children. Of course the heroes have an adventure map with a big red X on it. In many respects this is a glorified episode of Pocoyo, or the modern equivalent, which I guess is "Baby Shark | Animal Songs For Children".

Nowhere is this sense of "we are obliged to put this in the movie" felt more strongly than in its supporting cast. When you look closely, you notice that Bumblebee and Elita-1—placed prominently in the film's marketing and being technically present for much of its runtime—don't actually do anything of narrative significance. They don't make choices that impact the story; they're just there, and it would not take much rewriting to excise them entirely, so it's just Orion Pax and Megatron on their little adventure. In fact, I'll just come out and say it: I think Transformers One would have been a better movie if Bumblebee and Elita-1 were not in it.

It helps that, from a Doylist perspective, the motivations for their inclusion are perfectly transparent. Firstly, think of the merchandise! Secondly, in Bumblebee's case, it's fucking Bumblebee, he's the whole reason half the kids will be watching, you can't not have him in there. Whenever Bumblebee's not onscreen, all the other characters should be asking, "where's Bumblebee?" Also, I think the creative team felt that they could use Bumblebee tactically to balance some of the darkness in the story.

In the G1 cartoon, Bumblebee just has the default Autobot personality—good-natured, a little sarcastic—with the dial turned a little more towards friendliness. There's this iconic anecdote from the production that cartoon, where writer David Wise found himself in exactly the same situation Transformers writers are finding themselves in forty years later: he was told to write a story about something called "Vector Sigma", and he had no fucking clue what Vector Sigma was supposed to be. So he asked story editor Bryce Malek, who also had no fucking idea. Malek in turn asked Hasbro, and was told that Vector Sigma was "the computer that gave all the Transformers personalities". Upon hearing this, Malek said, "Well, it didn't do a very good job, did it!" Vector Sigma, in case you missed it, does actually appear in Transformers One, as the polygonal shape that transitions into the Matrix of Leadership in the opening powerpoint; I guess they're one and the same now. Some things never change: in Michael Bay's Transformers movies, there is again just a single default personality that every single Autobot shares, a braggadacious action-hero facade over genuine bloodthirst. Who can forget that iconic moment in Revenge of the Fallen where Bumblebee rips out Ravage's spine in grisly slow-mo?

Aside from the fact that he's small and yellow, Bumblebee in Transformers One bears very little resemblance to any incarnation of the character kids might be accustomed to. Instead, he occupies a stock comic-relief archetype, he's a zany guy who goes "Well, that just happened!" If anything, his one joke in the third act—wanton murder—reads like it could maybe be a reference to his many Mortal Kombat fatalities in Bay's films. Beginning in 2007's Transformers Animated, Bumblebee has sometimes possessed deployable "stingers" that flip out from his hands, as a fun action feature for toys. Clearly someone on Transformers One saw this and thought it was the funniest fucking thing that Bumblebee has "knife hands", because the character spends the third act of the movie just shouting "knife hands!" and cutting people in half like a medieval terror.

(In the UK, Bumblebee's lines were re-recorded at the last minute so he says "sword hands" instead. This is because in the UK, we generally aren't able to kill each other using guns, so it's knives that are the big armed-violence boogeyman. Everyone's always talking about how all the kids have knives. And look, I'm not someone to indulge in moral panic, but genuinely, when I look at Bumblebee chasing around people with knives, saying, "I'm gonna cut these guys, watch!", I'm like... what the fuck were they thinking when they wrote that?)

Frankly, whatever is going on with Bumblebee is just an entirely different movie to everything else that's happening. When Bee shanks his twelfth nameless lackey in a row, the movie's like, awww, you're sweet! But when Megatron tries to kill the one (1) evil dictator who's just fucking branded him, who's still lying to his face while his people continue to die to the guy's fuckin' honor guard, Optimus Prime is like, HELLO, HUMAN RESOURCES?

Bumblebee is solely here to be funny, but there's a point in the film where it needs to become a war story, and the best they can think to do with Bumblebee is to have him kill people but in like, a funny way.

As for Elita-1... look, to put it very bluntly, she is in this movie to be a woman. Transformers has had a long, long forty-year history of boys'-club exclusionism, if not outright misogyny, and each new series usually has a token female character, as a kind of fig-leaf for the fact that really, the only fucking thing Hasbro cares about is that the boys are buying the toys. Beginning in the 1986 movie, it was Arcee who got to be "the pink one" for many years of fiction—but not toys, y'see, when parents want to buy something for their beloved young lad, they don't buy "the pink one", no sir. In the 2010s, wow-cool-OC Windblade took over for a stint as leading lady, decked out in a commercially-non-threatening red color scheme. Recently, though, it's been Elita-1—Optimus Prime's girlfriend from the original '80s cartoon—who's been the go-to female character, and she's increasingly allowed to be pink.

There is a lot of love for these characters amongst creatives and fans alike, and especially in the last decade, female Transformers have been both more numerous and better-written than ever. Unfortunately Transformers One, which depicts Elita-1 as an arms-crossing career-obsessed buzzkill, whose arc sees her learn her place in deference to a less-competent man... well let's just say it struck me as a significant step back in this regard.

There's this great interview with Scarlett Johansson, voice of Elita-1, where she's trying to describe what makes her character interesting, and it's like she's drawing blood from a stone. She's like, "yeah, so Elita-1, I would say, she's on her own journey, because at the start of the film it's sort of like she's working at a big company, you know, and she wants to get a promotion, but then later on she learns that she can't, y'know, get a promotion". Look, it's not that Scarlett Johansson does a bad job—in fact, considering the material she's working with, she practically carries Elita-1 entirely on the back of her performance—it's just that I can't shake the impression that the filmmakers would rather pay Scarlett Johansson god knows how many thousands of dollars than try to think of a second actress that they know of.

As I've already complained, Transformers One has a pretty thin cast, but it effectively only has two other female characters who do anything. Airachnid is a secondary antagonist, Sentinel Prime's spymaster/enforcer, and it's clear that some concept artist really fucking popped off when designing her. She has eyes in the back of her head, and it's ten times creepier than that makes it sound. Her spiderlegs also create some visual interest during fight scenes. As a character, Airachnid has zero internality and is not interesting, but she is cool, so you'll get no complaints from me there.

The film's other other female character is Chromia, who wins the Iacon 5000 race at the last moment. She really comes out of nowhere to clinch it. It's funny, because the leaderboards show this one guy, Mirage, hovering near the top of the rankings for almost the whole sequence. And Chromia's character model really looks suspiciously like Mirage's. In fact, there's a different character who stands around in the background a couple of times who looks much more like Chromia. Funnily enough, that background character is even called Chromia in concept art! So if you connect the dots, it really seems that the "Chromia" who is the best racer on Cybertron was originally meant to be Mirage, a guy, until they switched the character's gender at the very last minute, and didn't bother changing the leaderboards to match.

There are two possible explanations for this. The first is that Mirage was the dark horse of Rise of the Beasts, and for some reason they felt like his depiction in Transformers One would've gotten in the way of their plans for the character somehow. It's plausible, I guess. The second, infinitely funnier option, is that at some point someone working on the movie realised that they only put two women in the film, scrambled to look through the feature to find a suitable character to gender-swap, only to discover to their horror that they'd forgotten to put in any characters whatsoever. Fuck it, the racer guy! He can be a girl. Diversity win, the fastest class traitor on Cybertron... is a woman!

In case you were wondering about the Transformers One toyline leaderboards, by my count, Orion Pax has ten new transforming toys currently announced or in stores, Bumblebee and Megatron have six each, Sentinel Prime has four, Alpha Trion has two, Elita-1 has two, Airachnid has one, Starscream has one, Wheeljack has one, and the Quintesson High Commander has one. In fact, one of Elita-1's toys—the collector-oriented high-quality Studio Series release—isn't scheduled for release until some undetermined point later next year, and she was entirely absent from leaked lists of upcoming releases, which to me smacks of "we realised last-minute that it would look really really bad if we didn't bother to release a good toy of the one woman in the film". Oh, and obviously, Chromia has no toys—but there is an "Iacon Race" three-pack consisting of Megatron, Orion Pax... and Mirage. Go figure.

The thing is, all of the stuff I'm grousing about here is pretty much standard fare for kids' films targeted more at boys. Hell, even The Lego Movie—which is basically the gold standard of toy commercials—gave supporting protagonist Wyldstyle a pretty similar arc to the one Elita-1 gets here, which was probably the weakest element of that film. Evidently conscious of this, Lord & Miller redeemed themselves by devoting the entirety of The Lego Movie 2: The Second Part to deconstructing common narratives surrounding gender roles. I guess I just wish the young girls who presumably comprise some portion of Transformers One theatergoers could actually get anything out of Elita-1 as a character. Ah, what do I know, maybe it's still considered countercultural simply to depict a woman punching people.

Still, to give credit where it's due: Transformers One doesn't remotely touch the gender-essentialism prevalent in the Binder of Revelation, treating female Transformers no differently to their male counterparts in lore terms. Solus Prime is, it seems, just a Prime who happened to be a woman, rather than the mythological Eve after whom all women are patterned. There's a scene where our heroes are gifted the Transformation Cogs of the fallen Primes, and the Primes named thankfully bear no particular relation to the characters; in other words, Elita-1 isn't given Solus Prime's cog. As Alpha Trion puts it: "What defines a Transformer is not the cog in his chest, but the spark that resides in their core." Dude really remembered nonbinary people exist halfway through that sentence huh.

(Actually, the bigger mistake would've been with Megatron: if he was given Megatronus Prime's cog from the start, then this would've created the unfortunate implication that his descent into evil was only the result of Megatronus Prime's fucked up and evil cog, rather than a choice Megatron made of his own free will. The film instead has it the other way around: Megatron's radicalisation into a "might makes right" philosophy is what causes him to covet Megatronus Prime's transformation cog, to steal that power from Sentinel Prime, who stole the cogs of both Megatronus and Megatron in the first place. That's cool! This does create a bit of unfortunate narrative dissonance with Alpha Trion's words, alas, as it does seem like Megatronus Prime's cog really is more powerful than the others, because it gives both Sentinel Prime and Megatron a powerup.)

There's just something that I find so dreadfully mercenary about this movie's cast—honestly, everyone except Orion Pax, Megatron, and maybe Sentinel Prime. Take Darkwing, for example. Bro was clearly designed from the ground up to fill this stock character role of "bully who pushes our guys around and later gets his comeuppance". For a more interesting take on that exact same archetype, look no further than Todd Sureblade from Nimona, a bigoted knight who gets a whole damn character arc in the background, which directly complements that film's main themes.

Again, I'm not playing some kind of guessing game here, the authorial evidence is right there: Darkwing didn't even have a name until Hasbro designer Mark Maher was shown a picture of the character and asked, "If this was a Decepticon flyer, who would it be?" This is actually par for the course with ILM; most of their concept art is labelled with very basic descriptions, with the exact trademarks being picked in conjunction with Hasbro at a later point. Darkwing just stands out in Transformers One because he's the only recurring speaking character who's an OC in all but name (unless you count Bumblebee), he's the one guy who's been invented from scratch with total creative freedom, and he's boring as sin. It's like the filmmakers just couldn't conceive of a children's movie without that stock character—and they clearly had no idea what to do with him once they'd invented him, because he disappears entirely from the film at the start of the third act, when Orion Pax throws him into an arcade cabinet, which they have in the mines on Cybertron for some reason.

In a film with as painfully few named speaking characters as Transformers One, there's really no excuse for having this kind of one-dimensionality in their portrayals. Genuinely, I ask—who are Orion Pax and Megatron fighting to liberate? Jazz, one of the biggest personalities from the original G1 cartoon, who gets all of two boilerplate lines here? Cooley seems to think so:

As you’re designing them the background characters are almost like Lego pieces where you put different heads on different bodies just to fill in a crowd. But some of them would be brought forward and be painted specific colors so that it represents a character that I didn’t know was such a big deal. But there was stuff—like Jazz, for example, has a pretty big role. It was important to have a relationship with a character that we know gets to be saved.

To me, the idea that casual cinemagoers would be invested in any of the Transformers as characters is laughable. Michael Bay's characters are famous for being hateful non-entities. In terms of the films, Jazz is best remembered for dying at the end of the first one, seventeen years ago; he looks completely different here. The one breakout character in recent years—Mirage, as played by Pete Davidson in Rise of the Beasts—was, as I've already mentioned, written out so that the movie could reach its girl quota... not that he would've had any lines anyway.

And I just don't buy the idea that the complete dearth of compelling characterisation in this film is just an unfortunate side-effect of its clipped one-hour-thirty runtime—that, given even half an hour longer, the film would suddenly be crowded with rich portrayals of all your Transformers faves. Bumblebee and Elita-1, ostensibly two of the most important characters in the film, are not in this movie because the movie is interested in telling their stories. They are in this movie for the sake of being in this movie. It insists upon itself.

IV. No politics means no politics

In fact, putting aside merchandising considerations, Elita-1 and Bumblebee serve one very specific purpose in narrative terms. The trait Optimus Prime and Megatron have always had in common is that they are both leaders—and what is a leader, without anyone to lead? Without Bumblebee and Elita-1, you'd have this farcical situation where the only person Optimus Prime ever gets to boss around is Megatron, until the very end of the movie when God makes him king of all Cybertron. The High Guard, Starscream's gang of exiles, serve a similar narrative purpose for Megatron; they're a ready-made army who've just been sitting around waiting for him to show up and take charge.

Towards the end, the movie does actually take care to show both Orion Pax and Megatron rallying groups of Cybertronians: in Pax's case, he reveals the truth to his legion of interchangable miner friends, while Megatron riles up the High Guard mob. Again, there's a bit of that narrative sleight-of-hand, a bit of a thematic cop-out, where the question of "how do Optimus Prime and Megatron come to be leaders of their factions?" is answered only in the most literal possible interpretation. Yes, we technically see the exact chain of events that lead to this point—but both characters are portrayed as born leaders. We don't see them grow into the role, except physically. The moment Megatron decides he wants to rule, he's able to take charge. Likewise, Optimus Prime just gets divinely appointed by God. At a key point, Megatron loudly declares "I will never trust a so-called leader ever again", and the movie plays a fucking scare chord like this is supposed to be ominous. Like, oh no! Optimus Prime is a leader! And they're friends! Whatever will Megatron do when he finds out his friend, Optimus Prime, is a leader?

I don't think the movie has given any real thought to what a leader actually is. It seems to take a stance that power cannot be taken, i.e. through violent action, as Sentinel Prime and Megatron do. That one scene with Elita-1 suggests the most important trait for a leader to have, above and beyond any particular competency, is simply hope and optimism. What I just can't wrap my head around is the fact that the counterpoint the movie presents to Megatron, in the form of Orion Pax becoming Optimus Prime, does not support a belief in collective action or basic democracy—rather, it's a boring sword-in-the-stone divine-right-of-kings fantasy.

Except I do have a theory for why the film is like this. Let's look again at that interview with Eric Pearson, who came onboard in the "late middle" of production:

One of the first things that I did was a big pass on Sentinel Prime. I just felt like he was too obviously telegraphing his wickedness in previous versions, and I felt like, “No, he’s a carnival barker.” He’s got to be a big salesman. He’s a bullshitter, honestly is what he is.

(Honestly, if this is Sentinel after a "big pass" to make his villainy more of a twist, I shudder to think what the earlier drafts were like.)

Now, let's see how WIRED introduces their interview with Josh Cooley, titled "Transformers One Isn't as Silly as It Looks":

He liked the script, which traces how Optimus Prime (Chris Hemsworth) and Megatron (Brian Tyree Henry) went from friends to enemies. But as the world went into lockdown as Covid-19 spread, Cooley found his story changing, if only slightly. Trump was still in office when Cooley started working on the film, and he was having meetings with the producers and they’d “start these meetings off on Zoom just going, like, ‘Holy crap what is going on in this world?’” he says. Ultimately, the infighting they were seeing between Democrats and Republicans in the same family became an undercurrent in the film’s friends-to-enemies storyline, “because that’s what Transformers is.”

So it's like, oh, this is a 2016 election thing. This is just that one election that broke everyone's brains. Of course this movie about a made-up political struggle on an alien planet being developed from 2015-2020 wouldn't be like, hey, you know what might fix our society's problems, is if we had an election. Of course the main villain is a "big salesman" "bullshitter" who says things like "The truth is what I make it!". Wow, guys, your film is so-o-o politically-conscious, and very pretty.

The fantasy is more or less that Donald Trump's army of reactionaries is marching on Washington to seize power through violent means, and on the way he drops Joe Biden into the Grand Canyon, but just before Joe hits the ground a giant fucking bald eagle swoops in to catch him and squawks, "God finds you worthy! Arise, President Biden!"

In our escapist little morality play, our best friend slash allegorical dad gets made king of the planet, and we all get jobs in the government. As in, one of the funniest lines in the movie is straightup Bumblebee exulting, "This is the greatest day of my life. I get to work for the government!" When Prime met Bumblebee—an hour ago—the dude was talking to imaginary friends, and honestly the only fucking skill he's demonstrated since then is cold-blooded murder. We have this dissonance in the storytelling, where it's mostly a story about four friends going on an adventure (are they even friends? Most of them hate each other!), but it's also a founding-fathers political origin story, which means there comes a point where our hero just suddenly starts bossing his friends around in a deep voice, and they're like, "Yes, sir!" It creates this unhinged situation where the "good" faction on Cybertron is ruled by the biblical chosen one and his nepotism buddies.

Per that quote from WIRED (or are they just putting words in Cooley's mouth? I can't help but notice they don't give an exact quote!), the film is ultimately sympathetic to the bad guys (the Republicans, I guess). It deliberately suggests that there is really nothing that should divide the Autobots and the Decepticons: their political goals, it claims, are identical, and they only disagree on the means by which to achieve them. The Decepticons, who are angry and hateful, have simply been misled by a power-hungry liar with charisma—first Sentinel, then Megatron—and so the tragedy is that they are artificially pushed into conflict with their fellow men, when really they should be uniting to stand against their common enemy, the foreigner illuminati trying to steal Cybertron's wealth.

Now, I know I've just handed you a get-out-of-jail-free card. My political allegory here is chock full of holes. What, are Sentinel Prime and Megatron both Donald Trump? Get a grip. Obviously any real-world commentary in Transformers One was only intended in the loosest sense imaginable: things like, "people should be free to change into whatever they want!" I'm being unfair, I'm reading too much into it, this is a cartoon movie for children, and if I want politics, I should start reading some fucking books. Also, come to mention it, my whole argument about that cave earlier really didn't hold water, and- I know, alright? I know.

V. Place / Place, Cybertron

I'm not mad at this toy commercial because its politics don't quite align with mine. I'm not mad at it for having a boring-ass supporting cast. I'm not mad at it for reheating a bunch of half-baked lore I didn't care for from the early 2010s. I've actually spent a lot of time mad about Transformers media that I've thought was bad. There's Transformers: Armada, where the English translators are fully asleep at the wheel and render even the most basic cartoon plots incomprehensible though constant mistranslations. There's Transformers: Micromasters, where two white guys wrote a downtrodden race of tiny Cybertronians who greet each other like "Wattup, my micro!". There's the recent series of Transformers: EarthSpark, where there's an episode that I can only describe as "the Wonka Experience but it's an episode of a children's cartoon", with a plotline that mostly revolves around our child heroes straightup robbing a Onceler-looking businessman of his most valuable possession. There's Transformers: Age of Extinction, with that one scene, and also the rest of that movie. In fact, I would go so far as to say that most Transformers fiction is some combination of bad, offensive, and offensively bad.

So even though I've just spent thousands of words whinging and moaning about how I didn't like Transformers One, the truth is that I had a perfectly nice time at the cinema. I got to go see it with five of my pals who love Transformers just as much as I do, and we had a blast. It is easily in the top 50% of all Transformers fiction.

Unfortunately, for whatever reason, I guess I've always given a lot of thought to what Transformers looks like from the outside. Maybe it's that I'm compelled to spend so much time and money on it, that it somehow compels me to vomit up these kinds of essays, and all I want is to be able to make it make sense to anyone in my life. It would be so, so nice if I could just sit down in the cinema with a friend or family member for a couple of hours, and at the end of it, they'd be able to walk out and say, "Okay, I guess I see what you get out of it." Rise of the Beasts was kind of that movie for me, but Rise of the Beasts is also the seventh instalment in a blockbuster franchise. It kind of takes for granted everything about Transformers.

It doesn't answer, "what the fuck is a Transformer anyway?"

For many years now, fans have noticed a marked aversion to using the word "transform" as a verb, or even as a noun. Optimus Prime no longer says, "Autobots, transform and roll out!", he just says, "Roll out!". Transformers no longer transform, they "convert". In fact, Transformers are no longer Transformers at all: they are "Transformers bots", the italics here serving to distinguish a registered trademark. This is because the worms in suits at Hasbro are worried that, if they continue to use the word "transform" by its dictionary definition—that is, to change—then rival toy companies will be able to make the case that anything that transforms can legally be described as a Transformer. It will become a generic trademark, like Velcro, or Band-Aid, or Dumpster.

Yet in Transformers One, "Transformers" is not just the noun by which the characters are referred to—rather, it's used in a descriptive sense to specifically mean "Cybertronians who can transform"! Characters are constantly talking about whether they can or can't transform. Prime gets to say his catchphrase in full. It's a miracle. Not only that, characters even get to say the word "kill" instead of "defeat" or "destroy".

Transformers One has a level of unrestricted creative freedom not seen since the 1986 animated film. This is a film unconstrained by location shooting, or licensing deals, or uncooperative actors; through the magic of CGI, for every single frame of its one-hour-thirty runtime, the filmmakers can put literally whatever they want on the screen. They were given the assignment, "Make an animated prequel set on Cybertron telling the origin story of Optimus Prime and Megatron", handed an estimated $147 million and a blank page, and told to go nuts. Like those born with transformation cogs, Transformers One had the power to become anything it wanted to be.

The 1986 animated film took that carte blanche to do whatever the fuck it wanted, and basically singlehandedly defined the direction of the franchise ever since. On a lore level, in terms of tone, I would say that Transformers owes practically everything to The Transformers: The Movie. Cartoons, comics, films, and video games have adapted every single one of its scenes countless times over. I'm not necessarily saying that it's a good film, or even that it's a particularly original film—much of it is ripped off from Star Wars—just that it took the franchise somewhere it hadn't gone before. It was looking to the future. As in, literally, it was set in 2005, at the time two decades into the future.

What gets me down about Transformers One is that—like most major franchise media released since The Force Awakens—all it can do is think about the past. Swathes of it are devoted to painstakingly recreating or setting up the various bits of iconography which have arbitrarily come to define the franchise. Even when it appears to be taking things in a new direction, it's not long before it course-corrects back into familiar territory: Steve Buscemi invents a surprisingly fresh take on Starscream's voice, and then Megatron half-strangles him to death, saddling him with a post-produced rasp to emulate Chris Latta's iconic performance from forty years ago.

The very title of the film, Transformers One, is an allusion to the line, "Till all are one," which originates in The Transformers: The Movie. In an early script for that '80s feature, it was actually "Till all life sparks are one", referring to a literal metaphysical process in that draft whereby one Transformer's life force could be passed on to another, presumably with the belief that they would all eventually be merged into a single afterlife. In the finalized story, it's just this kind of mystical phrase vaguely evoking concepts of togetherness and unity.

Transformers One brushes up against the phrase a couple of times. Alpha Trion almost says it at one point, when passing on his dead siblings' transformation cogs: "They were one. You are one. All are one!" Whatever that means. Later, Orion Pax starts a chant amongst the miners: "Together as one!" And finally, at the very end of the movie, during his obligatory film-ending monologue, Optimus Prime again goes: "And now, we stand here together... as one." (Half of Cybertron has just been banished to the surface forever.) "[...] Here, all are truly... Autobots." (Again, half of Cybertron- Optimus, what the fuck are you talking about?) Regardless, this is inexplicably the one instance where the movie doesn't twist itself up into knots trying to nail the exact phrasing.

Actually, there is one other sideways reference like this I can think of. Early in the film, Orion Pax is chatting up Elita, and he remarks, "Feel like I have enough power in my to drill down and touch Primus himself." To which Elita replies, "You don't have the touch or the power." This is kind of a nonsensical retort unless you know that in the 1986 movie, one of the most iconic songs on the soundtrack was "The Touch" by Stan Bush, which had the chorus line: "You got the touch! You got the power!" It's a banger. Anyway, remember when I said Darkwing gets chucked through an arcade cabinet? Well, here's Cooley revealing why that arcade cabinet is in the film:

I actually wrote [that exchange between Orion Pax and Elita] because I love that song. [...] And we had this one version where D-16 and Orion were playing a video game, like a stand-up old arcade game—it was inspired to look like that, but a Cybertonian version of that. They’re playing that together like friends and the song, like the 8-bit song that’s playing is ["The Touch"]. But that scene got nixed. And so I wanted to work it in there somewhere. And I just felt like a natural place for it. But that was one where I’m like, "I just love that song and those lyrics and that’s Transformers to me so I want to get that in there."

(I've had to amend that quote to fill in the blanks where the article has redacted "spoilers" for the movie. Spoiler culture is an absolute pox, I swear. Can't have the audiences knowing about one (1) mid joke in advance—the movie barely has enough jokes to fill a "Transformers One Funny Moments" compilation as it is!)

This actually isn't the first time Hasbro has "nixed" a reference to "The Touch" in major Transformers media. In the Transformers: Cyberverse episode "The Alliance", a character references "The Touch" right before a training montage which is clearly supposed to have the track playing, except instead it's been replaced by a generic rock instrumental, presumably because they couldn't afford the license. And in Daniel Warren Johnson's Eisner-award-winning bestselling comic run, there's one panel where he clearly wanted to include the song's lyrics as a sound effect, but wasn't allowed, so the final sound effect famously reads "YOU KNOW THE SONG". But that's a random episode of a bargain-bin cartoon, and an indie-darling comic series—not a $147 million blockbuster. You really have to wonder if it came down to money, or if it was something else. God knows Transformers One would not actually be improved for having a chiptune remix of "The Touch" in it, anyway.

The most egregious misplaced bit of fanwank in the film isn't even in dialogue. In the 1986 film, there's this one iconic moment when Optimus Prime arrives at the besieged Autobot City, drives through a crowd of Decepticons in truck mode, then fires some afterburners, launching his cab up into the air, where he transforms mid-leap, drawing his blaster to shoot a couple of Decepticons before hitting the ground. It's a fantastic bit of original animation. It's the Akira slide of Transformers. And, surprise surprise, it crops up in Transformers One. In the climactic final fight, Orion Pax shows up to save Megatron, and he does the thing.

But the problem is... he's not in truck mode! The film just cuts to him standing there in the middle of some anonymous mooks, then he does a standing jump into the air, the movie momentarily goes into extreme slow-mo like he's doing a fucking quick-time event, then he shoots a couple of guys and drops to the ground. There's no momentum. It exists purely to create that simulacrum, to take the single most iconic frame from that bit of 1986 animation, and stretch that one frame into infinity. The context is discarded, irrelevant. All that matters is that brief moment of recognition: "I know what that iiis!" God knows Transformers One has precious little in the way of impactful fight animation of its own; the choreography is stiff and uninspired, while the shots themselves are nauseatingly cluttered. Often, the best it can do is pilfer from older, better stories.

"Did you clap at any of the new moments and memorable characters?" "Were there any?"

Look, I get it. Transformers One is a prequel. By definition, it can't change the future. It has to play with the characters that are already in the toybox. But I do think it had this really special opportunity: to show theatregoers where the Transformers come from. To show us Cybertron not as a distant star or a barren scrapyard, but as a living, thriving alien world, unlike Earth, something special and worth protecting in its own right. Something new and memorable. In Rise of the Beasts—probably the best Transformers movie by default—when Optimus Prime is at his lowest, he wants nothing more to return home... but home is something we've only ever seen as a cold dystopia, ruled by Decepticons. The version of Transformers One I had hoped to see was one that would have imbued Optimus' homesickness with greater meaning. I wanted to feel his loss, and to hope that one day the war will end, and Cybertron can be restored.

I think Transformers One sincerely tries to achieve this effect. The concept artists have clearly put a great deal of time and thought into Cybertron as an environment. When the artbook comes out, I'm keen to see how much stuff didn't make it into the finished film. You have to assume most of it got cut, because there's next to nothing left!

At the end of the film, battle lines are drawn, the civil war is about to start... but strangely, the movie's setting does not convey the sense that anything beautiful is being lost. Nobody is unwillingly turned to violence, innocence-lost; they're all too eager to get to killing, friggin' Bumblebee is gleeful about it. There's no beautiful, iconic landmark, which gets tragically destroyed, like in some kind of Transformers 9/11—"What have we done! Where will this war take us!". There's no part of Cybertron's natural ecological environment to be ruined by the war, because the surface world is already turbofucked by the Quintessons to begin with. No, rather, we have the total opposite: Optimus Prime finding the Matrix (which was just, like, hanging out in the core of Cybertron or whatever) actually restores Energon to the planet, removing the unnatural scarcity which was the entire impetus behind the film's dystopia. He made Cybertron great again. So again, Transformers One fails to answer one of the most fundamental questions one might expect of a Transformers prequel: "When did things on Cybertron get so bad?" The movie ends with the planet in better shape to how it started!

The big original idea that Transformers One has is that Cybertron, the planet itself, should be in a constant state of transformation. I've already talked about the beautiful shapeshifting landscapes, but it's also the moving buildings, the complicated mechanisms, the roads and rails that magically lay themselves between the vehicles and their destinations. I've already mentioned how odd I find it that none of these environmental transformations have any significance to the story; the closest it comes to some sort of payoff is when Orion Pax falls into the hole that makes you king.

What I find most perplexing are the deer. When the gang makes it to the surface, the idea is to show the natural beauty of the surface, which the cogless have been denied their whole lives. The mountains glisten as they move. Nebulae glow in the night sky. The surface is blanketed in organic (?) plantlife, like a watering can forgotten in a garden. And, most strikingly, there are deer: mechanical animals, just like those found on Earth, being hunted for sport by the evil Quintessons. When the cruisers near, their glowing horns turn red with alarm, and they prance around in fear.

I'm reminded of a brief gag from the third season of Transformers: Cyberverse—one of very few shows to have devoted any serious effort to Cybertronian worldbuilding—in the episode "Thunderhowl". Bumblebee and Chromia stumble across a "singlehorn" (read: unicorn), and when it senses danger, it neighs, transforms into a rocket, and blasts out of frame. And apart from being really cute and funny, it's like, oh, of course that's what animals are like on Cybertron! Everything on this planet transforms. Why not the animals?

For whatever reason, the deer in Transformers One are like the one thing that don't transform. Why the hell not? If Cyberverse could find the budget for its split-second sight gag, surely this blockbuster could, I don't know, have them turn into dirt bikes with antler-handlebars. That would've been something, right? If not, then at least could we maybe see some other animals on Cybertron, to really get across that alien biodiversity? Of course not. See, the deer exist to communicate one very specific story beat: a single moment of trepidation, where the heroes know there's danger nearby, but they don't know what. And all you need for that is a single kind of prey animal, with some kind of warning light to let you know, hey, there's danger! Once this purpose is fulfilled, the deer have no further significance to the story.

We need only look to BIONICLE 2: Legends of Metru Nui to see this exact same beat play out with a modicum of competence and creative flair. Also in the second act—in fact, at practically the exact same timestamp—our heroes, the Toa, have a run-in with the bad guys, and they're nearly captured... but then there's this sudden rumble of danger approaching, we don't know what. It turns out to be a herd of giant Kikanalo! They send the bad guys packing, except they nearly trample our heroes too! But then, Toa Nokama's mask begins to glow, and she discovers that her mask grants her the ability to talk to animals. They learn some vital information from the Kikanalo, and are able to ride the creatures for the next stage of their adventure. Finally, when they can go no further, the Kikanalo cave in the passage behind the heroes to ensure they won't be pursued. Holy shit, that's like, five different story beats with just that one type of creature!

It's not just that Transformers One struggles with that kind of basic narrative flow, where a single element serves multiple purposes. It's that often, it wastes precious time creating redundant setups to achieve the same effect twice.

For example, Megatronus Prime's face happens to look exactly like (what we know will be) the Decepticon insignia. At the beginning of the movie, Orion Pax mollifies Megatron by giving him a rare decal of Megatronus Prime's face. Traditionally, Megatron wears his insignia in the middle of his chest—but in this film, nearly every character has a big hole in the middle of their chest, where their missing transformation cog should go. So Megatron sticks the decal on his shoulder instead.

Later, he gets a cog, and the hole in his chest is filled. When Sentinel Prime captures Megatron, he notices the Megatronus sticker, and rips it off. Then, he re-applies it on Megatron's chest—purely so it's in the "right" place for the iconography. And then, he uses his gun to crudely brand Megatron with a tracing of Megatronus' face, inadvertently creating the Decepticon symbol. Finally, in a post-credits scene, Megatron has fashioned a proper Decepticon brand with which to brand himself and his followers. So in effect, there are four separate moments where Megatron gets the symbol! Orion sticking it on his shoulder, Sentinel moving it to his chest, Sentinel mutilating him, and finally Megatron branding himself. You can make an argument that the symbol starts out meaning one thing, but ends up meaning another thing, which has a kind of tragic significance—but I think you would struggle to distinguish subtle shades of meaning from all four of these brandings. Considering the movie only has an hour and a half to work with, I find this lack of narrative economy to be honestly embarrassing.

(My friend Jo also points out what a misstep it is to just have Megatronus Prime's face perfectly resemble the Decepticon symbol from the start. Had it been a looser, more stylised—that is to say, original—design, the moment where Sentinel Prime roughly carves it into Megatron's chest could be a shocking reveal, as the basic outlines are abstracted and simplified. Gasp, that's the origin of the Decepticon symbol! Instead, from the very moment that sticker first shows up, it's like... oh, well, there it is I guess.)

In a similar vein, both Optimus Prime and Megatron undergo two different transformations at different points in the movie: first, when Alpha Trion gives them transformation cogs, and second, when respectively they obtain the Matrix of Leadership/Megatronus' cog. The gun that sprouts from Megatron's arm in his intermediary form bears a much closer to resemblance to his iconic "fusion cannon" than the triple-barrelled cannon he ends up with in his final form. Again, in such a short film, can we really say whatever subtlety this brings to Megatron's arc is worth all this fanfare? Now, Redditors ask: "What is the EXACT moment D-16 became Megatron?"

In fact, probably the only point of criticism I've seen levied at Transformer One from within the Transformers fandom at large is that Megatron's arc is maybe a little "rushed". He starts out being best bros forever with Orion Pax, and by the end of the film, he's ready to drop the guy into a bottomless pit. The film takes a lot of time to justify his anger at Sentinel Prime, but the deterioration of his friendship with Orion goes much more unspoken, and is framed more as a point of irrationality: psychologically, Megatron comes to conflate his bossy friend with his oppressive ruler. I liked this, personally. I liked that it's as if a switch gets flipped in Megatron's head. But you do just kind of have to buy into it. The film itself does not put in the work to really sell you on the friendship souring, because again, it's too busy fucking around with two (2) magical girl transformation sequences for each of them.

Everything in the film is like this. They go into the cave and meet Alpha Trion, then leave the cave so they can watch a FMV cutscene with Sentinel Prime and the Quintessons, who've coincidentally arrived at that exact moment, basically just to rehash what they've just been told... and then they go back into the cave so Alpha Trion can resume his infodump, and then they end up clashing with Sentinel Prime's forces once that's done. At the beginning of the movie, they're at the very bottom in the mines, then they get banished to an even lower level, then they banish themselves all the way up to the surface, then they return to Iacon, and then Megatron gets banished to the surface again so he can be mesmerized by the beauty of the world and/or get gunched by Quintessons depending on what the film wanted me to take away from this. Compare to Minecraft but I survive in PARKOUR CIVILIZATION [FULL MOVIE], where the theme of class struggle is pretty efficiently depicted in the vertically-stratified setting.

I just find it so wasteful. Outside of the one scene where they're introduced, the Quintessons—ostensibly the true architects of Cybertron's oppressive status quo—may as well not exist. If not for Orion Pax addressing his closing remarks to the Quintessons, almost as an afterthought, I'd assume the film wants us to forget about them entirely, as it knows full well that its paltry runtime does not give it time for a second action-climax against the aliens. Even as sequel bait, it feels halfhearted at best; Josh Cooley is clearly already bored of Transformers, and seems unlikely to come back for another round unless the money is really really good (which *glances at the box office* it's not). So what the fuck are the Quintessons here for? Was the idea that Sentinel might just have pulled off his coup singlehandedly really so hard to stomach? Could the conspiracy not have been simplified to just involve Sentinel and his Transformer cronies? Hang on, are all the Transformers seen at the start of the film in on it, or just some of them? How's it decided who keeps their cogs and who doesn't?

VI. Into nothing

Why does this movie, where the main selling point is ostensibly that we're getting to see Transformers civilization for the first time, mostly focus on all these guys who can't fucking transform? Surely the entire thing that makes the setting fun is the Zootopia angle of, look, they're all different animals! Or the Elemental angle of, look, they're all different elements! Or the Emoji Movie angle of, look, they're all different emoji! Or the Cars angle of, look, they're all different cars! This is a Transformers film which features several significant sequences involving these cool trains, and there is absolutely zero indication that these trains are themselves Transformers. This is a Transformers film which extensively focuses on miners, and none of them transform into mining vehicles; they're holding, friggin', space jackhammers. Even the premise of "isn't it sad that these ones can't transform" is kind of undercut by the fact that all the miners get to wear fucking jetpacks, which is a frankly much cooler and more effective method of locomotion than driving.

I'm just sick of Transformers stories having zero interest in the basic premise of Transformers, which is to say, they transform into something. I also think this is the biggest dissonance between casual audiences, who think "oh yeah, Optimus Prime, that guy who turns into a truck", and Transformers fans, who think, "oh yeah, Optimus Prime, the messiah or something". Normal people love to know what the Transformers turn into. They ask, "Wait, is there a Transformer that turns into [insert silly vehicle here]?" Of course people are interested in that angle! Vehicles are such a huge part of our daily lives—honestly, for those of us living in cities, more so than animals, the classical elements, or emoji—but the closest Transformers One comes to engaging with this lens is that aforementioned Iacon 5000 race sequence. By and large, it presents a world which is made for standing up and walking around. And personally I do think that's an insane approach to take?

Is the excuse that cars can't emote? Nonsense. If you've ever seen a traffic jam, you'll know that cars can sure as hell emote. Pixar, where Josh Cooley cut his teeth, famously spent a lot of time working out how to put a facial expression on a car. No, the problem dates back to the very start of the franchise.

In the 1980s, two main people were responsible for writing the comic stories: American writer Bob Budiansky, and British writer Simon Furman. Budiansky approached the premise of the franchise from an external, human perspective, writing about culture clash, and taking delight in the Transformers' mechanical alien nature as "robots in disguise". Meanwhile, Furman wrote the Transformers as giant people: he focused on their own internal conflicts and motivations, and the grand history of their war. Pretty much every Transformers story ever told can be boiled down to one of these schools of thought: Budianskian, or Furmanist.

Budiansky quit the comic after fifty issues, allowing Furman to take the reigns as sole writer, and Furman basically got the final word on what the Transformers are. They did not evolve from naturally-occurring gears, levers and pulleys. They were not designed by a supercomputer, or built by an alien race. They are the chosen sons of God. The Thirteen are, of course, an invention of Furman's. And Transformers One is perhaps the most Furmanist story ever told. It's the culmination of years and years of lore building up, ossifying into something you can no longer describe as the history of a universe—no, this is a mythology. It's the most perfect form of brand alignment imaginable: this is not an origin story, this is the origin story. It's been the origin story for a better part of the decade—and now that everyone's seen it in theatres, it will be the origin story forever.

It's not just the fiction, either, by the way. These days, if you go into the store to buy a Transformers toy, chances are it'll turn into some misshapen made-up futuristic concept car with unpainted windows and wheels that don't even roll—and that's terrible.

There's truly a lot to hate about Michael Bay's Transformers films, but with each new entry that's released following his departure from the franchise, I feel like I only find myself appreciating them more. In the 2007 Transformers movie, we see the Transformers crash-landing on Earth in their "protoforms", and their movements are animated like they're shy, like they're naked until they scan an Earth vehicle and adopt a disguise. The visual impact of Megatron, meanwhile, is that he doesn't adopt a disguise in that movie: he's a horrible metal skeleton that turns into a jet made of knives. It's weird and alien and it rules.

In the 1980s Transformers cartoon, and in the last-minute Cybertron-set prologue added to Bumblebee, and now in Transformers One, the Transformers look basically the same on Cybertron as they eventually do upon their arrival to Earth. Optimus Prime turns, unmistakably, into a truck. He has windows on his chest, and smokestacks on his arms. He doesn't have these features because he disguises himself as an Earth truck. He has those details because that's just what Optimus Prime looks like. They're his "essential brand elements", or "trademark details", which "identify the must-have elements in character design to be carried across all creative expressions". Prime may take any form he wishes, so long as it looks exactly like himself. A mask of my own face—I'd wear that.

What I find fucked up about the reception towards Transformers One is that a lot of people seemed very invested in its success—and not its popular success, certainly not its artistic success, but rather its commercial success. They wanted this to be the first film to make one bumblebillion dollars. They wanted Hasbro to line its fucking pockets and make movies like this forever. So if you express any kind of negativity towards this film online, which might theoretically affect some other person's decision of whether or not to go and see it, which might theoretically affect the profit it makes at the cinema, which might theoretically affect the future of the franchise in some unknown way, then you're some sort of fandom traitor who oughta be executed.

If you're so worried about the future of the franchise, the fandom really isn't where you should be looking. Like, c'mon, the Transformers fandom has been good as gold, we buy so many toys. Meanwhile, Hasbro just got finished laying off around 100 employees with no warning to make their books look a bit better. Transformers designer John Warden—who'd worked at Hasbro for 25 years, is widely credited with inventing the modern paradigm of Transformers toylines, and ultimately became the creative director of both Transformers and G.I. Joe—was on assignment to a convention in the UK with the rest of the Transformers team when he heard the news. Suffice to say, he did not end up making a public appearance at the convention. With his work's health insurance snatched away without notice, he's had to resort to crowdfunding to pay his family's medical bills. As a well-known figure in the toy industry, he will presumably find a new job and land on his feet, but the same cannot be said for all 99 of the remaining employees we're told have been unceremoniously dumped.

The Binder of Revelation, which has been something of a holy grail of behind-the-scenes material for over a decade, has finally been leaked—presumably by one of these guys, presumably out of spite.

Now, I'm not going to pretend to have been paying particularly close attention to Hasbro's financials, but from where I'm sitting, it sure seems that ever since the sudden death of then-CEO Brian Goldner in 2021—credited for saving the company in 2000, and overseeing the explosive growth of its intellectual property ever since then—his replacement, Chris P. Cocks (or "Crispy Cocks", as we're all now calling him), has been dead set on gutting the company for all it's worth. The Power Rangers franchise, which the company acquired for $522 million in 2018, is dead in the water, with huge quantities of physical assets being flogged at auction for quick cash. In 2019, they acquired the entertainment company eOne for $4.0 billion, and now they're selling off the whole shebang (except the cash-printing Peppa Pig franchise) for just $500 million. I guess maybe they just fucked it big style?

Because now, Crispy Cocks has proudly announced that Hasbro is going to stop financing movies altogether.

I'm sure that in the wake of this announcement, many of those aforementioned fandom pundits will be drawing a correlation between this announcement, and the box-office figures for Transformers One, and the fact that you personally failed to convince your Mom to go see it with you or whatever. "Ah, you see! They didn't make enough of their money back, and now they're consolidating. Simple economic cause and effect. Market forces." And look, I'm not going to sit here and claim these things are wholly unrelated. Of course they're very related. But I am going to make the case that, in truth, nobody at Hasbro really cared how Transformers One did. Unless it turned out to be some pie-in-the-sky runaway hit, I don't think the future of the Transformers film franchise would've been particularly different if only the film had done better.

With Paramount, Hasbro has been making these movies and having them underperform ever since 2017's The Last Knight—which apparently lost Paramount $100 million—and that's because at the end of the day, what they're most interested in isn't making movies. It's making toy commercials. And on that level, the Transformers films have clearly been a success so far.

Now, Crispy Cocks' skinsuit fashions itself as a gamer, so he can personify Hasbro's hardcore pivot towards digital and tabletop gaming. While we await the release of the assuredly-dogshit, assuredly-hell-to-have-worked-on, assuredly-never-coming-out Transformers: Reactivate, the brand has been whored out to a procession of mobile games you've never heard of, glorified gambling machines designed to hack the monkey part of your brain with bright colors and Things You Recognize. The exact content of these games is irrelevant; all that matters is the announcement, on every single pop culture news outlet simultaneously (naturally—they're all owned by the same company, talk about Monopoly), of New Collaboration Between Transformers And Goon Warriors Free To Download Now. Your daily, weekly, bi-annual reminder to think about that thing you can buy.

That's all any of this stuff is.

All these words spilled about what a good movie Transformers One is, and how bad it is, and why the marketing failed it, and what the next one might be like, and- none of it mattered! It does not matter. From the beginning, this movie was always going to be too preoccupied with its own mercenary interests to be something anyone would ever be able to seriously talk about as a work of art, even corporate art. The actual content of the movie is irrelevant; I've spent very little of this review talking about it, because there's nothing there to talk about. It is the mere fact of the movie's existence that serves its purpose. Like the Optimus Prime Fortnite skin, it's enough for it to occupy our attention.

Maybe that's why they staggered the film's release date: because some marketing exec watched the rough cut and realised, if everyone saw it at once, we'd be done talking about it within a fortnight. And in ten years' time, after it has been paraded around whichever streaming services survive 'til then, and nearly every last cent of revenue has been squeezed out of it, the kids will be able to watch it on YouTube with ad breaks, and decide what they want for Christmas.

To the Transformers fans reading this, I am begging you, unless you happen to own shares in Hasbro for some fucking reason, to disabuse yourself of the feeling that you owe any kind of loyalty to a toy franchise. It shouldn't matter to you one jot how Transformers One did in theatres. The people who actually make the product you care about, the friendly faces paraded before you on livestreams and press tours, don't see this money anyway—they too are merely assets, who can be fired and replaced with cheaper, inferior equivalents.

I'm sure many of you will have, from the very start, seen this review for the foolish endeavour it is. I've wasted all this time criticising Transformers One for its lack of artistic vision, when the truth is, Transformers One is playing an entirely different game. Like the Disney Channel running "Fishy Facts!" segments to subliminally get kids interested in fish a full year and a half before the release of Finding Nemo, this is not a product—it's an ad for a product.

...

Okay I'll be honest, I don't entirely love where this review has ended up. It ends on kind of a "bummer note", I guess you could say. Flashing back to sections I. and II., I feel like things started out so fun. We had that whole bit at the start where I was telling you about the Transformers, remember that? We learned so much together. And there were even a few moments where I was able to express some kind of sincere joy and appreciation over this thing that I supposedly adore so much. Sure, I did a lot of complaining, but it was fun complaining, right? It had like, a sarcastic edge to it, sort of.

What happened? Why am I suddenly talking like I want to cut someone's head off? As I grow more bitter, I type this essay with increasing difficulty. The massive gun that's sprouted from my forearm keeps colliding with my monitor.

Hasbro descends from on high to reward @TFHypeGuy, a grown-ass adult who has spent untold unpaid hours fearlessly replying to every single viral tweet to tell people to go see the film, somehow netting himself 80,000 followers in the process, with a crate of toys, which was probably his end goal from the start. He and I duel. We trade blow after blow. Finally, he clobbers me with a Walmart-exclusive light-up Ultimate Energon Optimus Prime figure. "It didn't have to end this way," he says. Then he banishes me to the surface world to think on my sins.

VII. The Wrong Trousers 👖 | Train Chase Scene 🚂 | Wallace & Gromit

When Eric Pearson came onto the project,

It was late middle of the game. They had a script that had the outline of the story, which is still very much the structural bones of the story now. But what I found interesting about animation is there are certain things that were far along in the process. The train escape to the surface was very far along, so that was just kind of locked. Maybe you could change a line here or there. Meanwhile, the opening, the whole first 10 minutes, was all storyboards and sketches, which changed a bunch of times.

And I do think that's a really difficult position for a scriptwriter to be in. Sure, the parts of the screenplay I feel able to attribute to Pearson, I wasn't particularly impressed by. But I think this anecdote goes to show how unnatural the constraints can be on a story like this. When you think of like, a scene that's key to Transformers One, you're probably imagining something like the Megatron/Optimus fight, or the scene in the mine—not the train scene, which is basically a bit of arbitrary connective tissue bridging the two main locations in the film.

Josh Cooley, the film's director, the face of the film on the press circuit from a creative standpoint, came onboard after five years of previous development work was already done. Writers Andrew Barrer and Gabriel Ferrari, who originally pitched the film and presumably wrote the early drafts of the story, might have already left the project by that point. Aaron Archer and Rik Alvarez, the creative forces behind the Binder of Revelation, left Hasbro years before the film was even pitched. It's no wonder to me that the final result feels incoherent, disjointed, and oddly stilted. It's certainly no wonder that nobody at Hasbro today really seems to care about the film; it's not their baby. If any of the people credited with bringing the project to completion had been given full creative freedom to make whatever Transformers movie they wanted, it would've looked completely different.

Luckily, there are still plenty of areas of the franchise where creators have just been allowed to go ham. Over in Japan, TRIGGER has taken a modest budget for a music-video and produced one of the most visually-striking bits of animation in the franchise, a true love-letter to all the weird parts of its forty-year history. And in America, comic creator Daniel Warren Johnson is halfway through his Eisner-winning new run on the title, which is the kind of thing I would basically recommend to anyone without caveats as being a phenomenal story, period. If that comic can be said to be an advert for anything, it's for Skybound's other, nowhere-near-as-good comic series, or for the unofficial unlicensed copyright-infringing Magic Square Optimus Prime toy Daniel Warren Johnson apparently used as reference the whole time.

I dunno, maybe Hasbro stepping back from financing these films is a good thing, in the long run. Maybe we can do without Transformers movies for a while. And however many years down the line, maybe Paramount or some other studio will put together a new team of talent, and they'll get to do whatever it is they want. And maybe the movie they make will be the one that knocks everyone's socks off.

Truly, I don't know where the road leads from here. It hasn't been built yet. It could turn out to go anywhere.

If you made it this far, I hope some of what I've said has been entertaining or interesting. Thanks for reading!

Time to for me to come clean. There is one other reason why I've waited so long to release this review... and that's because I have a special announcement to make. Last month I set myself a little challenge: to write something that's at least as long as this review, but which isn't another negative-nancy tirade. It's a story.

The working title is "Ice Road Transformers". It's like an episode of that one reality TV show about Canadians driving trucks across frozen lakes—except the truck is Optimus Prime.

Early reviews say it's good! It'll be going through several rounds of revisions, to turn it into a well-oiled machine, hopefully in time for a seasonally-appropriate wide release in February. I'm very excited for you to be able to read it. You can follow me here or on Bluesky to be the first to find out when it's ready!

I'd like to thank my friends Jo and Umar for their work interviewing Cooley and di Bonaventura during the film's press circuit, along with Viv, Callum, and Omar for allowing me to enjoy this film much more than I otherwise might have. I wouldn't have been able to express many of my feelings about this movie nearly so cogently if not for the conversations I had with them. Additional thanks go to Chris McFeely, as his Transformers: The Basics videos (linked throughout this essay) refreshed my memory on a lot of the Aligned stuff, sparing me from having to read The Covenant of Primus again.

#transformers #transformers one #movie review #essay

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rhowena · 11 days ago

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The core problem of Campaign 3's god debate is that the only real support offered by the anti-god side is "some people are mad at the gods" and no one -- in-universe or out -- seems to realize that the mere existence of people who dislike the gods isn't sufficient to make "should the gods stay or go?" into a hyper-complex morally grey debate, any more than the mere existence of global warming denialists is sufficient to make the factual reality of climate change into a hyper-complex scientific debate. "People who are mad at the gods exist, therefore the current system is broken somehow" is the mentality of people-pleasing: if someone is mad at you, it proves that you're a bad person who did something to make them mad, and you are now morally obligated to internalize everything they say about you and devote all your energy to appeasing them.

I am, personally, of the opinion that it is vitally important for people in positions of power to maintain a healthy awareness of their own fallibility and cultivate lines of feedback from lower down in the chain the way software developers provide bug report forms; however, the reality I encountered when I accepted a forum moderation position years ago is that, if you're an Authority Figure™ of any stripe, for every person with a good-faith criticism of a poor ruling you made while overtired or an outdated policy that needs to be revised, there are a dozen who shake their fists at you because they want someone to be mad at. And when you look at the actual substance of the complaints being made (nearly all of which display a fundamental refusal to grapple with the scale the gods operate on and how that affects their decision-making) and ask "what, if anything, could/should the gods have done differently?" and "is getting rid of the gods actually a viable solution to this problem?", they're all firmly in that latter category.

To go down the list:

Vecna: If we're treating "people who are mad at the gods" as a Marginalized Group™ whose grievances are Good Points™ and Worth Considering™ simply because they are grievances with The People in Power™, then Vecna is part of said Marginalized Group™, seeing as he holds a massive grudge against the gods who helped banish him beyond the Divine Gate and per the campaign books his ultimate goal is to eliminate the worship of all deities other than himself. One can only imagine how hard he's kicking himself for failing to find out about Predathos before his own ascension.

Ludinus: His parents will still be dead whether he succeeds or fails, and preventing the same thing from happening to others is what the Divine Gate is for. Killing the gods would not only not prevent similar tragedies, it would, at least in the short term, actively make things worse: assuming Tharizdun doesn't just eat everything, how does he expect Lesser Idols like Uk'otoa to react to a glorious new age where there are no gods to keep them in check and millions of newly deity-less clerics are stuck watching people die whom they could have saved if they still had their spells? Moreover, what happens when people discontented with his glorious new era swear vengeance on those they blame for taking their gods from them, as Ludinus swore vengeance on those he blames for his parents' deaths, or start idealizing the lost age of the gods and looking for ways to somehow bring them back, as Ashton does with the Titans? Does the perspective of people who like the gods then become Worth Considering™, if they've gone from being Privileged™ to being a Marginalized Group™ who have been collectively traumatized by the loss of something precious to them?

Aeor: One of the major takeaways from Downfall was that Aeor was extremely decadent, corrupt, stratified, and generally dystopian at its height. Their main reason for wanting the gods dead seems to be not liking the existence of anything more powerful than them, and anyone arguing that the gods are Too Powerful To Exist needs to explain why the tiny cabal of mages at the tippy-top of Aeor's societal pyramid, wielding power that 99.9% of Exandrians will never have access to, were not themselves Too Powerful To Exist, especially given their evident imperialist ambitions.

Dorian: I won't downplay the genuine grievance there, but a. Opal was victimized by one of the Betrayer Gods, and what to do about them is a question that Vespin Chloras and Cassida Previn, for all their hubris, approached with considerably more nuance, and b. per the post linked in the previous bullet point, if your ultimate goal is to prevent all ill-advised deals with powerful entities and the unpleasant consequences thereof, where exactly do you stop?

Tuldus and Hearthdell: Plenty of irreligious people across Exandria are living their best lives unmolested, so the whole "you must be religious OR ELSE" isn't something the gods themselves are demanding in a systemic way, and getting rid of them wouldn't prevent all oppression any more than it would prevent all cataclysms and mass deaths. (It might not even stop the oppression committed by those specific religious people; per 'personality predates ideology', the ones who are in it to bully others and feel righteous about it will simply look for a different excuse to do so if their current one is taken from them.) There's a genuine debate to be had about how much responsibility the gods bear for their followers' actions and one could, more reasonably, accuse them of having become too lax and needing to be more stringent about telling their priests to cut that kind of shit out (though that in turn opens the question of how much they can micromanage their followers' behavior before it becomes genuinely smothering and oppressive), but it runs counter to the "the gods have too much control" narrative the Vanguard is pushing.

Liliana: Every parroted accusation she levies at the Exandria's pantheon is something Predathos and its worshippers are far, FAR more guilty of, but Predathos doesn't present itself as a caring, benevolent entity in the same way the Prime Deities do, and she expects us to believe that it admitting that it's bad somehow makes it good. (There's a Slacktivist quote that I think sums up the underlying logic here: "Once you've decided that the Most Important Thing is to avoid the wolf in sheep's clothing, your safest course of action is to embrace the wolf in wolf's clothing.")

Ashton: Essentially blames the gods for refusing to micromanage reality on their behalf and, in focusing so much on his own pain, hasn't stopped to ask what the world would look like if the gods actually felt obligated to micromanage reality on behalf of everyone who petitioned them that way, not just him personally. My dad is an agnostic and specifically doesn't believe in a god who answers prayer because what's a god to do when there's a baseball game and both teams have fans praying for their victory (or when there's a war and both armies include adherents of a given faith)?

Bor'dor: It's one thing to say that the gods have certain obligations to their followers and quite another to say that that the gods are supposed to keep their followers swaddled in bubble wrap 24/7 and prevent them from experiencing any consequences for their own actions whatsoever, and arguing that the Wildmother should have somehow stopped Bor'dor's family's suicide charge from resulting in their deaths is the latter.

Vox Machina: Continue to hold a grudge against the Matron for taking Vax away and would like to believe her being gone would make him mortal again, but when you stop to think about Vax as a person with his own feelings and opinions about his relationship with the Matron, instead of as a passive object to be fought over, the "what if Predathos eats the Matron?" scenario looks a hell of a lot bleaker. There's also the question of whether or not Predathos would consider Vax himself edible; a mere celestial might be one of those half-crushed potato chip fragments at the bottom of the bag in comparison to a god, but when you've been trapped and starving for thousands of years...

Zathuda: Objects not to being told 'no' but to the existence of forces who could potentially tell him no, which to me reads as an asshole whining about how unfair and oppressive it is when people see his assholery and tell him to cut it the fuck out.

#critical role #cr spoilers #cr meta #cr discourse #ludinus da'leth

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byeuijoo · 10 months ago

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am i in love? 𐀔 boynextdoor

genre : fluff ⋆ warnings : very, very cheesy ⋆ word count : 594

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀ ୨ ✩ ୧

⭒ park sungho

when he realized he loved you as more than just a friend, sungho tried to play it cool. which is funny because, in reality, you soon realized that something had changed : he was trying more to flirt with you and get your attention, while selling his merits by making you understand that he was better than the others. he'd show you a bit more of his muscles, show you his soccer skills.. and even though he tried to be discreet about his feelings, he failed miserably when you asked him directly if he had a crush on you.

⭒ lee riwoo

when he realizes he's fallen in love with you, sanghyeok tends to be more distant with you, but simply out of sheer shyness. but he'll still do his best to get your attention in subtle ways : he delivers flowers at your house with a little card and a hand-written poem, he tries to send you signals on social networks, hoping that miraculously you'll understand that he's talking to you.. he's a discreet admirer whom you've noticed and whom you like to panic by getting a little too close to him, just to see his cheeks redden because of your smile.

⭒ myung jaehyun

he was already clingy, but when he realizes he's developed feelings for you, oh boi, jaehyun is even more clingy. nevertheless, there are some changes that you can easily notice : the tips of his ears get redder when you flirt with him, he's always trying to hold your hand in his, even when you're doing nothing but sitting close to each other, he always tries to get your attention and gets sulky when you talk to other boys.. he's so down for you, he can't help reminding you that he exists all the time.

⭒ han taesan

to have spent so much time by your side, getting to know you and finding out more about you, dongmin realized that his heart was beating faster than normal when his eyes met your smile. he'll become more shy, without giving you radio silence. but let's just say that he laughs more easily at your jokes, that he observes you smiling like an idiot more often, and most of all, he'll share more of his favorite music with you. (he's probably trying to convey his feelings through the lyrics, but you're too blind to see it.)

⭒ kim leehan

to say that donghyun has had a crush on you since first sight would not be a lie — of course, his feelings built up gradually, but you were already running through his mind every day since you met. he's quite calm, and has no trouble keeping his feelings to himself, but he tends to look you in the eye in a different way now. more warmly, more tenderly, with a hint of shyness in his eyes. and he has to admit that your smile makes his heart skip a beat.

⭒ kim woonhak

woonhak is totally vocal about the fact that he loves you. he don't care about other people opinions, he just wants to make sure you know he likes you. so every day, he brings you a carton of his favorite chocolate milk, leaving a note on it, reminding you that he likes you — again. or he'll probably just show up when you least expect it, standing in front of you with the most dazzling smile, and you have to admit that hearing him say those words in person makes you all shy and smiley. even if you need time to make a decision, woonhak remains patient and does everything to keep your full attention on him.

⠀

reblogs & feedbacks are highly appreciated !

taglist ౨ৎ @wtfhyuck @florainnie @dazzlingligth @yuma-is-mine @lilriswife4life @leehanascent @wantmatthew

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religion-is-a-mental-illness · 1 year ago

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By: Chloe Cole

Published: July 28, 2023

On Thursday, her 19th birthday, Chloe Cole testified to Congress with a “final warning” that medical treatments to change the gender of confused children is horrific. Cole, who was given surgery as a teenager to become male and soon regretted it, said what she needed most was therapy, not a scalpel. Here is what she told lawmakers:

My name is Chloe Cole and I am a de-transitioner.

Another way to put that would be: I used to believe that I was born in the wrong body and the adults in my life, whom I trusted, affirmed my belief, and this caused me lifelong, irreversible harm.

I speak to you today as a victim of one of the biggest medical scandals in the history of the United States of America.

I speak to you in the hope that you will have the courage to bring the scandal to an end, and ensure that other vulnerable teenagers, children and young adults don’t go through what I went through.

Deceit & coercion

At the age of 12, I began to experience what my medical team would later diagnose as gender dysphoria.

I was well into an early puberty, and I was very uncomfortable with the changes that were happening to my body. I was intimidated by male attention.

And when I told my parents that I felt like a boy, in retrospect, all I meant was that I hated puberty, that I wanted this newfound sexual tension to go away.

I looked up to my brothers a little bit more than I did to my sisters.

I came out as transgender in a letter I sent on the dining room table.

My parents were immediately concerned.

They felt like they needed to get outside help from medical professionals.

But this proved to be a mistake.

It immediately set our entire family down a path of ideologically motivated deceit and coercion.

The general specialist I was taken to see told my parents that I needed to be put on puberty-blocking drugs right away.

They asked my parents a simple question: Would you rather have a dead daughter or a living transgender son?

The choice was enough for my parents to let their guard down, and in retrospect, I can’t blame them.

This is the moment that we all became victims of so-called gender-affirming care.

I was fast-tracked onto puberty blockers and then testosterone.

The resulting menopausal-like hot flashes made focusing on school impossible.

I still get joint pains and weird pops in my back.

But they were far worse when I was on the blockers.

Forever changed

A month later, when I was 13, I had my first testosterone injection.

It has caused permanent changes in my body: My voice will forever be deeper, my jawline sharper, my nose longer, my bone structure permanently masculinized, my Adam’s apple more prominent, my fertility unknown.

I look in the mirror sometimes, and I feel like a monster.

I had a double mastectomy at 15.

They tested my amputated breasts for cancer.

That was cancer-free, of course; I was perfectly healthy.

There is nothing wrong with my still-developing body, or my breasts other than that, as an insecure teenage girl, I felt awkward about it.

After my breasts were taken away from me, the tissue was incinerated — before I was able to legally drive.

I had a huge part of my future womanhood taken from me.

I will never be able to breastfeed.

I struggle to look at myself in the mirror at times.

I still struggle to this day with sexual dysfunction.

And I have massive scars across my chest and the skin grafts that they used, that they took of my nipples, are weeping fluid today, and they’re grafted into a more masculine positioning, they said.

After surgery, my grades in school plummeted.

Everything that I went through did nothing to address the underlying mental health issues that I had.

And my doctors with their theories on gender that all my problems would go away as soon as I was surgically transformed into something that vaguely resembled a boy — their theories were wrong.

The drugs and surgeries changed my body, but they did not and could not change the basic reality that I am, and forever will be, a female.

Depths of despair

When my specialists first told my parents they could have a dead daughter or a live transgender son, I wasn’t suicidal.

I was a happy child who struggled because she was different.

However at 16, after my surgery, I did become suicidal.

I’m doing better now, but my parents almost got the dead daughter promised to them by my doctors.

My doctor had almost created the very nightmare they said they were trying to avoid.

So what message do I want to bring to American teenagers and their families?

I didn’t need to be lied to.

I needed compassion.

I needed to be loved.

I needed to be given therapy that helped me work through my issues, not affirmed my delusion that by transforming into a boy, it would solve all my problems.

We need to stop telling 12-year-olds that they were born wrong, that they are right to reject their own bodies and feel uncomfortable with their own skin.

We need to stop telling children that puberty is an option, that they can choose what kind of puberty they will go through, just like they can choose what clothes to wear or what music to listen to.

Pseudoscience

Puberty is a rite of passage to adulthood, not a disease to be mitigated.

Today, I should be at home with my family celebrating my 19th birthday.

Instead, I’m making a desperate plea to my elected representatives.

Learn the lessons from other medical scandals, like the opioid crisis.

Recognize that doctors are human, too, and sometimes they are wrong.

My childhood was ruined along with thousands of de-transitioners that I know through our networks.

This needs to stop. You alone can stop it.

Enough children have already been victimized by this barbaric pseudoscience.

Please let me be your final warning.

Thank you.

Might as well call her a murtad and kufr.

"The medical industry mutilated me, maybe don't mutilate other kids," shouldn't require bravery or renouncing an ideology.

Reminder: A minor under the age of 18 is too young to agree to a cellphone contract. 🤦‍♀️

#Chloe Cole #detrans #detransition #gender ideology #queer theory #medical malpractice #medical scandal #medical mutilation #gender affirming #gender affirming care #affirmation model #double mastectomy #gender cult #sex trait modification #genderwang #religion is a mental illness

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fantasydreamland · 24 days ago

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Sorceress

legolas greenleaf x fem reader

Summary: You join the three men on the journey to fight against Saruman, and one does not trust you. Legolas is suspicious of you and your perfection, until he admits to himself those feelings were just masking his true feelings that he had quickly developed for you.

Notes: 18+ ONLY!!! Smuttt, enemies to lovers, angst, violence/minor gore in battle scene, alcohol consumption, p in v, fingering, oral (m&f), masturbation (m), fluff, possible spoilers

Word count: 5967

(I got a little carried away with this one)

masterlist

“She is going to help us.” Aragorn says as he, Legolas and Gimli sit at a table inside the inn while they wait for your arrival. “She is supposed to be a great sorceress. We need her.”

“We cannot trust some old woman we do not even know. Why can we not simply go without her?” Legolas questions with furrowed brows.

The idea of a stranger joining them on their journey left him feeling extremely uneasy.

“Who told you I was an old woman?” They hear a voice behind them.

You lower your hood as the inn door closes behind you. You walk towards the men and they stand to greet you. You give a friendly smile to Aragorn whom you had just recently met and agreed to assist. Legolas’s eyes go wide in surprise as he takes you in. You appeared young and basically flawless, nearly elvish beauty but something even more rare. You had piercing purple eyes and beautiful porcelain skin. Below your cloak your long purple dress clung to your figure, Legolas had to clear his throat to force himself to stop staring.

As Aragorn goes to speak Legolas says- “Forgive me, my lady.” He bows his head. “I simply cannot trust someone I do not know. And I find it rather odd that the other sorcerers I have known appeared quite old in age yet you look remarkably young.”

“Well, I do not trust you either yet. We have only just met after all… And I doubt you have ever met a female sorceress.” You give him a catty smile. “The concept of eternal youth should not seem that odd to you, elf.”

“Hey now.” Gimli cuts in.

“I did not mean any offence, sir.” You turn to the dwarf before turning your gaze back to Legolas. “I have a great admiration for the elves. They can be quite impressive.”

Legolas fought his lips curling into a smile as your eyes remained deeply connected for a moment.

You all sat down at the table and started quietly discussing the plans. Legolas’s eyes kept drifting towards you anytime important information was mentioned, still untrusting of this (beautiful) stranger before him.

**********

Legolas continued to keep a close eye on you, still unsure if he could trust you. He is always skeptical of strangers but there was something too enchanting about you. He felt bewitched every time your eyes would meet. You were too perfect, no one is that perfect.

“We should take the passage through the cave here.” You say pointing to a spot on the map that you and your three companions were hovered over.

“It would be safer to go around. We have no idea what lurks in that cave.” Legolas responds.

“Perhaps, but it will take us three times as long.” You gently argue as Legolas gives you a scowl in response. “Besides, I have passed through it once before. We should be fine but we will remain on our guard for any surprises.”

“Surprises?” Legolas retorts. “How do we know this is not some trap you have set for us?”

“Legolas.” Aragorn says firmly.

“What? I am sorry but this all seems far too suspicious for my taste. How do we know she is not working for Saruman?” Legolas continues with frustration as his eyes go back and forth between you and Aragorn. You just stare at him blankly. “Why is she helping us so willingly if she is not a spy meant to trick us? I do not trust her!”

“I am helping you to fight against Saruman because like all of you I do not wish to see this world destroyed by evil.” You state sternly, tears beginning to fill your eyes that were firmly focused on Legolas. “If you cannot find a way to trust me we are doomed… But if that is not enough, and you remain convinced I am just some horrible evil witch, I will figure out some other way on my own and leave you all alone…”

Legolas simply stares at you in surprise, not quite sure how to respond.

“You may let me know your thoughts in the morning.” You say before he can respond, with a slight shake in your voice as you fight back tears. “I’m turning in for the night.”

And just like that, you walk off without another word or ‘goodnight’ to anyone. Legolas feels a sinking ache his stomach. He could tell you were genuinely hurt by what he said and he felt quite guilty about it now. You had not truly given him a real reason to mistrust you so deeply. He just believed you were too good to be true. Too perfect. Maybe deep down he was simply trying to mask the unwanted feelings he was quickly developing.

“I am going to turn in as well.” Legolas says lowly to Aragorn and Gimli. “Goodnight.”

He walks off to his room which was directly across from yours. His heart and feet stop at the sad sound of you crying in your room. His advanced hearing could hear your soft sobs through your door, though you were clearly trying to remain unheard. Another wave of guilt washed over him.

He felt a magnetic pull towards your door and was nearly about to knock before deciding against it. He retires to his own room instead, unable to find any rest as you overtook all of his thoughts.

**********

The next morning Legolas was quick to rise. He was eager to see you and apologize profusely. He waited anxiously at the table you had been at last night. After some time, his head perked up at the sound of feet approaching from the hallway. His expression quickly sunk when he saw Aragorn and Gimli come around the corner.

“Do you know if (y/n) is awake?” Legolas asks.

“Ay, she is awake.” Gimli responds, giving a knowing side eye to Aragorn, making Legolas raise his brow at them.

“Her room is empty…” Aragorn says hesitantly, avoiding direct eye contact with Legolas. “She must have left in the night.”

“All because you could not keep your mouth shut!” Gimli points out.

“Gimli.” Aragorn says sternly.

The dwarf grumbles an apology. Legolas hardly pays any attention to the insult or the apology as his mind races from the news of you being suddenly gone. He feels sick to his stomach, not completely sure why your absence affected him so deeply. As he goes to say something the inn door opens and you walk inside, your hood up and your bag at your side.

“Forgive me, I was restless this morning and went for an early walk.” You say blankly to the men at the table as you walk over to them.

Legolas lets out a quiet breath of relief. The feelings he had thinking you had left just proved how badly he wanted you to stay with them, with him.

“I trust you have made your decision?” You ask Legolas directly.

“I have.” He stands from his chair. “I have decided to trust you.” He states.

“Oh!” You say in slight surprise. “Well, I suppose that is good then...”

Legolas raises a brow at your dry tone, you notice.

“I was expecting a much different response.” You explain.

“Please forgive me, my lady.” Legolas gently takes your hand in his, you let him. “My behaviour last night was unbecoming of me and you did not deserve that. You have given no reason to earn such disrespect. I am truly sorry.”

Your slightly pursed lips curl into a pleased smile. This was not what you were anticipating at all. You truly thought he despised you. You assumed it had already been decided last night that he would certainly choose to be rid of you. You did not know that he actually had made his decision last night, it was just not the choice you expected. You were oddly relieved as you realized you not only didn’t want to part from the crew, but you did not want to part from Legolas.

“You do not understand how glad I am to hear that.” You smile to him.

He smiles back and places a kiss to the back of your hand before letting go.

“Well then, the adventure continues!” You say to the group of men before you all continue your journey.

**********

Legolas was quite impressed seeing you in battle. Your powers were incredible but what blew him away was how skilled you were with a blade. You stuck closed together during the fight, like magnets. There were multiple times you pulled a brave move that saved his life and he, yours.

One attack had you knocked on your back. You fought hard, pushing against your enemies dagger that was getting closer and closer to your throat. You were too exhausted to use any more magic to save you, your life flashed before your eyes when the tip of the dagger touched your skin. Suddenly, the enemy lets out a pained scream and you see the tip of a sword sticking out of its eye, it’s blood splattered on your already blood coated face. You see Legolas standing over you as he kicks the enemy to the side so he fell to the ground and not on top of you. He reaches his hand out and pulls you up.

“Thank you.” You pant.

“No problem.” He pants back, both of you exhausted from battle.

After the battle you all began to flee back to your meeting spot. You climb on your horse and go to Legolas’s side.

“Climb up!” You call down to him.

“I need to find Arod!” He calls back.

“He is safe! Gimli already took him!”

“That little…” He snarls. “Alright, let me steer!”

“Just get on!” You shake your head at him.

He climbs on behind you, the saddle forcing your bodies to press closely together. You ride off and the friction between you in the saddle begins causing a panic to rise in Legolas as his member quickly hardens behind you. He tries hard to concentrate on absolutely anything else but with your butt bouncing and pushing up against him as you rode, it made it impossible. He prayed to the gods that you would not notice but you were secretly smirking to yourself as you clearly felt something hard pressed against your backside. You casually push into him even more as you continue your journey, your cheeks quickly heating at his desire for you.

**********

You rest and celebrate from battle at a nearby inn. Gimli boldly challenges Legolas to a drinking contest. Several mugs of ale later the dwarf was piss drunk laughing loudly.

“I feel something…” Legolas suddenly says, lifting his hand and rubbing his fingers together. “A slight tingle in my fingers… I think it’s affecting me.”

Gimli cheers loudly, raising another cup as they both continue to drink. After some time Gimli lays passed out on the table and Legolas is stumbling towards where you stood against the wall with your now empty cup.

“You seem to be having fun?” You smirk at him.

“Quite.” He smirks back, a drunk smile stuck on his face. “Do you think you could point me to the direction of my rooom?” He slightly slurs.

You chuckle at him. “Come now, I am heading back to mine as well.”

He follows you down the dimly lit hallways of endless doors and couldn’t help but continuously glance in your direction. He was too busy drinking with Gimli that he hadn’t noticed earlier just how revealing your dress was. The purple fabric wrapped around your body in a way that left your back and arms fully exposed. The sight of the few freckles scattered across your back made his cheeks heat, though that could also be from all the ale. The dress was long and flowed openly as you walked, briefly exposing your bare legs underneath. Then his eyes slowly wandered up to the low cut V of your dress, revealing a sinful amount (he thought) of your large breasts. He felt a jolt go down his spine and shoot directly to his member.

You stopped suddenly and his eyes met yours.

“We are here.” You say a little awkwardly, gesturing to your rooms that sat across from each other at the very end of the halls.

His cheeks darken, unsure how much of his gaze you had caught.

“Goodnight, Legolas.” You smile before leaning in and placing a soft kiss to his cheek.

You turn towards your door when his hand grabs yours.

“(y/n)…” He says in a whisper, leaning in closer to you as your hands remain connected.

“Yes?” You whisper back, eyes searching his.

“I am not sure when I will have the courage again to say this…” He says as his other hand cups your cheek, causing your heart to race. “I think you are the most beautiful woman I have ever seen. And the most interesting, kind, wild, and courageous woman I have ever met.”

You can’t help the wide grin that spreads across your face at his words. Before you have time to respond he closes the space between you and captures your lips in a searing kiss. It was deeply passionate, hungry. Your hands cling to his shirt as you kiss him back desperately, happily letting his tongue slip into your mouth. His hand moves into your hair as he pushes you back up against the wall. His lips fall to your neck, kissing and sucking gently.

“Legolas…” You breathe.

The sound of his name softly falling from your lips like that just spurred him on. His lips continue to ravish your neck and move down your chest as his hand grabs at your breast. A soft moan escapes you and the need for him fills your veins like fire. You wanted him so badly… but not like this.

“Legolas…” You whisper again, this time gently pulling him off you. “I think we should slow down…”

“Yes. Sorry. Yes, you’re right. I am sorry. I should not have-“ He stutters a bit anxiously.

“No! No. You have no reason to apologize.” You say reassuringly.

“I should not have assumed-“

“Legolas.” You say firmly, cupping his cheek in your hand. “I want you. I want you much more than I would care to admit… But when, or if, that moment happens… I want us both to be fully in the right state of mind.”

“Yes… you are right.” His hand covers the one on his cheek. “I would also like to be able to ravish you… fully.” He gives you a devilish smirk as his eyes drift from your lips back to your eyes.

His words make you blush and he watches as you bite your lower lip. It took both of you all of your will power to finally pull away.

“Goodnight, (y/n).” He says, taking your hand to place a kiss upon it.

“Goodnight, Legolas.” You give a blushing smirk before you turn to walk into your room.

Your eyes meet his a final time as you both go to close your doors. No words are said but the look between you was an unspoken promise for later.

Sleep was difficult to find as your mind races thinking of the steamy kiss you had just shared with Legolas. The thought of your tongues intertwined, his sinful mouth all over your neck and chest. You had a taste of each other and now the desire for him was driving you absolutely mad.

Legolas was in no better shape. The alcohol began to fade from his system but he still felt drunk on the memory of your lips on his. His hard member pressed angerly against his trousers. He couldn’t help himself. He would blame the blinding lust on the alcohol later, when he was completely sober and trying to reason his actions. For now, he shoved shame aside and pulled his aching cock out and began slowly stroking himself. His hand speeds up as intoxicating visions of you flash in his mind. Your revealed skin, the freckles on your back and your long pale legs. His lips on your sinfully exposed chest. The soft gasps and moans that slipped from your perfect lips. What finally pushed him over the edge was your voice ringing in his ears ‘Legolas… Legolas…’ Your soft whispers of his name had his release shooting across his stomach as a choked out moan escapes him.

He cleans up for bed and rest finds him surprisingly fast after that. His dreams were filled with nothing but images of you.

**********

A loud rumble of thunder wakes Legolas in the night. His mind instantly begins to race at the memory of the steamy kiss you had shared just outside the door. He could not resist the strong magnetic force pushing him to go and see you. After several minutes of debate he throws off the blankets, revealing his shirtless upper half and heads towards the door.

He quietly closes his door behind him before stepping towards yours. He was desperate to see you but also did not want to wake you if you happened to be sleeping through the loud thunder continuing outside. He knocks lightly on the door, not to wake you if you were asleep but loud enough you would hear if you were awake.

His heart stops as he hears your footsteps getting closer and watches as the door slowly opens.

“Legolas?” You ask in a sleepy whisper, peaking out the door.

“Apologies my lady, I hope I did not wake you.” He responds quietly, careful not to wake anyone else in the nearby rooms.

“No, the thunder woke me… Though I have hardly been able to sleep.”

You try to ignore the heat pooling between your legs at the sight of his bare toned upper body and his rarely loose hair tucked messily behind his pointed ears. You also notice his eyes scan over your form. He nearly lost all restraint right then and there, at the sight of your nipples poking through your thin night dress.

Before you could ask what he was doing at your door in the middle of the night he says in a whisper- “I could not stop thinking about you...”

You can’t help but smile as your eyes connect, electricity sparking silently between you.

“I have not been able to stop thinking about you either…” You say lowly. “Do you… do you want to come in?”

Legolas smirks and nods before boldly capturing your lips and walking you both into the room as he closes and locks the door behind him.

“Are you certain?” You ask him in a pant, breaking the kiss. He knew exactly what you were referring to.

He knew he was certainly not in his right mind with the way you haunted his thoughts. But he knew he was now completely sober and knew for certain this is what he wanted. You were what he desperately wanted.

“I am certain.” He responds, looking deep into your eyes. “Are you…?”

You nod a little too eagerly, making him chuckle. He kisses you again and you both make your way over to the bed. You boldly pull your night dress over your head, leaving you completely exposed before him. You watch his breath catch and fire flicker behind his eyes as he takes you in.

“Lay down…” He says in a seductive whisper.

You don’t hesitate for even a second before getting into bed. He quickly climbs over top of you and leans in. A nearly silent moan escapes you at the feeling of your breasts pressed against his bare skin. His lips hover just above yours as your noses brush.

“You are… exquisite.” He whispers before capturing your lips again.

This kiss is much more slow, tender. Like he’s savouring every second and every reaction from you. Each gentle flick of his tongue against yours calculated and deliberate. His lips move to your neck, leaving a trail of kisses and then sucking harshly.

“Legolas! You are going to leave a mark…” You yell in a whisper.

“Good. Then everyone will know who you belong to.” He says in a husky voice against your neck.

His words send a shiver through your entire being. He continues his light torture on your skin, sucking and gently nipping his way down your collarbone. Once he reaches your chest he does not hesitate to take your breast into his mouth. You moan as his warm tongue circles around your nipple, he moves to the other breast to do the same before kissing down your stomach, your breathing now rising and falling frantically.

“Tell me if you wish for me to stop…” He says in a rough, deep voice that you had never heard from him before.

You shook your head at him. Having him stop was the very last thought on your mind. He gives you a devilish smirk before his mouth moves down onto your core. You gasp loudly as his tongue instantly begins working against your clit. Your fingers bury into his silky white hair as soft whimpers escape you.

He slowly slides in his long slender finger, testing you before he adds a second. The way he begins to curl his fingers inside you as his tongue relentlessly works at your pearl has you crying out his name. You were grateful for the loud rain and rumbling thunder masking your moans while Aragorn was sleeping in just the next room.

Legolas subconsciously begins grinding against the bed as he continues ravishing you, his achingly hard member screaming to be released. His fingers work faster as he feels your beautiful thighs tighten around his head, warning him how close you are. With a final cry out you come undone, pulsing against his fingers and soaking his face.

He pulls away and you look down at him, his glistening face between your legs, messy hair, cocky smirk and heavy lustful eyes staring into yours. You felt like you could come again just from the sight of him.

You pull him to you and kiss him hungrily, tasting yourself on his tongue.

“I need you inside me, please.” You pant, you could not wait a moment longer to have him.

He growls at your words as you reach for the hem of his trousers. His pants are quickly thrown to the floor and he lets out a shaky breath as your delicate fingers wrap around his length. He glides his tip against your core making you gasp. He smirks to himself before pushing into you. You let out a relieved moan in tandem, both of your mouths dropping open. Legolas stills inside you for a moment, the feeling of your warmth wrapped tightly around him had his head completely spinning.

“Legolas…” You pant.

He looks deeply into your purple eyes and the connection of it makes your heart skip a beat. He presses his lips to yours before sliding out and thrusting back into you. You moan into his mouth as he does it again while continuing to chase your tongue with his. His lips move to your neck as he gradually increases his speed. He can’t help the moans and grunts that escape him.

“Gods (y/n)… you feel fucking incredible.” He groans against your ear, causing goosebumps all over your skin.

You could not remember if you had ever even heard him curse before. You moan loudly in response. Suddenly he sits up, falling out of you causing you to whine from the sudden loss. He lifts your legs onto his shoulders before leaning down and plunging back into you. You cry out and he begins pounding into you relentlessly. The new angle and merciless speed quickly makes you see stars. Your mind goes completely blank other than his name and the amazing feelings he was sending throughout your body. Your nails dig hard into his biceps as your orgasm hits you like a tidal wave. You let out a long final moan that rings in loudly his ears. Loud enough that you were certain the thunder did not mask it.

You are completely breathless as he continues slamming into you, now chasing his own release. He lets your legs fall back down to his waist, wrapping around him. Another orgasm creeps up and threatens to overtake you.

“Fu-ck!” Legolas moans loudly as he spills into you, the intensity of it making him dizzy.

You moan loudly with him as he triggers your release once again. You wrap your legs tighter around his waist and pull him deeper into you as he fills you with his seed.

He rolls over, crashing onto the bed beside you. You both lay there facing the ceiling panting, trying to catch your breath and bring your minds back down to earth.

“Wow… that was… wow.” Legolas says between heavy breaths.

You let out a breathless chuckle in response. He pulls you in close and you cuddle up to him. He places a kiss on your head and softly plays with your hair as you peacefully fall asleep.

**********

The next morning you wake and look to Legolas with a mischievous idea in your mind. You could not stop replaying last nights events in your head. But there was one thing you realized you had not done. With that in mind, you slowly pull the blanket down his body, revealing his morning wood. You begin to place soft kisses all the way down his stomach, making him slightly squirm under your lips.

“What are you doing?…” Legolas mumbles sleepily.

“What does it look like I am doing?” You smirk at him before sucking on his tip, causing him to let out a sound between a gasp and a moan.

His heavy lidded eyes meet yours and his mouth parted, already breathing heavily.

“Do you want me to stop?” You pull away teasingly.

“Gods no.” He breathes before placing his hand on your head, gently urging you back down.

You smirk to yourself before you take him fully into your mouth, forcing a loud groan to escape him. You continue to bob your head, taking him fully down your throat. Legolas’s mind was completely blurred, all he could think of right now was beautiful, magnificent, you… and the feeling of his cock slamming against the back of your beautiful throat. Your actions quickly bringing him to his release.

“Gods (y/n), I’m going to-“ He chokes out.

Just then there’s a loud knock at the door. You pull your mouth off him with a ‘pop’ and look to the door then at Legolas, concern on your face.

“(Y/n)? Are you awake?” Aragorn calls from behind the door and you hear Gimli mutter something else to him.

“Ignore them.” Legolas urges in a desperate whisper, cupping your cheek with his hand. “They’ll go away if they think you are still sleeping. Just… ugh, please do not stop.”

You smirk and give him a small nod before taking him into your mouth once more. Legolas tries to hide his soft moans as his fingers tightened in your hair. He was so, so, close.

Another loud knock. You ignore it and continue bringing him towards the edge.

“(Y/n)?” Aragorn calls again. “Sorry to disturb you, but we cannot find Legolas. His things are still in his room but we cannot find him anywhere. We are worried something may have happened.”

“Oh for fucks sake...” Legolas huffs and storms out of bed, grabbing the sheet to wrap around his naked waist.

You watch from bed as he stomps over to the door, pulling the other blanket up to your chest to hide your exposed body. He swings open the door and you see Aragorn flinch in surprise as he takes in Legolas’s half naked form wrapped in a crumpled white sheet and an annoyed look plastered on his face.

“Legolas? I- I-“ Aragorn stutters and then spots over Legolas’s shoulder you lying in the bed, peaking at them both from under the blanket. “I- I am sorry… Just, um, come meet us at the bar when you are, done- I mean, ready…”

Legolas simply nods, trying to bite back a smile and keep a stern face until they were out of sight.

“Well, that solves that mystery!” Gimli laughs loudly once the door is shut.

Legolas makes his way back to you with a smirk.

“Well, that was incredibly awkward.” You chuckle and get up from the bed, leaving the blanket behind. “I suppose we should get ready.”

Legolas’s eyes flicker with fire as he takes in your naked body now standing right in front of him.

“As they said, we will meet them when we are done…” He says lowly.

He lets the sheet around his waist drop to the floor and your eyes glance down to his hard member before meeting his eyes again. The raw desire in his eyes causes fire to spread throughout your body.

He grabs both of your cheeks and pulls you into a passionate hungry kiss. You whimper at the intensity. He quickly flips you around and leads you back over to the bed.

“On your knees, love.” He whispers sensually in your ear, causing you to shiver with goosebumps, his hardness pressing against your back.

You follow his instructions and get onto the bed on your knees. You bend forward, giving him perfect access to you. He growls at the sight before him. You feel his hands grab your butt and hips. He shoves himself into you and you yelp out a moan. He wastes no time and starts a fast and relentless pace.

“My love…” He pants. “I- I cannot last long.”

You had brought him so close to sweet release with your mouth only moments ago, before you were interrupted, and it was making it impossible for him to last any longer. He was fighting hard to hold back at the very edge waiting for your response.

“It’s alright, my love. Come for me...” You breathe.

Hearing those words in your enchanting voice pushes him right over the edge and he finally lets go of the last thread of restraint. He grunts loudly as he comes deep inside you, his head thrown back and his fingers digging hard into your hips.

He rests against your back for a moment as he catches his breath. He pulls out and you both quickly get cleaned up and dressed. You made sure to choose a high cut dress to hide the many love marks that were spread across your neck and collarbones.

“Ready?” You smile at him.

“No.” He smirks and pulls you close against him.

He kisses you, gentle and slow. His tongue lightly glides over yours only once, before he places a final kiss to your lips and pulls away.

“I wish to stay in this room with you all day and night...” He gently pulls the neckline of your dress down to reveal your skin, before softly kissing your neck, following the trail of marks he had left last night.

“Mmm.” You hum. “I wish for that too…”

It takes all your strength to pull away from him as he nips at the sensitive spot on your neck. Your hooded eyes meet his and he watches as you bite your lip, which causes even more desire to fill him.

“But we cannot…” You sigh, eyes still connected intensely.

“You are right…” He sighs back, reluctantly pulling away from you.

He grabs his things from his room as you gather your own things and head out together.

**********

Aragorn and Gimli were waiting at a table in the bar area of the inn, just where they said they’d be.

“It’s about time!” Gimli calls loudly, Aragorn nudges him to be quiet.

“Apologies gentleman.” You say shyly as you sit down at the table.

Legolas sits in the empty chair across from you and you felt your stomach tighten when your eyes meet. You could hardly focus on what Aragorn and Gimli were discussing. Your mind swirled with the pleasure you had just shared only minutes ago and all the wild memories of last night. The feel of him, the look of his body, the taste of it, his pleasured facial expressions, his moans and sighs… it all flooded your mind. You tried to snap back to reality and focus but your eyes met his again and you could tell by the fire in them and the slight smirk creeping in the corner of his mouth, he was thinking about all of the same things you were.

You bite your lip trying to fight back your own knowing smirk. The action catches his attention and you watch his eyes look from your lips back to your eyes, somehow with even more fire behind them. There were unspoken words behind his gaze that you understood. All he was thinking about right now was being inside of you again and taking you right here on this table. And your lustful stare back at him told him that is exactly what you wanted too.

“Could you please stop eye-fucking eachother? We have important things to discuss!” Gimli yells with a laugh, startling you back to reality.

“We weren’t-“ You clear your throat, choking back the embarrassment. “Sorry. Please continue.”

Legolas simply smirks and shrugs. You both turn in your seats to fully face Aragorn and Gimli as they repeat the plans you missed. For a quick moment you dared to glance at Legolas again and when his eyes met yours, they were full of heated promises for later when you could finally be alone again.

**********

Later that night you find yourself tangled in the sheets with one another. He enters you for the second time that night.

“I have to ask you something.” He mumbles against your ear as he spoons you from behind.

“What is it?” You breathe out as he continues to slowly move in and out of you.

“Did you use some kind of spell… or magic on me?… Because the way I feel about you… the way you completely consume my mind… and my body…” He says between slow thrusts, placing a gentle nip to your neck. “I feel bewitched.”

You chuckle shyly, the confession of his feelings making your heart soar. You turn around, making him slip out of you. He whines at the loss of your warmth but then your lips find his in a fierce kiss as you move to straddle him.

“I did not use any magic on you, my love.” You mumble against his lips.

You grind against his length, causing his hands to grab onto your hips.

“Though, every time our eyes meet…” You say as your eyes meet intensely. “I feel bewitched by you.”

“I feel like I am in a trance whenever I am near you. Your eyes, your lips, your wicked mind, even your scent… You-“ His words are cut off with a groan as you sink down onto his cock. “-intoxicate me.” He chokes out the last words.

**********

You could not get enough of one another. You were all over each other every chance you got to be alone, whether it was time for bed or you had a moment to sneak off somewhere. Aragorn and Gimli could hardly stand to be around you both sometimes with the sexual tension constantly bubbling between you two. But it was not just the sexual desire and lust… the romance, gentleness and love that you shared between you was just as intoxicating as any of it. You fell deeply for your handsome male elf and he fell deeply in love with his beautiful sorceress.

masterlist

#legolas x reader #legolas greenleaf #legolas greenleaf x reader #legolas lotr #lotr smut #lotr legolas #lord of the rings #lord of the rings smut #lord of the rings fanfic #legolas fanfiction #enemies to lovers #not my photos

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alpaca-clouds · 4 months ago

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BG3 fans, we gotta talk CPTSD

Okay, I have spend about a week considering writing this blog, but I really gotta say, that it is something people really need to understand. See, I mostly see this issue with Astarion and his depiction in fandom. However, I would argue that it is a thing that affects literally all characters that play some sort of bigger in this entire game. Including many NPCs.

But let me start with Astarion. See, I wrote the blog two weeks ago about people being judgy on people, who do not want to have graveyard sex with him. Mostly people will argue how Astarion should be allowed to have his agency in that moment - while I argued that whoever the player is playing should have also agency in that scene. Including the agency to say "no" for whatever reason. I also included that my Tav absolutely denied Astarion, because he was not trusting that Astarion in the scene really was ready for it, for a variety of reasons. Which is very much a valid reason for someone not to want to sleep with someone else. (Literally every reason is a good reason for that, mind you.)

And obviously there came the comment, that went basically: "As someone who was raped I am very appalled by you saying that raped people cannot consent." Which is very much not what I said.

What I said was, that my Tav did not consent. Yes, he did not consent because he thought Astarion was not ready for it - but he is the one not consenting. It does not matter for this whether his assumption about Astarion is true or not. Tav does not feel comfortable in the scene, so Tav does not want sex right there.

However... If you consider the drow orgy scene, Tav is also very much right. If you do that scene after defeating Cazador, Astarion is enthusiastically consenting to that orgy, but he still ends up dissociating during the scene. (And in that scene, even if your character notices it, you cannot go "Stop!" Which I hate.)

Here is the thing. If you are in the BDSM scene, you might actually have encountered a scenario in real life where someone was enthusiastically consenting to something - only to them realize, that they were not into it at all. And people can withdraw their consent IRL at this point. Only that in this game, obviously you can't. So within the game choices I will just start out with "no" for this character.

Still, that is actually not what I mainly wanted to talk about. No.

What I wanted to talk about is the other thing. I absolutely know that for a variety of reasons a lot of SA survivors do identify with Astarion, and I do not want to take that from anyone. I think it is amazing that we got a character with whom we see this issue portrayed seriously. And let's face it. Especially in tumblr fandom circles, we will have a lot of SA survivors, because the userbase of this website is majority afab, and many are queer. And we know from statistics that queer afab people are even more likely than non-queer afab people to experience SA at some point in there life. So, yes, Astarion is going to be embraced by this community makes sense - even without his dashing looks.

But here we get to the actual meat of the issue: Astarion was not just raped. Astarion was abused in a variety of ways - some of them sexual - over the course of 200 years. He went not through a single traumatic event, but an ongoing trauma that, again, lasted for 200 years.

Or to put different: Astarion does not have PTSD. He has C-PTSD. Complex trauma. The kind of trauma that develops when the trauma lasts over a long, long time, without the survivor getting a chance to ever really properly ever relax. Something that was very true for Astarion's time under Cazador. He was under constant threat of rape, torture, and other forms of violence.

While CPTSD is a form of PTSD, it has some differing symptoms - and additional symptoms from plain old PTSD.

I found this graphic on this blog here, and found it fairly good in the depictions. (If you google CPTSD you will find several graphics like this.) It shows very well the additional symptoms, compared to normal trauma.

Generally speaking, CPTSD brings a lot stronger issues with self-worth, interpersonal problems, and emotional regulation. CPTSD folks are often prone to emotional outbursts (this graphic names anger, but technically it can be all other kinds of emotional outbursts - which is why at times CPTSD gets confused with BPD).

And Astarion is written like this. He shows very much all the symptoms of CPTSD. And let's be honest: That is an issue he will have to deal with for a long, long while.

But... As I said, the same is actually true for pretty much all the characters.

If you look at the companions, it is obvious.

Gale spent at least a year in constant fear of blowing up. While Mystra's abusiveness towards him within the relationship prior the orb is more fanon than canon (though the relationship was defnitely not an easy one), the "one year in constant fear of death" is very likely going to instill some form of CPTSD in him.

Karlach was a slave for 10 years, forced to fight in the hells. While she will also probably suffer from certain forms of PTSD more common in soldiers. Additionally I would argue that she also has some CPTSD from tiefling-racism. While she does not bring it up often... She does seem to have a thing there.

With Wyll it is a bit more complicated. Yes, for him I would see the kind of CPTSD I have - parental abuse related. Ulder was not openly abusive, but neither was my mother, and guess what fucked me most up in my childhood, despite experiencing some really bad violence elsewhere.

Shadowheart was abused by Viconia and midwashed and tortured and was forced to kill her fucking pet mouse. Bonus points that a lot of it happened during her childhood. She very much is gonna suffer the consequences.

Lae'zel... Do I really need to say something about her upbringing among the Gith?

Then we have Halsin. We know fairly little about his background, given that he is very coy in talking about it. But his "three years as a drow slave" definitely make it likely that he has developed some form of CPTSD.

And then we have Jaheira and Minsc. For whom just the... Well, look folks, the adventuring lifestyle would logically also leave you with CPTSD of some sort.

Even if you play a Tav who entered the game after having a very untraumatic life... They will spent what has to be at least two months with a tadpole in their head threatening to kill them - while half of Baldur's Gate is trying to do the same. They'll have PTSD after this at the very least, if not CPTSD. (Even though, let's face it, chances are we all gave our Tavs more than enough background trauma to go along with it, right?)

And same goes for so many other characters. The tiefling refugees. Our main villains (especially Gortash and Orin). Cazador. The other vampire spawn (duh). The list goes on.

So, what am I trying to say here?

Well, for once I just want to make sure folks understand that CPTSD is a thing that exists and while being similar to normal PTSD differs in some points. Including the fact that people with CPTSD have a high likelihood to make very rash decisions driven by instable emotional states, that might be harmful to them on the long run.

And mind you. In real life most people with CPTSD have it because either they were bullied for a long time, or were in an abusive relationship of some sort. (Abusive parents, abusive partners, abusive friends/roommates.) But even in those heightened scenarios the game represents for the most part - the issues are gonna be still mainly the same.

#baldur's gate 3 #baldurs gate 3 #bg3 #cptsd #ptsd #cw ptsd #cw sa #cw mental health #astarion #wyll ravengard #karlach #shadowheart #gale dekarios #lae'zel #halsin #trauma recovery

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mimble-sparklepudding · 4 months ago

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Ship and OC Relationship Creative Process Ask List.

I am still pondering how best to approach some sort of "ship" for one of my OCs, but it's proving to be quite the challenge to wrap my head around. So what better way to learn more about how other people approach the topics of sex and relationships with their characters than to put together a little Ask List. Not just focussed on ships between OCs and canon characters, but also open to relationships between your OCs - or your OC and someone else's OC (or OCs, as we are all very polyamory inclusive around here).

Did you create your OC with a plan to ship them with a specific character or another OC? Or was their relationship something that evolved all by itself?

How important is your OCs relationship(s) to their story? Would it still make sense without it? Or is their connection to this other character integral to their development?

Were there any barriers to you establishing your OCs relationship? Perhaps social or cultural stigma? Or a concern that "ships" with that character were already overdone? Or simply a fear of being seen as "cringe"? If so then how did you overcome this?

How graphic or explicit are your explorations of sexual interactions involving your OC? Do you happily name body parts and actions? Or do you prefer to leave the mechanical details to the imagination?

If your OC's relationship involves a gender or orientation different to your own then how confident did you feel about exploring or writing this? If your OC and the character(s) with whom they are in a relationship are the same as you in terms of gender/orientation then was this a conscious decision?

How easy do you find it to write (or otherwise portray) non-sexual affection between characters? This might include terms of endearment, "pet-names", descriptions of cuddling or stroking the other's head in their lap etc.

How important is other people's investment in (or enthusiasm for) your character's relationship? Was this a consideration when you were planning it? Have you ever changed a character's relationship(s) due to other people's response to it?

To what degree do you use your OC as a means to explore your own romantic proclivities (or shortcomings)? Is your OC a self-insert and the relationship a form of wish-fulfilment and/or an means to explore certain fantasies? Or do you enjoy exploring something completely different to your own experiences and preferences?

How confident are you in writing about or otherwise portraying kissing between characters? Did this take practice? How much detail is enough? How much is too much?

Is it important to include tension or outright areas of conflict in a relationship? If so then how do you explore these? Or does this not appeal to you?

Does it matter to you how many other people also ship their OC with a particular character? Would this make it more likely that you will compare your material to theirs? Or does this not enter into your thinking?

How much does your OC's background and origin affect their approach to relationships? Are there specific insecurities or preferences that lead on from their past?

How easy do you find it to write romantic (or sexual) dialogue for your OC? If they are in a relationship with a canon character then how difficult is it to keep these interactions faithful to their established character and communication style?

How do you feel about answering questions about your characters sexual/romantic activities or preferences in character?

Did you build up to your OC being in their relationship? Or did you put them into it quite quickly and then filled in the background in retrospect.

Is there a relationship between characters in another setting that particularly inspired you? What is it about this portrayal that you enjoy?

Does it matter whether other people consider your OC sexually attractive? Did this inform your thinking when you were creating them? Also was it important that you put them in a relationship with a character who is generally considered "attractive"?

Do you have specific music that makes you think about your OCs relationship?

Do you have a sense of how your OCs relationship will evolve in the future? Or is it quite a fixed in terms of dynamics and story?

Is it easy to write or otherwise portray other characters (or OCs) reactions to your OCs relationship? Are these interactions important to your characters story? For example, is the relationship one that can be publically acknowledged?

How important is it that your OCs relationship is "realistic" for the setting in terms of the characters values and attitudes? Or are you happy to explore psychological or sexual issues that might more reflect contemporary concerns?

Do you consider your OC to be sexually attractive? Or pretty/handsome? Would you still be able to write about their relationship if you didn't?

What is something you feel you have improved at in terms of portraying sexual or romantic relationships?

How do you feel about people producing fanart of your character's relationship or ship? If this were NSFW would you want to be asked first?

Other than your own characters' relationships, can you give an example of someone who is particularly good at writing or otherwise portraying romantic and/or sexual relationships? What is it about their work that really stands out for you?

Have you given much consideration to specific "kinks" or sexual likes and dislikes for your character? If so then is this something you feel comfortable talking about or describing?

Is there a particular "trope" for relationships that you especially enjoy - e.g. enemies to lovers etc - and is this something that you set out intending to explore?

Is there something you historically felt (or still feel) awkard about describing in terms of your character's relationships? Whether sexual acts, bodyparts, pillow talk, romantic declarations or using the "L word". How did you overcome this (if you ever have)?

What makes a scene or situation "romantic" in your opinion? Is this something you find easy to portray?

What advice do you have for someone considering creating a ship for their character? Or for someone unsure about writing relationships and/or sexual scenarios?

When portraying romantic or sexual scenarios involving your OC, do you aim to inspire a particular response in the reader or viewer? Whether a warm fuzzy feeling, or getting really quite turned on (or possibly both)?

If you ship your OC with a particular canon character, then what was it about that character that drew you to them? Is it that you have a certain "type" when it comes to shipping? Or did you surprise yourself with who you felt drawn towards? If your OC is in a relationship with another OC then did you change any aspects of either of their backstories or personalities to make this work?

To what degree is your OC a self-insert, particularly in terms of their relationship? Do you sometimes use your character's relationship to explore your own feelings about a canon character or another OC?

How confident are you in writing angst or portraying conflict or tension within a relationship? Or is this something you avoid? If so is this because it doesn't much interest you? Or because you're unsure how to approach it?

Is there a way in which your portrayal of your character's relationship subverts the reader or viewer's expectations? Was this deliberate?

How do you ensure that the dialogue (or other portrayal) of a canon character is true to their personality and (more importantly) way of speaking? Do you spend time studying their "official" dialogue in order to get it sounding authentic? Or did it just come naturally?

What is something you try to avoid - or think everyone should try to avoid - when portraying sex and/or relationships with their characters?

What is your favourite depiction of romance (or sex if you prefer) that you have produced? Or if you haven't produced one yet, then what is your favourite example from another creator?

What, if any, is your biggest source of fear or anxiety when it comes to writing or otherwise portraying romantic or sexual scenarios?

What is something that your friends or mutuals could do to support and encourage you when it comes to your creativity around your OCs relationship(s)?

#probably not worth sending to me #as I have no idea about most of this stuff #oc ask list #ship ask game #oc relationship ask game #oc relationships #ffxiv oc

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meinkatzchen · 2 months ago

Note

Mate I'm just seriously loving your take on ren, it's impressed so much so far too!

Also could I patch up your y/n? Poor gal looks scared out her wits.. Gonna pull that fox's tail if it happens again [[Still fab art, keep it up hon!!]]

THANK YOU SO MUCH!!! 💕💕💕 I have a cold right now, so I hope my thoughts won't come across as jumbled. I still really like to see Ren not as such a harmless fluffy ball of shyness, as Gato showed him in the original BTD (although he is quite cute there, but still…I don't see any interest in developing relationships with MC, whom Strade decided to keep, if they initially get along with Ren x) ). As for the remake, I am building my own image of the fox-boy based on the available screenshots from Gato's Patreon and it seemed to me, no, I had a strong thought in my head that he could be hostile at the beginning if: MC is beastkin, and Strade keep them alive (I already wrote why in post), MC is trying to escape from the basement, and he does not want to help them, or if MC attacked him first. And he will be dangerous, I mean, he has claws and fangs! And, it seems, strong arms. And also, a strong fear of Strade and deep submission to him. But in general…Fights with MC and those nasty/painful actions that Strade can force two to do together are just the tip of the iceberg in this house, which can affect the emotional background of two. Ren can frame MC at home and manipulate them if they are cold and hostile to him. But if they treat him friendly, respectful and affectionate, then he will definitely reciprocate! And I think that the two of them can cooperate to take care of each other's mental and physical condition. I have too many headcanons for the relationship between the fox-boy and my cat-girl and I hope that I can gradually show them somehow. In general, I advise you and everyone to dream and come up with your own heads, it's fun!

AWWWWWWW!!! Btw, my cat (her name is Mist) will be fine 💕 I'm coloring this picture now and I understand that, judging by the fresh wounds on Ren, she scratched him pretty badly, so, temporarily, she is not his friend, but his sparring partner…….but Mist is cunning, if she caused you sympathy and a desire to treat her wounds and drag Ren away, then she did everything right ;)

#ask

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theeternalwombtarot · 1 year ago

Text

what you need to hear right now: channeled from spirit

message: I love this type of art, I have tons of it on my Pinterest but anyway that's sort of beside the point, I feel called to do a message but I feel very low on energy within as of late. I want to try and keep this one short, sweet, and clear. As you know, especially if you're a light worker or intuitive, shifts within the collective, within energy however it comes are always felt first by us. If there is a symptom of change, I'm feeling it 10x over so that I can prepare to relay that information to the collective because I would honestly consider myself to be a vessel. As I cope with my life and my own human experience I am also in the process of collecting important information so that I can guide the collective effectively and let me tell you, I've been through some SHIT with the opening force of 2024. Anyways, enjoy the reading and I pray that you find what you're looking for and what you need with me in my space today.

"we've been watching you juggle both the physical and the spiritual within your hands for the past couple weeks, you may feel as though your worlds are colliding your the sky and the ocean has folded over with you in the center. There comes a time in one's life when the elements that make up their world must come into alignment and fuse with one another. You were told to learn what it meant to be a balanced individual, and so as you completed and closed off karmic lessons and overcame blockages you became closer and closer to equilibrium and these moments now are crucial as what you had needed all long is on its way to be delivered to you. You've been learning what it means to manage your time, manage your energy, and spread yourself where needed to obtain the results you desire. You have one foot in the spiritual realm and one foot in the physical world. Your development as of now is so incredibly important and we're supporting you in your journey forward.

Things may appear to be slow, backed up, or difficult at this time but movement is coming in quickly and to be expected soon. You've planted your seeds to receive and as you deserve, you shall. within the next two weeks for some of you and even a couple of days for a select few of you, things will begin to move forward or pick up momentum. Set your intentions straight and make sure that they are unwavering. there is success on the horizon, whatever is difficult or isn't working out for you that will change. You've grown so much, and your only job at this time is to nurture yourself and your manifestations, show yourself grace, ask for healing, ask for closure, and ask for the necessary tools to care for yourself as one should. And become clear and aligned with whatever you are manifesting, and put yourself in the position to receive by doing the work on your end and meeting us in the middle with your will and your gratitude. If there's a will there's a way even if you don't have everything in the world to offer in exchange. Come to terms with your power and the part you play in your world.

A select few of you are royalty within the spiritual realm you are kin of spirits who are highly respected and praised in the beyond and that is why the pile you chose depicts the divinity of a matriarch holding her child. Look for gold jewelry and gold trinkets and items if you choose to go out shopping or collecting. You feel called to build something or may have an idea, honor your ideas, and put actions behind what you desire to reap. Those of you who know that you are divinely protected are being heavily watched over and shielded, there could potentially be gossip by those of whom you've left behind or parted from but their tongues will be stilled when they speak of you they summon your spiritual court ( your ancestors, your spirit guides, guardian angels and all deities who call out to you and respect you.) their karma is sharp. Pay no mind to any negative energy sent to you by others. They talk only because they want to be paid great attention to but the audience lies in front of you and the universe's love and support is more than evident on your side.

You are about to succeed heavily, many things will be given to you, prosperity and congratulations are in order, the people will see. you are in a position to receive well in your finances, so well you will be able to give to others or keep your abundance in full cycle forward and back to you. We once told you that you would be compensated greatly for your hardship and the spiritual council has spoken and reached a solid verdict on your reward and the size and volume of the gifts you're about to receive. Do nothing but nurture thyself and expand from this point forward. be easy with secureness in your good fortune, do not let your fear or your anxiety eclipse you there is no purpose for any of it."

II.

"You asked to be free of the things that threaten to hold you hostage and one of the biggest of those things happens to be you. It's time for change and it's time for growth. As you step into the new year you have no choice but to be reset now after years and months and weeks of being broken. You need to be able to heal properly. It's time to come clean and be honest. There are many things within your life that have made lasting impressions on who you chose to be or what you chose to do for your survival even at the expense of others, even those you held dear to you. The process of living an honest life is not an easy one. It is easier to be deceptive, to use your pain as a weapon, or to do what you need to do to survive even if it means stepping on others in the process or not meeting the needs of those you've awoken to you. It is hard work to be in alignment, it is hard work to always take accountability, it is hard work to look at your shadow and truly acknowledge it, you know more than anyone."

interception: I'm getting the energy of the film "warrior" with tom hardy in where he plays a character named tommy who ends up having to fight his brother for a large reward in a wrestling championship. He was a marine in the military and has childhood trauma that shapes the way he presents himself to others and navigates in his interpersonal relationships and of course what his goals and purpose are in the film, I'm not going to spoil it for you but if this is your pile, I recommend you watch it. it's on Netflix. it also really does a good job of highlighting an aspect of ourselves that we carry in our spirits to marry ourselves to our trauma or particular factors of it to hide from troubling or conflicting emotions or circumstances. things that are "inherently" bad or negative in theory but can look "desirable" or "acceptable" to us because our motivation for accepting it happens to be a heavily skewed one.

" It's time you finally free yourself from your karma, from your vices, from your shadow, and from aspects of yourself or your life that threaten to keep you stuck or stagnant. You can't take with you all of these things into the new year, into the new world, into your new life. The devil is in the details and he has done nothing but hold onto your ankle this entire time. It is your responsibility to make the changes that you've been asking for or craving. You may fear loss or the reality of the damage you've caused, the opportunities you've put yourself in the position to lose. You will sit with yourself, you will look at yourself in the mirror or you will suffer and continue to do so under the hand of your own decisions. What you are owed in compensation for a hard life cannot be received if you cannot put yourself in the position to receive them. There's a need in life for personal given grace as well as accountability for the part we play in events and circumstances that take place in our lives, take time to self reflect, forgive yourself, show yourself grace and in turn find the courage to communicate with those you've wrong and/or begin your journey forwards.

In our lives, the consequence we bare the burden of however heavy the weight is never the full and eternal end there is always something after. You've proven yourself to be resilient, to be a force. Use your strengths and allow them to will you forward into the next chapter of your life. Someone significant in your past could've heavily admired you or seen in you things you could not see in yourself as they were able to sense higher beings in others however troubled their karma was. The love they had for you is the love you are about to receive from yourself. The things they saw in you that you could not see you are preparing to embody in full. Ace of pentacles upright for you here signifying abundance coming to you when you are able to open yourself up to receive it all. remain committed to your cause."

III.

"You're seeking out personal closure or looking for solutions to an issue that you don't have on end. Don't make the mistake of running from completion or leaving doors ajar because it is difficult to close them shut you know what you need to do. You need to make the proper investments for your life, you need to work for your improvement or to receive the life you have felt you were entitled to all along but the mistake you've made along the way all this time is attempting to take short cuts and be strategic, deceptive or ingenuine in your method to try and deceive. You are used to putting on a mask or trying on costumes to appeal what others desire from you so you can receive the result you prefer from them, their approval, their support, their validation. Your biggest enemy is the closet full of masks you've accumulated they work against you, they push people away, they scare people of value, and they mislead as you've asked them to. Your life and it's events however unfortunate or difficult have existed to serve you a purpose and put you on your righteous path forward in alignment with your highest self and the life they live but instead you've sharpened it and allowed it to be used as a weapon against others and against yourself.

put your strengths and your adaptability where it's needed and not into being a sheep in wolves clothing or traveling through the night in such a way in which you won't be seen. Abundance will come for you and doors will open up for you where you set your intention and where you are unwaveringly honest and true. Reflect on your choices, your habits, and your behaviors in order to decide what needs to be changed and what needs to be improved and do it honestly this time and set the intention to change it not make another mask of it and store it away for another time. It is not your place to control the way everyone looks at you and how you are perceived or if they are willing to give to you or not. You control or manipulate what does not belong to you from places of fear you store deep within you and it is time to heal and ready yourself to move forward and leave a karmic version of yourself behind. Pack up the things you need to bring with you and be rid of the rest. Do not be resistant to change you must move."

#self love #self care #self improvement #self discovery #dream girl #self expression #healingjourney #self healing #manifestation #divine feminine #divine masculine #pick a card #tarot readers of tumblr #channeled messages #channeled message from spirit #what you need to hear right now #pac #pick a pile #tarot lessons

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uno-san · 5 months ago

Note

Can i request a continuation of your first fic? Stan eventually admitting the Mr. Mystery who sent the flowers wasn’t a secret admirer but infact Mr. Mystery himself?

First of all, I am so honored to have a request for a continuation! Truly one of the highest compliments. And reading back on comments before, I should have made a second part long ago! I had so much fun writing this and thanks to all who have read my work. Part 1 can be found here. There's a small recap written in this part though so reading it isn't required :) Enjoy! Mr. Pines, Part 2 (Stanley Pines x Reader)

Nearing the end of summer was always a melancholic event. In which the busiest season of the year would descend back down to hell and allow the workload to dwindle off to a manageable amount at the Mystery Shack yet leave you with a sense of grief at another amazing summer gone. It wasn’t like that before.

Ever since becoming a full-fledged adult with a life and responsibilities, the seasons and months had a way of blending together as one week after the next you were simply looking forward to the next paycheck. It was torture. Arguably not a way of living at all.

Keyword being before.

Sure, you could do without the new occupational hazard of being killed by a mecha-suit made out of feral gnomes, mind-wiping cultists, and God knows what else. Yet despite all the life-threatening danger, you’ve never been more alive! Everyday holds the potential for a new adventure and memories to make with the friends that you never thought you had.

That was the sadness about summer ending, however. Soos would remain at the shack but your other dependable co-worker, Wendy, would be off focusing on school. The same for Dipper and Mabel, who would leave Gravity Falls and Mr. Pines- Ah.

Stanley.

You were in the middle of sweeping the trampled wood floors of the Mystery Shack when the name made you stop in your tracks. It always did. Worse yet, it’d have you chew the inside of your cheek to stop them from heating up. It made you feel juvenile. Quickly your eyes swept across the shop and back as if you chanted his name three times. When there was no puff of smoke you let out a sigh of relief.

It was the start of summer where your more challenging trails began. That being Stanley Pines, the older man who was the owner of the Mystery Shack and your boss, who had given you permission to call him by his first name. Having done so, naturally, on a day where a secret admirer, or, ‘Mr. Mystery’ (Whom Stanley says he’ll sue for stealing his title) sent you a beautiful arrangement of flowers. God, you can still remember what a pain it was to lug the large vase back home. It was a wonder how Wendy was able to do it all herself without having a car to help.

To add to the confusion already surrounding that day when Stan hadn’t confessed to being the culprit, you were disappointed. Your shoulders slumped when Wendy had reasoned it had to be someone else. Instead of wanting to know who this secret admirer was you were instead interested in knowing when in the hell you developed a crush on the graying con man that was your boss. Not that there were tons of eligible bachelors in Gravity Falls but then they’d be in your age range! Or ones with no criminal record, strong arms, jokes, a handsome face that could draw you in at any moment to share a sweet kiss with-

Fingers snap in front of your face. The sharp sound caused you to jump in response and fumble with the broom to prevent it from falling.

“Hey, kid!”

Stanley’s hoarse voice rang out from beside you; your shoulders tensed while your newfound grip on the broom handle could have splintered it. He must have noticed the panic in your face as he quickly raised his hands as if to show he wasn’t armed.

“Oh, Mr. Stans, I-”

“Huh? I…don’t know if, what-” The perplexed expression he made killed you in a thousand ways before his head shook out the unnecessary thoughts, “NEVERMIND ALL THAT. Forget it. I just wanted to ask ya to get started on restocking the bumper sticker display, alright? Last time to peddle the stuff out while we have the most out-of-town folk. Can ya do that?”

You nod, “Of course! I’ll get started on it straight away, S-Stan.”

The smile you offered didn’t appear to reassure him any as he lingered a moment. His hands were firmly planted on his hips while he actually leaned down to inspect you. Drawing close enough into your space that you had to nearly arch your spine not to bump into the man. Under his gaze all you could do was swallow the thick lump of nervousness that always choked you when Stanley was near.

Suddenly he blinked. As if Stan had just realized how the distance between your two had closed without his notice. Awkwardly Stanley stepped back and coughed into his hand. Your overactive imagination could have sworn his cheeks were tinged pink, “Just, ah…checking to see ya didn’t have a heat stroke or nothing. You don’t, so, start drinking water before you start freaking out the tourists. Got it, kid?”

He didn’t wait for an answer. Instead stomping off to wrangle some poor soul into buying poorly-produced and expensive merchandise. You watched him from where you stood still, now overcome with a flurry of emotions from that blundered interaction. If a Gnome Mech wasn’t going to kill you then Stanley Pines sure as hell was.

With a shake of your head you did your best to gain control of yourself once more while the day threatened to drag on. On the way to the storage room you passed by Wendy. Who, as always, was laid back. She nodded towards you. You returned it without reveling in the silent approval of a teenager before you disappeared in the backroom to grab the needed box. Luckily it was light and allowed you to grab another heftier box full of other items that were in need of refilling and maintenance. It didn’t hurt to put a bit more effort into your job, after all.

Returning to the main room in front of the counter you could finally begin your work. It was almost therapeutic. Nobody bothering you. No immediate death threats or wild twins to wrangle in. Just you and a box of bumper stickers being neatly tucked away into different stacks.

You would have started humming to yourself if something hadn’t felt…off.

Something behind you had begun to radiate heat. Breathing down your neck and causing a nervous drop of sweat to run down your forehead. Slowly you began to turn around until a hot breath suddenly blew across your face, your eyes meeting with another pair with barely a head turn.

“OH, JESUS!”

The shock of it had you bring your arm back to slap the stack of bumper stickers across the cheek of someone not all too unfamiliar. Who you now recognized as Thompson yelped at the contact and went to quickly shield his face with a previously unnoticed bouquet of roses, “Dude, duuuuuuude, stop!” He cried out while his eyes were skewered shut with pain, “I’m sorry, I’m sorry!”

“I- What-” You dropped the merchandise in your hand as if they alone had somehow enticed you to assault a poor teenager, “No, I mean…Shit. I’m sorry, I guess?” In the midst of your guilt it was hard to pin the blame on anyone, “What in the actual hell were you doing-”

“What in the actual hell- HECK is going on over here?” Stanley’s voice cut through the confusion. His heavy footsteps nearly rattled the walls of the Mystery Shack as he came to inspect the commotion. Stanley’s eyes fell onto the scattered merchandise that caused his frown to be deeper set, eyebrows furrowed in a conflicting mix of emotions.

“Alright, there better be a good explanation for all this racket. You’re distracting the customers- WHAT IS THAT?” His eyes grew impossibly wide as he gestured wildly to the bouquet.

You opened your mouth to reply before the bell attached to the front door rang to grab your attention. Stepping through was Lee, the taller blonde teen that you’ve seen attached to Wendy’s friend group, miraculously holding a bundle of roses in hand.

“He’s lying to you!” Lee shouted and clutched at his heart in either a romantic gesture or a heart attack, “I’m the one who bought it for you, not HE!”

“Lee,” Thompson began to what you could only describe as stage-whisper in his friend’s direction, “I didn’t get to my part yet, I got frickin hit!” His hand moved to reveal the slightly pink mark on his cheek.

Lee lost his composure, “Aw, really? Bro, that’s fucking hilarious. But like…c’mon, bro, you gotta do your part before Nate gets here.”

“Wait, Nate?” Your confusion deepened as they ignored you in favor of having a whispered back and forth, with Lee pushing Thompson forward who nearly collided into you with the shove. The look you gave him was of someone afraid of a bomb about to go off.

Thompson wiped the sweat off his brow before offering his flowers with the same hand, “I like, fricken LIKE you, dude! Just love your whole deal,” He confessed with cheeks as hot as the son while he practically had to spit the words out. His heavy breathing began to pick up. Opening his palm you noticed that there was smudged ink on it that he was now trying to read, “T-That’s why I bought you the flowers-”

“WHAAAAAAAT???” Stanley suddenly roared to life while his hands tightened into fists. In a tantrum similar to a child he marched up, glowing down at poor Thompson who’d gone stark white.

“He’s lying to you! I’m the one who bought it for you, not HE!” Lee repeated. Stepping forward he cast a concerned glance towards the statue that was once his friend to present his own bundle of flowers to you.

The pollen made you want to sneeze. Impressively Lee managed to ignore Stanley to continue addressing you, “It’s true, I’m Mr. Mystery. And it’s even truer that I’m into older, uh…” He looked you up and down, “Into older individuals.”

Your brows drew closer together in concern, “How old do you think I am?”

Lee bit his lip and raised his brows in what he must have thought was a seductive look, “Old enough, bro.”

Thankfully you didn’t have to respond to that as Stanley’s hand shot forward to grab at Lee’s flowers, tossing them to the ground as if he was spiking a football and causing petals to fly everywhere. Lee stared at his hand in shock before having his attention drawn to Stanley who had the both of them in his sights and looking ready to strike.

“I’m not going to take any kinda lying in my house! Neither you or dweebus here bought ‘em any flowers. You two dorks don’t have the kind of cash for that sorta gesture anyway!”

“Uh, we totally could,” Lee said in an offended tone, “Flowers are like, 8 bucks at the grocery store.”

“The ones delivered weren’t from no grocery store, it was a specialized boutique!” “How’d you know that? Huh?”

“Gardening. Is. My. HOBBY.” Stanley passionately replied through gritted teeth.

“No, it’s not.” Wendy answered, bored.

This was starting to give you a headache in more ways than one. Especially in the sense that the few customers in the shop were beginning to stare you down, no doubt finding this whole spectacle the biggest mystery of the day. It made you want to shrink away and disappear into nothing! Sure, you were just lamenting the end to an exciting summer but this wasn’t the type of bang you wanted it to go out on!

Turning towards Wendy you had prayed she would be of help to wrangle in her friends while Stanley and Lee argued in the background. To your disappointment Wendy was hardly paying attention. To both you and her actual job while she busily texted on her phone. You waved your hand out in front of her.

“Please, a little help?” You were nearly begging, “Think maybe all your friends hit their heads at the same time or something. I don’t even know how they knew about the whole flower thing- WHAT, THOMPSON?”

The nervous teen had managed to shuffle past his friend and your boss. Apparently he had given up reading his hand to instead have his phone pulled out. His eyes would flicker between you and the screen before he tried shoving his remaining flowers back into your face again as opposed to your conveniently open hands.

“Shall I compare thee to a summer’s day? Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May-”

“NO. No. No, no, no, noooo!” Like a sheep being surrounded by wolves you staggered back. Your growing panic is now drawing the attention of Stan and Lee who managed to stop arguing long enough to see you turn tail and run, “I’m going home until whatever this is blows over!”

What you expected to be an awkward exit quickly turned to a horror show as Lee and Thompson actually pursued you.

“W-Wait! We didn’t get to the part about how there’s soooo many other bachelors after you!” One of them yelled.

“Yeah, and that waiting too long to snatch you up will result in losing your love fooooreeevveeer,” The other, for whatever reason, said this more towards Stan. “WHAT ARE YOU TALKING ABOUT?” You shouted off behind you while carefully dodging between both aisles and customers alike.

Seeing as you had two stalkers on your tale Stanley raised a fist, “Hey! No harassing my, uh- favorite employee! Wendy, get my crossbow!”

“No.”

If they started arguing or not after that was none of your concern as you were apparently in a struggle for your life. If your heart wasn’t going to give out on you yet then the embarrassment would definitely get you by the time you get home. God, this was all starting to feel like a fever dream. Or maybe you DID die this summer and now you were in some sick limbo?

Whatever this was, it was clearly because of one thing. The incident with the flowers you received a couple months back, to be exact. After that day there had been no further gifts. How was it connected? Especially to Wendy’s friends of all people who you had the pleasure of not interacting with much at all this summer.

Perhaps they had been the ones to send the flowers in the first place? Attempting to draw you in further with a date to pull a prank on you. Trying to film your reaction for a video that they’d laugh about for ages to come and torment you with.

But no. That couldn’t be it.

Humiliation was certainly what they were achieving right now but if that had been the goal they would have pushed for it when the flowers had first been delivered. Give you a way to contact this ‘Mr. Mystery’. But they hadn’t. So what was the point of now?

You supposed this could haunt you later instead seeing as you had two hot pursuers on your tail. Both Lee and Thompson were still flinging compliments your way while Stanley struggled to catch up between having to clean up any spills along the way as well. Whenever you were able to catch a glance of him you’d shoot an apologetic look that he’d wave off.

It was another minute of dodging the two before you were able to loop your way back around to the front of the Mystery Shack, towards the parking lot and where your car was. To safety. A part of you was even willing to mow down a rowdy teen if you had too! But fate had other plans. The door swung open and you skidded to a halt; nearly crashing into the poor unsuspecting soul who-

It was Nate.

He saw you and grinned, slowly raising a damn bouquet of roses, “Heeeeey, just who I wanted to see! Wanna take a guess at who your secret admirer is? Hint, it’s me!”

Oh, come the fuck on.

Nate must have noticed a deranged look in your eye seeing as he took an awkward step back he clearly hadn’t planned on. From behind you could hear the heavy thudding of feet as Lee and Thompson had finally caught up. Great. You looked both ways. They had an expectant expression on their faces that you couldn’t make sense of.

“Alright, alright, break it up you hormonal goblins. Get BACK, I say!”

Stanley’s voice was like the calm in the storm. It gave you something to focus and center yourself on. You hadn’t even noticed him stepping closer to you before it was too late. Two strong hands clamped around the delicate curve of your waist while thick fingers tickled into your skin. The grasp had a shiver run up your spine. Then what started as a tender embrace quickly became a vice when you were lifted off of your feet.

You actually squeaked. In a display of strength you thought only adrenaline could achieve Stanley had hoisted you above his head and out of reach from your ‘admirers’. Like the tallest kid playing ‘keep away’ in the schoolyard. From below you could see the three teen’s jaws drop at the display while a nearby customer asked if this was part of the tour.

Stan must have heard it since a blush came to his cheeks a moment after yet he refused to release you, “We’ll, uh…just go for now. Break time and whatnot…WENDY, MAN THE STORE!” He shouted while beginning to push his way back towards the employee area of the shack. It wasn't until he was passing staring customers he coughed out a reluctant, “Stop watching and we’ll have a ‘buy two, get one full price’ sale.”

That disappeared the crowd quickly who were now buzzing with excitement at the prospect of a deal. Stanley began to walk you back. With no eyes on the two of you, Stan cautiously began to lower you down. Not to your feet, however. Instead you were brought back into his chest where you had more cushion to lay against. Despite the summer heat his body warmth only drew you in. Not to even get started on how hot your face already was from blushing for the last few minutes!

Stanley meanwhile had his eyes glued to the path ahead. Afraid that taking one glance in your direction would make him regret coming to your rescue at all and depriving himself the chance of seeing you blush longer. Though it was certainly a motivator to have a couple of guys flinging compliments your way so freely as well. God. Wasn’t he too old to be getting into a pissing contest with teens at this point?

Too old in general. Both with having a silly school crush on his employee and also trying to lug you around as if he was twenty years younger. Stan made it look easy but his back pain would be coming back with a vengeance tomorrow!

With your hand resting against his chest though it was hard to deny it was worth it.

Having led you towards the back office Stanley stepped in and used his back foot to kick the door shut behind you two, blocking the light from the shop to leave you in near darkness if it wasn’t for the rare ray of light peering from behind the closed blinds. Without the stark lighting the office was almost calming in contrast. That, or you loved hearing Stanley’s steady breathing more than you realized or the soft beating of his heart if you concentrated on your hand long enough.

Stan moved for the desk. It was crowded with various papers and trinkets he’d keep around to distract himself. At first you had thought he had been in search of something in particular until his hands shifted, with one suddenly slipping just under your butt to keep you hoisted up while the now free one began to clear a space for you.

Your entire posture stiffened once consumed with the realization that your boss was, to put it crudely, grabbing your ass. In spite of how rough they looked, his hands were tender. Mindful. Which judging from his expression you doubted he noticed where he placed his hand at all while tidying up his desk. You were grateful for the distraction. That way he couldn’t see the conflict in your eyes on whether you liked the contact or not after the day you had.

“Here we go…” His rumbling voice brought you back from the brink of a new meltdown as he settled you down onto the hard surface of the desk with your legs dangling over the edge. Yet his hands didn’t leave. Instead they attached back to around your waist with a feather light touch, as if the first hint of disapproval at the contact would knock them back. You showed no such sign, so they stayed.

“You, ah…all good, then?” Stanley seemed to have trouble meeting your eye, “From the dorks. I mean, they hang around Wendy all the time and get into shit, yeah, but they’re not dangerous or nothing. But if they had hurt ya-”

“I’m fine, Stanley,” You said with a soft and assuring tone, “Traumatized, maybe, but…Thank you for saving me.”

He nearly buckled at the ice-melting smile you gave him. For just a moment his fingers tapped against your skin as if they had been tempted to clasp around you tighter. They didn’t. Instead Stanley appeared to realize how close the two of you had gotten and shuffled out of the way, taking his body heat with him as he turned his back towards you to instead fixate his attention elsewhere in the room. Anywhere but you.

Stanley nodded after what seemed an eternity, “No problem. Besides, it’d be bad for the brand to have so many ‘Mr. Mystery’ running around! It’s protected IP!”

At that you found yourself chuckling, “Is this your way of saying you’re tired of hearing about the flowers?” Not that you’d blame him considering what a hot topic it was when it had first happened.

First, Mabel couldn't ignore any degree of romantic gesture without her wanting to be involved with it. Second, this was a small town with nothing to do on the good days. Toby Determined even tried to get an interview (How word got out was beyond you) and Stanley again had to come to your rescue by chasing him off with a broom. With today’s incident you began to worry that this would be a monthly chore for Stanley.

At the suggestion of Stanley getting irritated about anything involving you nearly made him jump to correct that assumption, “NO, I could listen to it aaaall day! Just not going to just stand around and let a couple of liars waltz in to take credit for it.” He said, “I mean, c’mon, they really think those flowers were from the grocery store? Please, I- whoever has way more class than that!”

You giggled at that, which was nice considering how embarrassed you were earlier. But Stan always did put you at ease with all the jokes or lax attitude he’d have to offer no matter the situation. What others found frustrating you found endearing.

“For all the class that he has, you’d think he’d have come forward by now, don’t you think?”

He gave you a look, “What do you mean?”

“Just that it’s been all summer since it’s happened. Not a word since,” You shrug and take your turn to stare somewhere else, “Sorry. I don’t mean to sound demanding or anything. But you gotta admit it’s rude to leave someone on edge like that, you know? Just makes me think they lost interest or something.”

Stanley didn’t reply. After seemingly going out of his way to avoid looking at you, you were all he could stare at now. His lips were drawn in a tight frown that settled unnaturally on his face. You were so used to his smiles. Now your boss had an odd expression of contemplation. The way his darkened eyes bore into you made you squirm where you sat, anxiously squeezing your legs together to try and keep your blush at bay.

It was an achievement that you were able to hold a normal conversation with him at all. After the shocking realization that you were disappointed that Stanley never took credit for the original gift, your time at the Mystery Shack had gotten far more difficult outside of the daily threat to your life. Especially when Mabel was like a bloodhound when it came to romance. And when there wasn’t any to be found you could be damn sure that she’d create your own, one way or the other. She was a menace.

“Kid, listen, I-”

“I guess I should-”

Your words quickly amalgamated until the two of you stopped to give the other an apologetic glance. Then silence again. Each prompting the other to continue their dialogue with a vague hand gesture. Both of your hesitancy grew with conflicted gazes.

“I-”

“I-” Stanley slapped his hand over his face to muffle his groan, “Oh, goddammit.”

You flinched at the frustration in his words, “Sorry, sorry! I was just trying to say I should go back to work if they’re all gone.”

Preparing to hop off of the desk you were instead met with Stanley’s large hands suddenly pinning yours to the desk before you could push off. His fingers nearly interlaced with yours. They were trembling. He was towering over you again to the point you had to arch your back to make room for him. Seeing this he released one of your hands to instead place his on the small of your back, supporting your posture.

Stanley’s face was now inches from yours. What little light that came into the room reflected off of his glasses and obscured his eyes. Could he have been taking in your flushed face and wide eyes? Or perhaps he was taking notice of your parted lips. You hoped it was that.

“I…I wasn’t swearing at ya. Just frustrated that I’m not being as smooth as I wanna be,” Stanley spoke in a tone far softer than you’ve ever experienced. With his voice rumbling in his chest it was like a soothing purr. He then swallowed what must have been a lump in his throat, “Listen, it was…It was me who-”

You captured him in a kiss. It was neither passionate or loving, but something new. It was potential. In this instance it was the best kiss you’ve ever had with chapped lips. Intended to be a quick peck you could still feel Stanley’s hands grasp you tighter as his entire posture grew stiff.

A second passes and you pull back, “I’m sorry, I should have let you finish,” You laughed, both at your overexcitement and his stunned expression, “I’ve been waiting to hear you say it. Keep going, please.”

Stanley didn’t respond right away as he instead simply stared at you. It was blatantly obvious when the reality of the situation began to hit him as his signature grin stretched across his face. How could an old man be so cute?

“So, uh-” He cleared his throat, “Guess I was saying that I’m the Mr. Mystery. Both at work and as your secret admirer, though I guess not that secret if you knew…Anyways I really like ya! You’ve got spunk, looks, smarts. I mean, how was I not supposed to send any sorta flowers- You get the point!”

This time he drew you in for a kiss. His was more brash and needy as if you’d change your mind at the last second. Using his grip on you he brought you closer until your bodies were pressed against each other and he slotted between your legs to fit. So intimately close yet born from the innocent need of wanting to be near you. This kiss lasted as long as you had air in your lungs.

The both of you parted from the kiss with a dopey smile.

“I didn’t necessarily know, by the way…” You mention after catching your breath, “Just realized how much I wanted it to be you after Wendy suggested it had been sent by someone else.”

Stan hummed in amusement while his hand began to rub up and down the curve of your back, “That so? Guess all that was just your way of getting to confess, eh? Gotta admit, that’s unexpected. But sneaky. I like it!”

“What?” You tilted your head in question, “You mean what happened with all of her friends? I was just starting to think that was you.”

He shook his head. The sweet mood was paused as the both of you had a confused look while playing the strange events over in your head. Stanley snapped you out of it by giving you a squeeze; with it a reminder of your new flourishing relationship with your boss Stanley Pines. You looked back up to see his grin return and a new twinkle in his eye.

“Ehh, we can figure that out some other time, toots,” He said with a wave of his hand to push the thoughts away, “Besides, we probably have a few minutes to uh, make up for lost time, if you get what I mean.” Stanley wiggled his eyebrows at you and made you giggle.

“Depends. Does this count as my break, Stanley?”

“It absolutely does.”

“What? C’mooooon, man.”

__ Outside of the Mystery Shack, hidden amongst the trees and brush, was the sharp glare of the sun reflecting off of glass. Binoculars, to be exact. Behind them being a young girl who wore a thick sweater in spite of the heat. She was biting down on her tongue in concentration as she scanned the building from one window to the next. Where could they be?

From beside her the bushes began to rustle. The noise attracted her attention and she turned in time to capture the magnified image of Wendy’s growing teen pimples as she stepped out from the woods. Mabel chose not to comment on this.

“Status report!” Mabel said in a tone far too commanding for a young girl like her to have. Regardless of this Wendy saluted.

“Mission happened, I guess,” Wendy gave a half-assed thumbs up, “The boys kind of went crazy in there so we didn’t get the romantic confession you dreamed of exactly. But they’re alone, at least?”

“Why, they went crazy under my order, lieutenant! Their goal was to be crazy in love,” She emphasized her words with a dramatic close of her first brought close to her chest, “And nooooow I’m trying to see the romantic confession but they have the blinds closed! Could you imagine trying to hide your love?! It’s inconvenient!!”

As if paranoid something would happen without her watchful eye Mabel returned to her vigilant duty of watching a closed window. Wendy meanwhile had her gaze darted away a moment as if struggling to find what to say. Eventually she rubbed the back of her neck and coughed to get her young friend’s attention,

“You know, it’s…probably a good thing the window is closed if your plan did work, Mabel. I don’t think you’d want to see what you think you’d be seeing.”

“What do you mean?”

“They’re prooobably swapping spit right now, Mabel.”

Instantly the binoculars clattered against the hard ground as Mabel nearly convulsed, “Eew, ew, EW! And that’s too much of a picture for Mabel!” Quickly she climbed out of her hiding spot in the bushes to begin following Wendy who was laughing, “I gotta go wash out my mind’s eye now!” "That's probably for the best. Let's just trust them to move that last step themselves, alright, cupid?"

Both girls were laughing now as they returned to the Mystery Shack while patting each other on the back for a job well-done.

#Gravity Falls #Stanley Pines #Gravity Falls fanfic #Gravity Falls x Reader #Stanley Pines x Reader #Reader Insert #hunkle stan #requests #my story #gf stanley pines #mabel pines #wendy corduroy

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