#ACTUALLY THE STATE OF THE FANDOM LATELY

[asfdhgsdkjhgb]

guys i need to be dancing at a house party tipsy with someone im attracted to so bad btw. ive never been to a house party in real life (though id quite like to at least once) but i really have been desperately needing that specific (probably awful for me) sensory and social environment so bad lately

[markiafc]

don't like to talk about it because i love my american friends/mutuals and would like to visit more of the south. i'm fond of american media, interested in their history, willingly engage with american material for personal and academic reasons, etc. but eng-speaking online circles being so dominated by usamerican users, their culture and politics, is intensely alienating to me. and that feeling has only gotten worse and worse over the years >:(

[hickeygender]

the last remaining threads of my sanity are slipping through my fingers rn 🚬 😑

[waratteiru]

.

[thepandalion]

I have a fic idea and I dont know if I want to write it or not send help

[squidthusiast]

Ok, but why do I imagine Eight being the unofficial child of Pearl x Marina?

Because I imagine Eight was minding their business and all of a sudden, Pearl would slam the paper down and said “You’re adopted now”

Basically OTH at the start of their world tour haha, I love that they took Eight with them.

I have more detailed thoughts under the cut for those interested in my ramblings, analysis and interpretations of the characters.

Disclaimer: This is my own take on it, don’t let it ruin your fun!

I personally don’t really subscribe to the fandom’s ‘pearlina moms’ headcanon.

On the one hand, I am an absolute sucker for the ‘found family’ trope, and I definitely think Agent 8 and OTH fit in it!

On the other hand, I think people immediately put Pearl and Marina into the ‘parenthood’ box, a little too eagerly. Not saying this specific ask is that, btw, it just reminded me of some instances i’ve seen.

I personally think that the relationship between OTH and Agent 8 is a little more nuanced & sibling-esque, for the following reasons:

1. Within canon, we often see 8 being referred to as a friend by both Pearl and Marina.

Pearl does it more explicitly (see that one interview at her house), whereas with Marina it’s more insinuated (ex. In the Side Order dev diaries, she starts calling Agent 8 as ‘Eight’, which is stated to be a name used by their friends).

Pearl seems to be an accidental-duck-parent of sorts who haphazardly collects octoling teenagers & young musical talent. It goes in line with her whole mentor-esque leader personality, and i’m sure these disoriented teens find relief in an idol who seemingly knows what she’s doing (she really doesn’t).

However she doesn’t act in a parental manner. More-so like your estranged gay cousin who hit it big in another country and is down to show your queer little butt the ropes.

Marina on the other hand seems to have a more empathetic approach with Agent 8 (opposite to Pearl’s brashness). Marina clearly connects with Agent 8 through their shared experience as defected octoling soldiers, and probably sees her younger self in them. She’s already caring as it is, but this is accentuated during octo expansion given the circumstances.

I feel however that, unlike Pearl, Marina has a bit of a harder time actually forming a bond with Eight at the beginning. Their similarities (seemingly) end at their shared experience, and probably leaves Marina awkwardly wondering how to approach them further. What we can assume though is that they become closer friends during OTH’s world tour, given the events described in the Memverse Dev Diaries.

Meeting Eight during difficult circumstances (OE) and helping them get out creates a sense of camaraderie between them, which probably devolves into genuine care, established friendship and a strong bond amongst the three overtime.

2. Pearl and Marina are very career-centric both in Splat 2 and 3.

It is reasonable that the two young idols, who see their fame and musical recognition rise spectacularly & fast, are not particularly interested in settling down at this point in their lives.

Now entering her late 20s, Pearl is most definitely still interested in keeping the ball rolling with Off the Hook’s international success. Her character often points towards restlessness, freedom and discovery. There has definitely been character development in regards to her maturity in Splatoon 3, but these aforementioned traits are still ever present in her demeanour & decision-making.

Marina on the other hand can be seen slowly blossoming from a supporting character to being her own person. She definitely develops more self-confidence by Splatoon 3, but is still naturally bashful. It’s clear that she is allowing herself to explore & open up to new things for her own sake. She remains a caring and somewhat nurturing individual, but she is at a stage where she’s learning to live for herself and not for others.

Parenthood (and all the responsibilities and sacrifices it entails) at this moment of their lives would probably freak Pearl out, and stunt Marina’s personal growth.

3. The age gaps between OTH and Agent 8 are too close for it to create a parent/kid bond.

This makes their relationship a little hazy in regards to roles; 8 is still young enough that they may seek out rolemodels and mentors (still relatively influenceable), but they’re also nearing their 20s. By this point they are fairly self sufficient, have a sense of their personal values & identity, and they are relatively responsible & mature.

Pearl and Marina are 8’s seniors by approximately 4-6 years. However, in Splatoon 2 they’re entering their early 20s and their career has just begun to take off.

They are both still relatively youngsters, albeit older & more mature(? glancing at Pearl) youngsters than 8. This places them in a position where they can guide 8 and offer certain support and resources, but lack the maturity and experience of a full-fledged adult. This would approximate their relationship closer to that of siblings in a family setting.

Pearl & Marina are also less likely to feel a duty towards Eight as an adult would with a child. Instead, the latter’s circumstances are more likely to incite feelings of rapport and compassion as a fellow young inkfish.

Now, with all of this said, I will acknowledge that friendship/found family is MUCH more nuanced than a strict binary.

From personal experience in my last years of college, I did find myself caring for my fellow freshmen as though they were my kids, in certain ways. Hell, I called them my kids.

I acted as a proud parent whenever some of them achieved something, attempted to pass down my knowledge to them, and was protective of them to a certain extent.

They also annoyed me sometimes, like younger people do haha. And i’m sure I annoyed them too!

So I wouldn’t put it past OTH to call Eight their kid and have this mentor/parent-esque rapport with them in certain circumstances.

This is all based both on canon & my own interpretations of it, but still closely aligned to what has been shown in-game.

So if you have a different interpretation of Agent 8 and OTH, that’s great! I love to see people’s personal headcanons. Ultimately, Agent 8 is meant to be somewhat of a blank slate for the players to mold, with some hinted-at personality traits of their own.

As long as you have fun with these characters, that’s all that matters. This is just my personal opinion on their relationship in-game.

If you read all of this, you deserve the biggest golden star for listening to my incessant yapping 🤲⭐️

Feel free to bother me about this or other opinions you may have in my inbox, just be kind please!

[lethalchiralium]

what’s with the cod fandom and ignoring the original tropes- yeah yeah SHUT UP

the bet, college fraternity edition. five thousand dollars to the man (out of the four) who could pin you down for a date, a fuck, and make it as a date to one of your sorority events. you were one of the only single sorority girls on the whole campus, and one of them confessed to you being hot over drinks one night. so, the bet was born - the only catch was, if you denied one of them, they couldn’t ask again until the rest had a hand at trying.

soap goes first, he’s arrogant and way too headstrong, he gets laughed away by your girlfriends at lunch.

gaz is more suave, taking an interest with you as you browse the public library. he chats you up, asks for your number when you politely decline, saying you had a boyfriend.

price takes more of a reserved route - bumping into you at coffee shops, at the library you study at, and occasionally at the dining hall. he’s always polite, nice, you start to build a friendship with him when he asks you to join him at his favorite coffee shop, blandly suggesting a study date. but you shook your head, saying you’ve got a midterm to study for.

simon goes last. he’s more upfront, he walks up to you at the library to ask you questions. he’s adjacent to your major, you’re widely known as the smart girl, it’s often that you get asked things in your realm of knowledge. he actually befriends you, bringing you coffee when you’re studying late, offering you come of his crisps. it’s just when he asks you if you’d like to get a drink with him, you decline. again. stating you don’t drink.

“but thanks anyway, riley.”

“what for?”

“i just won my bet.”

and that’s how the four friends learned that you were playing in a league of your own, just… your bet included rejecting the four hottest men on campus for an all expenses paid vacation to france. and your (more than just a) best friend könig winks at simon before he leads you away.

[raven-at-the-writing-desk]

Since you mentioned this in an earlier ask, what is your take on feminist Leona? I see people saying things like "consent king" "he drinks his respect women juice" and "leona kingscholar says men ain't shit" but I think those are mainly jokes but I've also seen a lot of for example Leona x reader fanfics where he's a lot nicer to femme Yuus than masc ones. I don't play the game so I don't know how much of a feminist he really is, could you clarify and give your own insights? Ty Miss Raven!!!!!!!

[Referencing this post!]

Admittedly, I am guilty of having made “consent king” jokes but that’s mainly because I think consent + respecting others’ autonomy is very sexy important and it’s slightly funny to have a 185 cm muscular anime cat boy championing the concept. However, I try to avoid making jokes which would imply Leona puts down his own gender or thinks lesser of them because 1) canon doesn't indicate this and 2) it can be hurtful to non-femme Twst fans. Yes, most of the fandom is women--but that doesn't mean we shouldn't make this fandom space welcoming for masculine or nonbinary Twst fans.

Let's delve into a brief history of where feminist!Leona comes from! After that, I'll discuss my own thoughts and feelings about it.

The idea first came into prominence because of an exchange that occurs in Cater's School Uniform vignette. In it, Cater is trying to convince Leona to join him for a party that he's throwing for Rosaria, one of the talking paintings at NRC. At first, Leona refuses--but he quickly changes his tune once Cater mentions Rosaria is a "she/her". Leona states, "Portrait or not, I respect ladies and Rosaria is a lady." Cater then whispers to Kalim (who is shocked that Leona suddenly agreed to come along), "Leona's kingdom is all about being respectful to ladies."

It should be noted that Leona says something slightly different in JP: “Even if it’s a portrait, a woman is a woman.” JP does not have the “I respect ladies” portion; “I respect ladies” was added to EN, which may have further amplified the interpretation that he is a feminist.

Now, as we learn from that vignette, the Sunset Savanna has a culture of "respecting women". In Leona's Ceremonial Robes vignette, he elaborates that, “[Beastwomen are] already way stronger than [beastmen]." Furthermore, Ruggie states in one of his Chats that “Girls have both the grit and the camaraderie to triumph when the goin’ gets tough.” Then, in events like Tamashina Mina and late in book 7, we are told that many of the royal guards are women who volunteer for the positions and it's common for them to have learned martial arts from a young age. From this dialogue, we can glean that the women of Leona's home country are physically strong, strong-willed, and honorable.

With that being said, I think certain interpretations of Leona's "feminism" (a term not actually used by official materials; this is a fandom take) definitely take it a step too far by either assuming Leona treats woman as a special class and/or he dislikes men. Both of those interpretations (if serious and not said as a joke) are owed to a fundamental misunderstanding of what "feminism" is. Feminism is "the belief in full social, economic, and political equality for women." Feminism is NOT misandry (a hatred of men), and nor is it female chauvinism (the belief that women are superior to men)... unless, of course, you're talking about very radicalized forms of thinking. The basic concept of feminism doesn't involve man hate or putting women on a pedestal.

Twst itself appears to go with the basic definition of feminism. As Leona himself states, he doesn't treat anyone special. "I ain't extra nothin' to nobody. As if [women] even need men fawning all over'em."

Leona, whom we know to be arrogant and unwilling to obey others' orders, appears to be more willing to listen to and carry out tasks if there's a woman involved. I already mentioned the case with Rosaria the painting (which proves that his "respecting women" thing extends beyond just beastwomen from his home country). In his Ceremonial Robes, he also grumpily puts on the aforementioned robes and takes a picture of himself in it upon the request of his sister-in-law. But--and this should be stressed--he's not exactly jumping for joy or eager to do so. Instead, Leona cites that "Goin’ against [beastwomen] only brings more trouble.” This indicates annoyance at having to carry out this chore, and gives the impression that Leona's only complying because not doing so would only overcomplicate things for him. He's not an idiot--he knows when to make a strategic retreat if it's going to save him time and effort in the long run. (For example, he immediately surrenders to the Ferrymen in book 6 rather than continue to put up a fight.)

I should note that, like in the earlier definition of feminism I shared, Leona does not simply bend the knee to every single woman. In the first Halloween event, he was still capable of scaring off the Magicam Monsters (some of which have distinctly female voices) without any qualms. He was still fully able to express anger and upset when Eliza, the Ghost Bride, smacked him. "You've got a lot of nerve turnin' me down over some nonsense!" He's also not above tricking the Fairy Queen and her entourage to steal back the special magestone from NRC.

This shows us that Leona doesn't just... "respect women" indiscriminately. If someone is going to be rude and selfish to him, he's going to respond as is appropriate. He's not going to turn a blind eye because of the offending party's gender.

In terms of Yuu interactions (assuming Yuu can be any gender), Leona acts pretty aggressive towards them in their first meeting. Even though it's clearly an accident and Yuu didn't realize they stepped on his tail, Leona is annoyed by the act and them walking away without apologizing or stopping to acknowledge him. He also makes it known that Yuu is magicless, and thus has no way of defending themselves from him. And you know what this man does? He says, "Well, can't say it'd be much fun to hurt someone so helpless. Still gonna do it, though." AND HE THREATENS TO TAKE A TOOTH. His wording, "No one gets to stomp on my tail and just walk away without payin' the price" + him still deciding to attack Yuu desite knowing they are weak/cannot fight back, implies to me that he may have still reacted this way regardless of Yuu's gender. (Key word: MAY. We don't know if this is the truth or not, I am leaving this up to your interpretation.)

Notably, there is a light change between EN and JP versions for Yuu's dialogue choices in response to Leona's threat. The EN dialogue options are far more humorous, but the JP options clearly convey fear (ie Leona is being serious about his threat of bodily harm). The top option is like noises of surprise, like "Eh, eh, eh!!"; the bottom option is along the lines of, "What, I'm going to be hit/beaten!"

There are, in fact, multiple instances where Leona acts callous towards Yuu. He refuses to let Yuu stay in Savanaclaw unless they earn their keep by beating up some mobs. He constantly degrades them by calling them and others he considers weak "herbivore". He has to be goaded into helping us or taking us along on trips instead of automatically caving. It could be argued that he would be more agreeable or polite if fem!Yuu was in these scenarios. And who knows, that might be the case--but again, I don't think he would be egregiously kind. I would like to point out a more direct example of a Leona-fem!Yuu interaction. Leona has interacted with a female Yuu before: Yuuka Hirasaka, our main character for the Episode of Savanaclaw manga. There's some debate over whether or not the NRC students know that Yuuka is a girl since the topic is never mentioned once, but I assume that they are aware because: 1) Yuuka makes no effort to hide her figure or chest; she even wears her blazer open, and 2) she has no motivation to hide her gender; she is capable of defending herself if needed and has a nonchalant personality. Proceeding with the assumption that Yuuka being a girl is a known fact, Leona does not treat her any differently than any other student.

Yuuka seems to experience the same tail-stepping scene as is depicted in game, although we don't see the aftermath of it/if Leona gives her the same threat.

The more telling scene for Yuuka, however, comes when she and her friends arrive in Savanaclaw to investigate. They are confronted by a bunch of mobs that start to pick a fight with them. Like in the game, Leona intervenes (ie he doesn't stop the fight just because Yuuka is a woman) and has them duke it out in a game of spelldrive/magift instead.

And you know what? Leona doesn't hold back just because he's playing against a woman. In fact, he kicks Yuuka's ass and then some. Then he stands over her and tells her to get back up, to keep playing. Leona isn't cutting Yuuka any slack whatsoever. He treats Yuuka the same as the boys she's playing with.

This brings me to my final prominent example of Leona interacting with a woman, which I think best exemplifies what my interpretation of Leona's "feminism" is. In the JP server's 2024 Halloween event Lost in the Book with Nightmare Before Christmas, Sally indicates that she plans on making a meal using the plants from around the cemetery. Leona is at first displeased by this, but then agrees to help her catch snakes, rats, lizards, etc. as meat for the meal. This leads into a conversation about how sad Sally's home life is, which earns her sympathy from the other NRC students. Jade, Riddle, and Epel are shocked at the cruelty that Sally faces. Jade volunteers to take the doctor out for Sally, and Epel even tries to convince Leona to help him rough up Dr. Finkelstein. But Leona just smirks and tells them Sally's not in any need of their "help"; isn't she the one who slipped the doctor a "drink"? Riddle scolds him for this "ungentlemanly" behavior and Epel refuses to believe that the "kind Sally" would do something like use poison. Leona was able to smell the deadly nightshade on her and deduce that Sally slipped some to her guardian and then slipped out on her own. She's not a damsel in distress--she's resourceful. Sally used her brains and not brute force to rescue herself from a bad situation. (We know that this would deeply resonate with Leona because he has been struggling his entire life to have his own merits recognized.) Leona praises Sally for her cunning and goes so far as to offer her his arm and tell her that he's looking forward to this evening's dinner.

In this situation, could it not be said that Jade, Riddle, and Epel were the ones assuming Sally is weak that Leona was the one who saw her true worth? I'm of course not accusing anyone here of being sexist. Society socializes us to see women as the "fairer sex" in need of protection and aid--but isn't Leona being more equitable by not underestimating Sally because of her gender?

That brings me to my conclusion. Leona respects women, no doubt about that. However, that's NOT a blanket statement. He clearly knows how to separate who is worthy of his respect and who isn't, and then he acts accordingly. Yes, he is polite, slightly softer, and more willing to listen to women he knows (his sister-in-law), women who haven't offended him/are just existing (Rosaria), and woman who have demonstrated their own strengths to him (Sally). He doesn’t become a completely different character just to bend to the whims of women. Those who have acted in ways to earn his ire, woman or not, will be treated as such (Magicam Monsters, Eliza, even Yuu when they/she enters his territory and/or steps on his tail). At the same time, I don't believe he thinks that women are delicate flowers that need special treatment (as we see with how he handles Sally + the Yuus and, more specifically, Yuuka). If anything, the women from his home country have demonstrated that they can be strong and self-sufficient. Why would he feel the need to go out of his way to be extremely lenient with the women he is around?

Lastly, nothing in official materials implies Leona treats men significantly worse than women. If he seems exceedingly rude to men, it’s most likely the result of the main cast (the characters Leona most often interacts with) being guys. If we were to compare how he treats his peers and how he treats women who have irritated him, I would say the behavior isn’t that different.

I know that was a long post but 😅 Hopefully I was able to articulate my thoughts well enough… May you find it helpful in forming your own opinion, Anon!

[prettygirl-gabi]

Chapter 25: Birthday Surprise

Rating: Mature Audiences

Warning: fluff, spicy, wlw smut, birthday sex, Paige being a munch, !top paige, !bottom reader, oral (fem reseving), fingering (fem reseving),

Paring: Paige Bueckers x !photographer fem reader

Fandom: Women's basketball

Summary: good... great.... Amazing

Welcome to the chapter 25 of Through The Lens. I hope you all enjoy and there is more to come...stay tuned my loveies!! 🏀💕📸

Reader's POV

Birthdays were always a big deal in my family, which made being so far from home this year feel especially hard. For the past two years at UConn, I’d made the trip back to Georgia to celebrate with my mom, dad, and granny. But with classes, work, and filming for the team, there was no way I could manage the trip this time.

Paige had been trying to cheer me up all week, but even her usual antics—like balancing a basketball on her head or dramatically serenading me with off-key versions of random love songs—weren’t doing the trick.

"Don't pout, kid," Paige said, sliding her arms around my waist as I stood at the kitchen counter in her dorm. "We'll make it special here. I promise."

I smiled weakly and nodded. Paige always tried her best to make me happy, and I loved her for it. Still, I couldn’t help missing home.

Paige's POV

I hated seeing Y/N sad, especially on her birthday. That’s why, as soon as she mentioned not being able to go home, I started plotting with the team. With Coach Geno's blessing, we’d arranged for her parents and granny to fly up to Connecticut. But the real trick was keeping it all a secret.

The morning of her birthday, I got up early to decorate my dorm. She practically lived here now, but Y/N was here even more than I was, and I wanted her to feel like this was her space, too.

I hung up strings of fairy lights, scattered balloons and flowers everywhere, and set out a cake on the desk. The highlight was a photo collage I’d made of our favorite moments together—from her first game filming for the team to random late-night study sessions.

When she walked in, still rubbing sleep from her eyes, her jaw dropped.

“Paige…” she whispered, her voice thick with emotion.

“Happy birthday, baby,” I said, pulling her into a hug.

She clung to me for a moment before pulling back to take it all in.

“This is…wow,” she said, wiping at her eyes. “You didn’t have to do all this.”

“I wanted to. You deserve it,” I said, kissing her forehead.

Reader's POV

I thought Paige's dorm setup was the extent of my birthday surprises, but I was wrong.

The game against Oregon state started like any other home game. I was courtside, filming warm-ups and getting close-ups of the team’s determined faces. Paige caught my eye from across the court, flashing me a wink before sinking a perfect three-pointer.

As halftime approached, I packed up my camera to grab some water. But before I could step away, Kk ran up to me, grinning.

“Don’t go anywhere,” she said, practically bouncing on her heels.

“Why?” I asked, narrowing my eyes suspiciously.

“Just trust me.”

A few minutes later, the arena lights dimmed, and the announcer’s voice boomed over the speakers.

“Ladies and gentlemen, please join us in wishing a very special happy birthday to one of our own—Y/N!”

Spotlights swung toward me, and the crowd erupted in cheers. I froze, my face burning, as the team gathered around me, pulling me toward center court.

“Wait, what is this?” I asked, looking at Paige, who was trying (and failing) to hide her smirk.

She nodded toward the tunnel entrance, where I saw three familiar figures emerging. My heart stopped.

“Mom? Dad? Granny?” I whispered, tears springing to my eyes.

They were here. They were actually here.

I ran toward them, throwing myself into my mom’s arms. She laughed, holding me tightly.

“Happy birthday, baby girl,” she said, her voice warm and familiar.

“How did you…?” I looked over my shoulder at Paige, who shrugged innocently.

“Had a little help,” she said, grinning.

Paige's POV

Watching Y/N light up as her family surprised her was worth all the sneaking around and late-night planning. The crowd cheered as they hugged her, and I felt a swell of pride knowing we’d pulled it off.

After halftime, Y/N’s family joined us in the stands, and she stayed close to them for the rest of the game, though her eyes kept finding mine across the court.

When the buzzer sounded, signaling our win, the team swarmed Y/N again, chanting “Happy Birthday” as loudly and obnoxiously as possible.

Reader's POV

Back at Paige’s dorm that evening, we sat around eating cake with my family, laughing and reminiscing. Granny was telling Paige an embarrassing story from my childhood, and I couldn’t stop smiling.

Later, after my parents and granny went back to their hotel, Paige and I curled up on her bed, the glow of the fairy lights casting soft shadows on the walls.

“Did you have a good birthday?” she asked, brushing a strand of hair from my face.

“The best,” I said, leaning into her touch.

“Good,” she said, pressing a kiss to my temple. “You deserve it. No let me make it great.”

Sitting up I lift my hoodie off her to reveal she only had my hoodie no shirt under, a smirk grow on my face as my hand slides into her shorts, I rub my hand over her soaked panty clothed pussy. “Your body's doin this all f'me, mamas.” I smirk at the friction of her thighs squeezing my hand.“Nghh,” she whimper. “Look at you, I haven’t even stuffed you full of my fingers yet and you’re just falling apart, f'me.” I whisper into her ear before leaving more hickeys on her collarbone.

Now hovering over her I gently reach for the band of her shorts and panties pulling then down, in a swift motion. I git lower for her pussy letting a string of spit fall onto her pussy as I start rubbing her clit painfully slow. She opens her mouth to respond but all that comes out of it are soft moans and whimpers,  shaking her head. “Use your words mamas, what do you want, hmm.” I tease, fingers dancing around her clenching hole.

The room fills with her cries and moans. “Shh, shh you hear her talking back to me princess?” I say using my thumb to rub slow circles on her clit.“P-please Paige need your fing-” she moan as I bury my fingers into her sopping pussy, makong her breath hitch.

My fingers curl upwards and her eyes roll back, “Found it.”

I say as I speed up, rubbing circles into her pulsing clit, my fingers feeling her tethering closer and closer to the edge.

Her head lolls back into the pillow “M'Pagie, fuck, P.” My fingers continue rubbing the spongey spot “Look at me, birthday girl” I slow my pace a little, “Ma,look at me.” I  order, she looked at me, her eyes glossed over indicating that she was close.

She squirm and whine at the feeling of my fingers inside her dripping pussy speed up. Her mouth opens into an o shape at the filthy squelches that were filling up the room.“Paige, P.” she whimper helplessly. “I know baby, I can feel you squeezing my fingers, make a mess on my fingers mamas,” I says leaning into her biting, sucking at her neck, my cold silver chain dangling and grazing her hot sticky skin. Speeding my pace as I look at her holding eye contact, but before she warn me, she's cumming all over my fingers the white of her eyes the only thing visible.

She grip my arm for support as her legs become shaky. “I- mmm” her orgasm soon passes and I crawl off the bed to my knees, spreading her legs wider.

Gently I blow on her sensitive puffy clit, just before I'm slurping up her release moaning and groaning, holding her hips as she wiggling around from how sensitive she was now. “Mmm, baby you gotta be still m’tryna eat.” she gasp, gripping my hair as I'm practically french kissing her pussy.“So sensitive, f'me ma.” she whimper as she tugged harder on my hair. “I know baby but you can give me one more right?” I  says pulling away looking up at her.

My mouth glistening with her wetness as its dripping down my chin, I give her lower lips a kiss “Can’t you, ma?” I says before biting and sucking at her inner thighs.

Her hands are pulling me closer and I took that as his sign to continue.

Devouring her, my grip around her thighs tighten as I submerge his face into her pussy deepee, my nose ever so slightly grazing against her swollen clit.“Oh my god,” her moans grow louder as her orgasm gets closer, my hand reaches and presses down on her lower stomach.

She let's out a strangled cry out as a clear liquid shoots out of her pussy, her body convulsing as I look at her in shock. “Fuck, mamas."

Reader's pov

I was still catching my breath, my chest rising and falling as I stared at the ceiling of Paige’s bedroom. The room was dimly lit, the faint glow from the string lights casting soft shadows on the walls. Beside me, Paige was propped up on her elbow, her fingers tracing random patterns along my arm.

“You okay, baby?” she asked, her voice soft and teasing.

I nodded quickly, my cheeks heating up. “Yeah… I’m fine.”

“Fine?” she repeated, her tone dripping with amusement. “You sure? Because you’re acting all shy again.”

I groaned, burying my face into the pillow. “Stop it, Paige.”

She laughed, leaning down to kiss the top of my head. “What? It’s cute. You’re cute.”

“I’m not cute,” I mumbled, my voice muffled by the pillow.

“Hmm,” Paige hummed, pretending to think. “I don’t know. You were looking pretty cute about ten minutes ago.”

“Paige!” I whined, turning to glare at her, though the blush on my cheeks betrayed any attempt at seriousness.

“What?” she said innocently, her smile growing. “It’s your birthday, princess. I’m just giving you all the compliments you deserve.”

“You’re ridiculous,” I muttered, but I couldn’t stop the small smile that crept onto my lips.

“And you’re perfect,” she shot back, leaning in to press a kiss to my cheek.

I tried to roll away from her, but Paige was quicker, her arms wrapping around my waist to pull me back toward her.

“Nope, you’re not getting away that easily,” she said, her voice playful.

“Paige, let me go!” I protested, though my laughter betrayed me.

“Not a chance, ma,” she said, her lips brushing against my ear. “You’re stuck with me.”

A little while later, Paige got up from the bed, pulling on her hoodie as she walked toward the bathroom.

“Where are you going?” I asked, propping myself up on my elbow to watch her.

She glanced back at me with a smirk. “Running you a bath. You deserve it, birthday girl.”

My heart swelled at the gesture, and I sat up, wrapping the blanket around myself. “You don’t have to do that.”

“I want to,” she said simply, disappearing into the bathroom.

I heard the sound of water running and the faint clinking of bottles as she prepared the bath. A few minutes later, she reappeared, leaning against the doorframe with a satisfied look.

“Your bath is ready, princess,” she said, holding out her hand.

I took it, letting her guide me into the bathroom. The tub was filled with warm water, bubbles spilling over the edges. A few candles were lit on the counter, their soft glow making the room feel cozy and intimate.

“Paige, this is amazing,” I said, turning to look at her.

She shrugged, a small smile playing on her lips. “Only the best for my girl.”

I leaned up to kiss her, my lips lingering on hers. “Thank you.”

“Anything for you,” she murmured against my lips.

I stepped into the tub, sinking into the warm water with a content sigh. Paige knelt beside the tub, her chin resting on the edge as she watched me.

“You’re not joining me?” I asked, raising an eyebrow.

She chuckled. “You want me to?”

“Yes,” I said without hesitation, giving her a pointed look.

Paige stood up, pulling off her hoodie and stepping out of her shorts. “Alright, scoot up, baby.”

I moved forward to make room for her, and she climbed in behind me, her arms wrapping around my waist as I leaned back against her.

“This is nice,” I said softly, closing my eyes as the warmth of the water and Paige’s presence enveloped me.

“Yeah, it is,” she agreed, pressing a kiss to my shoulder. “Happy birthday, ma.”

We stayed like that for what felt like hours, the bubbles slowly disappearing and the water cooling. Paige’s hands moved lazily over my arms, her touch soothing and gentle.

“Do you ever think about the future?” I asked suddenly, my voice barely above a whisper.

“All the time,” Paige said without hesitation. “Especially with you.”

I turned my head slightly to look at her. “What do you mean?”

She smiled, her blue eyes meeting mine. “I mean I think about us. Where we’ll be in a few years, what kind of life we’ll have together. I want it all with you, baby.”

My heart skipped a beat, and I felt my cheeks heat up again. “You’re too good to me, Paige.”

“You deserve it, plus you're good to me too” she said simply, leaning in to kiss my temple.

The room fell into a comfortable silence again, the only sounds being the faint dripping of water and our steady breathing.

Eventually, the water grew too cold, and Paige nudged me gently. “Come on, princess. Let’s get out before you turn into an ice cube.”

I nodded, letting her help me out of the tub. She wrapped a towel around me, drying me off with care before doing the same for herself.

Back in the bedroom, Paige handed me one of her oversized shirts to wear, and I climbed into bed, feeling warm and content.

She joined me a moment later, pulling me close and tucking the blanket around us.

“Best birthday ever,” I murmured, my head resting on her chest.

Paige chuckled, her fingers running through my hair. “Glad I could make it special, baby. You deserve the world.”

And as I drifted off to sleep in her arms, I couldn’t help but think that maybe I already had it.

■■■■■■■■■■■■■■■■■■■■■■

       -Thank You For Reading!🩵🩶

                             -prettygirl-gabi🎀✨️

Tag list: @sayurireidotcom , @astroeliza , @paxaz535 , @0phantom0 , @starlighttsv , @authentic-girl03 , @sevyscoven .... (more to be added)

[pikp0kcas3]

The Hazbin Hotel fandom’s issue with accepting aromanticism and asexuality

Now that it is officially Aromantic Spectrum Awareness Week, I want to talk about this!

I find that, as an aroace myself, I am constantly grasping at good representation and coming up empty— it usually ends up in one of two ways.

One: the character is portrayed as emotionless, cold, and robotic in nature. It’s the question aromantic and/or asexual people are often asked: “Are you heartless?” The answer is no, of course, but general media makes it out to be the opposite.

Or two: Their lack of attraction is seen as something to “fix” because they “haven’t found the right one yet”, and they end up with a partner as a “happy ending”.

It frustrates me greatly because of how little people actually see aromanticism or asexuality as a true part of the LGBTQIA+ community.

So when I watched Hazbin Hotel, and I found out about Alastor being aroace, I was over the moon. I was on cloud nine. I also saw how his voice actor has looked up the term as an attempt to learn about aroaces, which makes me OVERJOYED?? Amir is truly a blessing, and I love that he’s proud to embody a character that’s part of our community. It’s so beautiful to finally have a proper character, a fan favorite at that, who just so happens to be aroace— and that’s another thing I love about this.

It’s never explicitly stated in the show (though it is stated in interviews), but it’s rather clear when you’re watching, isn’t it? Alastor’s aversion to any sort of sexual advancement, coupled with Rosie’s blatant “I know you’re an ace in the hole” comment sort of spell out his asexuality pretty clearly, as well as what side of the spectrum he falls upon. In addition, his Valentine’s day card was strictly platonic, which caters to his aromantic side. It feels so validating to finally be represented, to finally have a character in media who shares the same lack of interest in romance and sex as I do.

When I entered the fandom to look for more content, I kind of expected to see the same respect for Alastor’s orientation there too. But that… wasn’t the case? I am fully aware that aromanticism and asexuality are both spectrums— of course, aromantic and/or asexual people can enter those kinds of relationships. I’m not denying that and they belong in the community as much as anyone else on the spectrum.

But, the more I see the same line again and again and again, the more it feels like an excuse to just ship what you want.

Usually I don’t mind shipping? I’m often a firm believer in people shipping what they like as long as it’s harmless and they don’t go crazy over it. I also know for a fact that Viv doesn’t have a problem with people shipping her characters. They are fictional, after all.

But in this case, people are ignoring the very thing that makes Alastor a part of the aroace community! People are ignoring his lack of romantic or sexual attraction!

Is this not the same as changing a gay character’s orientation to suit a straight ship? If not, how so? I’m told that we are a part of this community, so why aren’t we being treated like it? Why is it so hard to accept the people on the end of the spectrum who aren’t interested?

Something I’ve been noticing throughout my life is that society has not exactly progressed very much on the idea of accepting asexual or aromantic identities. Maybe we have, a little, since the old days— but hell, people in “the old days”, which in truth wasn’t very long ago, believed that asexuality was a medical condition to be “fixed” by taking the right medication or having sex. That’s a pretty low bar to clear. And on the romance side, you’re seen as a “late bloomer” or “boring” if you don’t express interest. These days, being friends with someone is treated like a gateway to them possibly becoming a lover. Not getting married, not going on dates, not wanting a partner— it’s all treated like a crime when it’s not.

Maybe I’m selfish, or sensitive, or I’m butthurt over nothing, or I’m making it all about me. Maybe I’m gatekeeping or whatever the term is. But please, please, please, I just want an aroace character like me who simply is not interested in sex or romance.

And I want fandom to respect that. I admire the creations that fans make— the art, the animatics, the writing and the character analysis. And I want people to keep creating because creation is indeed a beautiful thing.

But I really would like people to treat aroace identities like they’re important. Like it’s more than just a spectrum to get wiggle room to wrangle in another ship.

[sparrowlucero]

ik you were joking but I would be genuinely interested to hear about the flux cowriting credits strife if you feel like going into detail on it

So I have a big conspiracy theory about season 13 of Doctor Who ("Flux"), namely that there's a lost episode was scripted and even possibly filmed in near entirety, but ended up being cut and cannibalized in post production due to behind the scenes issues, and the fandom has yet to pick up on it.

For anyone who doesn't watch the show: Flux is a miniseries of Doctor Who; a full season was not commissioned because it was produced during Covid. The most important stuff about it for the purposes of this post are:

It's 6 episodes long (¹). The episodes are all directly continuous and could not be shuffled around. (I should clarify here that, no, the showrunner can't simply choose on a whim to make 10 episodes, or only make 4; they had to stick to 6, as that was the amount they were picked up and scheduled for)

The showrunner, Chris Chibnall , wrote every episode apart from episode 4 (Village of the Angels) which he has a co-writing credit on.

(More subjectively but perhaps relevant) The season is largely considered to be kind of a structural mess and (less subjectively) there appears to some abnormal and consistent production issues (²)

So the first thing I need to evidence here is that Chris Chibnall, aforementioned showrunner and writer of the entire season, was late. Like, really late.

Word of mouth gossip had been circulating for a while that there was some sort of on-set problem involving filming having to be paused because he was still finishing scripts: (³)

This would later be confirmed at a Gallifrey One panel (⁴) with Matt Strevens, the executive producer, who suggests that filming stopped to allow Chris Chibnall to finish scripts; he further implies that large swathes of episode 5/Block 2 weren't written until Episode 4/Block 1 (in which Kevin McNally debuts) was filming:

So with that context, let's talk about that Episode 4, "Village of the Angels", the only episode not attributed solely to Chris Chibnall. Co written by Maxine Alderton.

The filming pics reveal an interesting bit of trivia for Village: namely, the clapperboards show that the story was actually filmed as episode 5, not 4:

As the above tweet suggests, this doesn't make much sense. The miniseries is, again, a single continuous plot. It's not like they flipped Village and the current episode 5, Survivors of the Flux; the latter explicitly takes place chronologically after it. And yet, Village having been intended as the penultimate episode 5 is further evidenced by the original trailer for it, in which a character states that the story takes place on the 28th of November. This line is dubbed over in the final episode and subsequent trailers to instead say the 21st:

Why is this line important enough to dub? Because that's meant to line up with the air date of the episode. Episode 4 aired on the 21st and 5 on the 28th. But something happened in post production, and now it's episode 4 on the 21st instead (⁵):

So if none of these episodes were moved around but it does seem like Village was meant to be episode 5, where and what is the original episode 4?

I have a theory.

Flux has a recurring subplot involving two side characters, a married couple (Bel and Vinder) who have been separated by the titular disaster and are traveling the universe to reunite with each other. This story is told through segments sprinkled throughout the episodes. These have a different writing style (including a diary-esque narration only present in these scenes) and an internally consistent visual style that looks somewhat different to the other parts of the season.

Village of the Angels, for instance, is a moody, dark episode set in a village in the 1960s:

However, Bel and Vinder's segments in the episode have a somewhat different look:

On top of this, they never intersect with the episode's A plot (literally or in any clear thematic way), and the majority of these segments piece together into one single scene that seems to have been cut up.

So, what I think is that the bel and vinder scenes across the middle of the season were originally a single full story, an episode 4 that took a breather from the main plot and characters to follow the lives of these two side characters; the differing visual and writing style is due to it originally having been filmed separately and with a somewhat different artistic intent. I believe Chris Chibnall's cowriting credit on Angels exists because these specific scenes are from a script he wrote, but that otherwise the Angel script can be credited solely to Maxine Alderton by normal cowriting standards.

"But wait," you might say, "I thought there were already 6 episodes that are all plot relevant? If no episodes existing right now can be cut, how could this 7th episode exist?"

Remember this tidbit:

The adventures in question comprise a large amount of the next episode (Episode 5: Survivors of the Flux), nearly 20 minutes of a 50ish minute runtime (and frankly, much of the rest of the episode is somewhat fluffy build up that feels like it's taking advantage of an extended runtime). A version without this added plot would, in my opinion, only warrant one final episode rather than two.

I think the showrunner, still scrambling to finish scripts as the episodes were being filmed, and making a snap decision to include a new major subplot (⁶), wrote a finale script so long and with so many plot threads that the only way to keep all this material of was to split it into two episodes, 5 and 6. And because they only could only make 6, he had to get rid of one of the previous 5 episodes - the already scripted and filmed ones - to make room for this new episode 5. A tough order when it's a plot-heavy miniseries... if not for episode 4 being a standalone divergence from the main plot about the lives of two side characters, one that could, in theory, be cut up and dispersed throughout the season without continuity issues for the main story.

(Some notes and clarifications under the cut)

(1) some sources initially reported the episode count as 8; this wasn't inaccurate - the 2022 new years/easter special were part of the episode order. Flux itself was always meant to be 6 episodes long. (2) A few of the production issues include: - episodes filming without a second draft:

- the fx team that had been on the show since 2005 abruptly leaving midseason (because they "didn't feel like part of the team anymore") and returning as soon as the creative team changed, including the head of the studio implying they weren't properly credited (mild vfx body horror warning in link):

- people working on additional projects such as books not receiving clear information on the characters they were assigned to write:

- and likely a director who was put on hold due to a script being rewritten:

Among other things I can't directly cite at the moment, including vfx artists having to do whole episodes solo in crunch time and writers not being told their work was massively overhauled until it aired due to major changes being extremely late in production.

While I don't wish to pontificate too much here and many of these things are pretty normal by themselves, I do think it could paint a picture of a production where an episode well into filming may genuinely be cut on a whim and without consideration for the crew, artists, etc. working on the show. (3) This reddit post comes from a leaker who was known to be consistently accurate. (4) Gallifrey One does not allow filming of panels. I know Kevin's livetweets of panels to be accurate. (5) It's very, very unlikely the entire season was moved back a week, as the premier is a Halloween special that was certainly always intended to air on Oct. 31st. (6) I don't wish to insinuate Chris Chibnall is, throughout his career, an inherently poor showrunner, but I do think that maybe his jump from police procedural - a genre that doesn't involve quite as much concept art, vfx work, marketing, convention panels, set building, episodic storytelling, and keeping in touch with expanded universe producers - to flagship science fiction adventure show may have contributed to some of these issues, especially when he was already in the mindset that things could be changed on a whim (perhaps not such a major issue when it's broadchurch and no new sets need be built)

(source) Basically I don't really think this is "the showrunner's fault" or anything; more that a perfect storm of a showrunner who was habitually late on scripts, used to writing lowkey cop dramas, covid, an entirely serialized season, etc. may have led to these issues

[starcurtain]

Hey! I apologize if this question has been asked before since it seems like a pretty obvious one, but where do you think the idea of Aventurine being a sex slave came from? Other than the obvious factor of it being something fun for the fandom to mess around with, I mean.

It's something I kind of took for granted as being true before playing his quest, but after finishing it I realized there wasn't really any indication. The only thing I can really think of is his master's comments about him having a good body. Is there anything in his behavior you can think of that would lead to this conclusion if it wasn't a popular fan interpretation already/kind of just an easy conclusion to reach with a slave character?

(also kind of related but what do you think of the idea that he sleeps around/with his clients to make deals? he's obviously willing to sexualize himself with the boob window, but that doesn't necessarily mean he goes further.)

As far as I can tell, the idea that Aventurine was involved in sexual slavery comes from three (maybe four) places:

First, the comment from the master about Aventurine's appearance. People were holding this comment up as refutable proof that Aventurine was used in sexual slavery on top of being tossed into the Hunger Games; however, the response from other players on this interpretation, especially the Chinese side of the fandom, was very mixed, with a lot of people pointing out that the context in the game probably meant the slave master was talking about Aventurine's ability to attract attention from fans watching the literal Sigonian Hunger Games, rather than having a direct sexual-slavery connotation.

Second, the comment from Sparkle about stripping naked and getting on his knees for Sunday. This one has way more implication in English than I think it might for an Eastern audience, actually. In English, this pretty much sounds like Sparkle saying Aventurine trades sexual favors for success in his gambles. However, I suspect the original intention in Chinese was more about humiliation. Western audiences don't have as much history with honor-based prostration, i.e. accepting corporal humiliation as a form of reconciliation that Eastern audiences might be more familiar with. And in any case, Sparkle is Sparkle. She probably just went for the lowest blow she could think of here.

Third, the general assumption that if Sigonian slaves were being chained, branded, beaten, sent to death matches, etc., it seems logical that they would also be taken advantage of in other ways. I honestly think this is probably the fairest take--many, many real slaves around the world faced (and still face!) sexual abuse, so if slaves from Sigonia were treated so poorly you could make them fight to the death for entertainment, it stands to reason they were probably also not safe from other forms of assault. We also have no idea what happened to Kakavasha in any of the years between his being a tiny child fleeing the massacre and then being purchased as a slave as a late-teens-early-twenties person. That's a very long time for a child to have to survive on their own on an extremely hostile planet and not face risks of all kinds or end up needing to do unspeakable things to survive. So I think this is at least not that far-fetched, although it's important to say there's nothing in the game that directly confirms this.

And fourth: I read a tweet semi-recently that stated that one of the Chinese (or maybe it was Japanese) names for a quest Aventurine was involved in was actually a reference to a book about a teenage sexual assault survivor. However, when I tried to verify this myself, I couldn't find any quest Aventurine was in that was based on a book about sexual assault in either English, Chinese, or Japanese. It's possible I just missed something, but I'm taking this one with a bit of a grain of salt currently, since I can't confirm it personally.

Regarding your other question, about whether I think Aventurine sleeps around to make deals...

I definitely think he does not, for one major reason.

First, I will admit that Aventurine is definitely willing to use his appearance to his advantage. This is pretty obvious. He wears incredibly flashy clothes, baths himself in cologne, overloads on glittering golden jewels, and absolutely calls attention to his appearance when working with clients.

We see him actively doing this in his Moment Among the Stars video, where he is clearly using his looks as an equal tool (to his wealth), to daze his target.

It's not an accident that he says things like "Use me as you wish," with all the explicit connotations preserved. The implication is there. However, unless he was absolutely backed into a corner, I think that implication is all it will ever be.

The reason I think this is that the devs go out of their way to give Aventurine three fairly noticeable physical behaviors in his in-game scenes:

For one, he has some of the most closed off body language of any character in the game.

Aventurine's default conversation pose is arms crossed directly and tightly in front of himself. This is like "Defensive Body Language 101." By crossing your arms, you put a symbolic barrier between yourself and the person you're speaking to, and also ensure that your hands are up and available in case you actually need to physically defend yourself.

Virtually all of Aventurine's conversations take place from this stance, no matter who he is speaking to (from the Trailblazer all the way to Topaz). He deliberately closes his pose off and tightens up his silhouette, which just sends a glaring "Don't touch me" message.

This closing off is also blatantly apparent when you compare it to the deliberately open poses he strikes while trying to make himself seem accessible to others (like tempting clients) or seem powerful (to intimidate):

Complementing this habit of closing himself off is a second noticeable aspect of his body language: He frequently avoids eye contact to the point that he even holds conversations while entirely facing away from the person he's speaking to.

I might be a bit lenient and say maybe he's doing this to on purpose to be mysterious, whoo~~ But... in all honestly, he just does this with everyone, even with Ratio while trying to talk about an actual important issue (wanting to look into Acheron's real identity). Hell, even the fake Aventurine does it to himself!

We can even say that wearing the rose-tinted glasses in the first place is another intentional barrier, one Aventurine deliberately removes in specific moments to give people the (false) impression that he's "letting them in" to his circle:

Now, this might be a bit more complicated in Aventurine's case, because eye contact has a whole extra meaning when eyes are the defining trait of your species and come with particularly challenging racial stereotypes. So it may be that Aventurine is simply used to conducting conversation while looking away to minimize racial prejudice against his eyes' unique appearance.

However, I'd also argue that the devs deliberately turned his entire model away in cutscene after cutscene to create a clear sense of being inaccessible, unapproachable, and unwilling to engage in the physical intimacy of standing closely, directly facing, and staring at his conversation partners.

While he faces away, he controls both the figurative and the literal direction of conversation, forcing people to keep their eyes on him while he is free to move as he pleases. Over and over again, it just says "I want to be the one in control. I'm not afraid to show my back to you, but you are not welcome to come near me."

And, in fact, that's a third aspect of his character's body language that I am sure the devs did not include accidentally: More so than other characters, many of Aventurine's conversations are conducted from weirdly far distances. Like, half the time he's talking, he's standing all the way on the opposite side of the room!

This habit of speaking from a-larger-than-normal distance is apparent in the first scene with Himeko...

And then in just about every other conversation too:

The bubble is twenty feet in every direction.

Like yes, he does approach and have conversations like a normal person... sometimes... But it is significantly more noticeable with Aventurine than with other characters that he often conducts whole conversations--even with his allies--from a distance. Just genuinely weirdly far apart.

Leaving space for Gaiathra, I guess.

And it's because these significant decisions were made with Aventurine's in-game body language that, when he deliberately alters his own behavior, it is instantaneously noticeable.

In 2.0, he closes the distance, the glasses come off, and he gets directly up in the Trailblazer's face.

It's uncomfortable not just because the player is suddenly being loomed over, but because this behavior has already been subconsciously established for the player as out of character for Aventurine.

The barriers the character himself was putting up are deliberately stripped away so that he can use physicality and demanding eye contact to intimidate his target. He has to reverse his own normal body language in order to come across as domineering (and, I guess if you're into that, appealing in a domineering manner).

And ummmm, just a tiny aside here because I can't resist:

This does mean that when the game goes out of its way to demonstrate Aventurine altering his own normal habit of distant and defensive body language, it is absolutely intentional.

Yes, this is a Ratiorine post in disguise. There literally isn't any other character in the game that Aventurine is shown being comfortable standing so close to and interacting with in this manner. This doesn't occur in every one of their scenes, but Ratio is the only character that this happens with repeatedly. It's not an accident that the devs literally added "They were walking side-by-side" as flavor text.

But look, I'll be fair: There's a great example of this in Aventurine's scene with Acheron too, where he closes the distance and attempts to make eye contact with her--seeking her guidance and closeness--and she is actually the one stepping away, speaking with her back turned, demonstrating her power and control (and issues with connection!) in that scene.

Anyway, this was a whole longggg tangent into analyzing Aventurine's body language, but my point is that, overall, the devs deliberately adjusted his model's actions in-game to give the impression of a person who clearly wants to be in control of every interaction he has with other people, who insists on distance over intimacy, and whose stances and habits suggest that he is significantly less accessible and open than his "Use me as you wish" motto might suggest.

Long story longer, I think that there is almost zero chance Aventurine is willingly ceding control over himself or the actions expected of him to anyone he isn't 100% comfortable with, and I think that using physical intimacy of any kind would be an absolute last resort for him. Frankly, he comes across as more likely to shoot himself in the foot than let someone he doesn't trust lay hands on him.

To me, he reads very much as "You may look, but you may not touch."

[weirdmageddon]

the shift in lore literacy in homestuck’s fandom

i was thinking about how the people who got into homestuck after it ended—whose interactions with the comic are in a static, archived state, not an ongoing thing—missed out on information that was more common knowledge in the fandom at that time. i don’t know if this is true since i’m not on tiktok, but i wouldn’t be surprised if it was. the fandom certainly isn’t the same as it was before.

ive found that many people reading homestuck now simply do not understand things in homestuck that were common knowledge back in the day, with calls for “homestuck literacy classes to become mandatory” in response to baffling takes because so many people just now seem to have glazed over the comic without absorbing important plot points, and i think i know why this may be. i ended up writing a post reflecting on my time with the comic, my perspective and how ive seen this change. i still think and write about homestuck because it still fascinates me. earlier i quote retweeted that call in my thread talking about the temporal relativity of dave and rose’s god tier ascension in the green sun, saying “my homestuck literacy is 100% so guess im doing my part as a teacher by pointing out whatever i think is really cool about it”. this post im writing now started out as a reply to this tweet i got in response.

i joined the fandom in 2013. i was 11. i had been aware of it since at least late 2011, early 2012 when my friend ryan in fifth grade told me to read it but i couldn’t get past the first few pages. i remember writing a journal on deviantart around this time (late 2011-early 2012) that was mocking people who typed like gamzee, which ironically was very karkat of me. and i remember someone on flipnote hatena i was following was making flipnotes with the alpha kids.

i dont know what caused me to flip the switch into reading it but 2013. i got into it somewhere between april (i think closer to april—i remember it being quite a span of time between the last update before HOMOSUCK dropped.) this was the most recent page the comic, meaning there was no > [S] ACT 6 ACT 6 at the bottom.

i got into it during a pause in updates, which looking into it, was the year 4 megapause. i wasn’t sure of the month until seeing the news post detailing the reason for the hiatus and the status report of the comic’s development at that time. pretty cool i could narrow it down by referencing the dates of those updates and the news post to correspond with the pause!

according to readmspa, the year 4 megapause was a 59 day hiatus from Apr 14, 2013 ==> (EOA6A5) running to 12 Jun 2013, [S] ACT 6 ACT 6. then for a few months there were the first updates that i was apart of the fandom for.

and what an exciting time during the story get into the webcomic! when the updates resumed in june, part 4 of homestuck had begun. here was a glimpse of the updates in that span of time before the next hiatus began in october.

that hiatus was none other than the gigapause, the longest hiatus in the comic, which started october 2013 and lasted for a YEAR, and i already posted about what happened on the date of return.

but here were the main events happening in the story at the time i first actually got interested in it. i wasn’t aware of the full context of them then like i am now, but i was looking at the most recent updates anyway with interest:

the alpha kids just emerged as god tiers from their slabs in derse and prospit, blown up by the condesce and caliborn / lil cal-possessed b2 jack noir.

the journey to the new session started 24 hours after jack called an early reckoning in descend—for context that was about when dave entered around midnight central time and before jade even entered. it’s pretty easy to forget that side 1 of homestuck basically happens within the span of a single day—and at this point in the story, the 3 year journey (which was also 3 real life years) had just ended. john and jade emerged from the other side of the yellow yard through the fenestrated plane on LOMAX. john’s real body was asleep upon arrival in the new session, while his dreaming projection out in the dream bubbles came across vriska’s ghost ship to learn lord english lore with vriska and aranea, and go on the treasure hunt where they found the ultimate weapon at the X mark out in in the furthest ring. in the dream john stuck his hand in the juju, started warping all over canon which removed his real body from the ship on LOMAX. he zapped around for a while but eventually zapped back to LOMAX, now awake, completely out of the loop of what everyone else is up to, and bored as fuck. what was everyone else getting up to while john was asleep?

jade was now once again within the domain of the green sun. im pretty sure her space god doggy essence comes with the power to sense what was anywhere within the domain of the session since her face looks like she arrived at that spot with intent (and she literally has jack noir’s exact powers from bec’s prototyping. also this panel). she immediately dispatched b2 jack to the edge of the incinisphere, defending the newly god-tiered jane and jake. i think even if they weren’t in any danger, she would have warped to them instantly anyway because she COULD now, and i can imagine she wouldve been sooooo eager to meet everyone. even davesprite comments about her rapid departure.

the pre-scratch refugees arrived during the only time serious shit ever went down in the nobles’ months-long inert void session. the condesce used her freak psychic bronze-cerulean powers to commune with jade’s bestial side and mind controlled her, which is super dangerous as someone with the powers of a first guardian. she then used jade’s powers to corrupt jane with the tiaratop. no funtime meetup allowed!

the trolls’ meteor with rose, dave, and the remaining trolls was pulling up into the new session with no way to slow it down. grimbark jade warped there once it was in the incinisphere and took active control. she warped everyone off the trolls’ meteor and sent them to LOMAX.

as john was losing his mind on LOMAX waiting for everyone, the meteor crew warped in. after 3 years he finally reunited with rose and dave, and at least saw the trolls in person. close curtains, end of A6A5. this was the newest [S] flash page at the time, one of my first impressions of this comic, and still one of my favorite flashes. knowing the context of the flash in the story only enhances the retrospective joy i have at getting into the comic at the time i did because it’s such an anticipated moment in the story for everyone, while for someone with no context of the story it was still enjoyable.

so that’s what was going on plotwise when i joined the fandom.

from this time, through those few months of updates and through the gigapause, i was familarizing myself with the characters in the story and overseeing the state of fanbase, getting myself acquainted with the story and wrapping my head around everything.

at that time i found that a new-ish group called colab HQ who were producing a let’s read homestuck series on youtube. hearing the voices and the pacing of it like that really, really eased me into it (maybe it was my adhd that gave me trouble actually starting it?). i caught up to a certain point using lets read homestuck and from that point was able to continue with the comic on my own, and by the time the gigapause came to a close i was fully caught up. i remember the rebranding of colab hq into voxus about a year and a half after i discovered them.

but.. back to the main point of my post. even these posts from hussie’s tumblr exist in archived states. how many new fans know about hussie’s old tumblr? i don’t know, unless theyre a new fan that must scour the internet for more deep more dives on homestuck and its fandom as a whole. but since hussie deleted his tumblr (it exists archived now on homestuck.net which, alongside from the unofficial homestuck collection, has nearly singlehandedly kept the most important relics of the fandom and lore archived), that page is not an active part of the fandom now, because it’s gone. it’s a pile of bones. it’s not living and breathing. it’s in an archived state. the whole thing is already there. homestuck and its fandom history is something you now binge instead of slowly consume and meld with as it comes out. it’s now this rapid information intake that you might forget about if you read it now instead of engaged alongside it. you’re not surrounded by people actively talking and theorizing about developments anymore. the ability to have those sorts of conversations during the ongoing development of the story reinforced concepts, ideas, and lore over and over as we tried to make sense of it.

being in a fandom when the author is still delivering the story is like nothing else. it allows you grow alongside the characters and engage meaningfully with the media and people in the fandom space around you. it feels like you’re participating IN the media itself, especially if you’re interfacing with the creator. it’s in always having something to theorize or talk about and speculate. and people become very aware of these sorts of forgotten story facts because they were applying the logic of the newest official post from hussie into making their sburb ocs or something and share resources and discussion posts about “what just happened in this update?? recap????” it was this cultural osmosis thing. i think this is why homestuck literacy is now at an all time low, at least from what i can see on twitter.

reading homestuck then vs now is like the difference between serialized shows with spaces between episodes to discuss stuff and time to reflect and learn and become attached to the story, narrative, worldbuilding and its characters, vs the netflix model where it’s all dropped all at once and people forget about it after binging.

at this point in time im getting the sense that “homestuck elders” now are no longer just people who were there since 2009-2010, but now also people who were there while it was still updating, probably stretching into 2014-2015. there are many sources of lore that were common knowledge in the fandom at the time that, since becoming susceptible to the deletion of content and link rot, and with the thanosing of mspaforums, are no longer accessible at the source. and a lot of people moved on after it ended, especially following the epilogues, the kate drama, and the whatpumpkin-sarah z drama, leaving a void of information behind if not for archivists and people such as me who continue to keep old facts relevant in discussions. my friend has called me a fandom scholar before and seeing this post i think i get what they mean.

EDIT: there is a series of video essays ive watched multiple times (because theyre that good) and they are exactly what modern fans need to see more of. they really help contextualize the comic and the themes present in it help you appreciate the basic fabric of homestuck a hell of a lot more. i highly recommend them and encourage any fan of homestuck to watch them, or someone considering getting into homestuck to watch the first one.

i think this is arguably as close to the “mandatory literacy class for homestuck” that person was talking about as you can get, especially the first video.

additionally, there is also the website https://rafe.name/homestuck which is essentially a sparknotes for homestuck and can help you follow developments in the comic itself.

[biancadoes1]

FAVE ANON HERE 😏

It’s been a minute since I’ve submitted but after the vitriol I have seen on Twitter this weekend, I felt the need to speak…

First things first, all of us are brought here with one definitive common thread - we are all fans of Bridgerton. If we were not, we would probably not find ourselves in this fandom at all.

With that being said, if you’re on this blog you are probably a fan of both Nicola AND Luke. More than likely, you want them to be together romantically or believe they already are. And if you don’t want any of that, I don’t know why you’re here reading this posts. This is how you become a troll.

You are allowed to be a fan of one and not the other. This is not a dictatorship and no one is holding a gun to your heads. But this is the point where it is VITAL for me to remind you how many times Nic and Luke have a real love for each other and at the core are best friends. WHAT THIS MEANS IS you cannot call yourself a fan of one of them while simultaneously spreading hate and contempt and overall nastiness about the other one all over social media.

Now I have approached the topic of the RUMORED insignificant others. Did you know that there is no general rule of fandom that states if you are a fan of a character performer that you must also become a fan of any performers they may date now or in the future? WHAT THIS MEANS IS THAT no one is required to become Jake’s #1 fan just because the rumor mill wants to say Nic is dating him. Hell no one has to become his #1 fan if Nic herself came out and said she was dating him. Again, there is no need to speak with malice about his looks or his talent all over the internet but you do not have to be a fan. Same goes for the dancer who shall not be named (I know it’s a trigger for many around here). And if they act in deplorable ways - such as the dancer has displayed in the past - you are allowed to speak out on it while using decorum.

This is ultimately bringing me back to why I wrote this today. Tell me why I’m seeing tweets talking about how Jake is a more successful and more talented actor than Luke. Tweets saying Luke can’t act and how amazing Jake is. These tweets are from Bridgerton “fans”. These tweets are from Nicola “fans”. Based on everything I’ve written up until now, the math ain’t mathing on the word “fan”.

I’m not spreading hate to Jake. Fact of the matter, he’s a 24 year old kid almost fresh out of drama school. He has had one season of a failed show on a streaming network riddled with failed shows. He now has a small part in a movie that probably is not even recognized yet out of this fandom and extreme movie fans - if we’re being honest. Luke is 31 and is on his 4th season of one of Netflix’s top shows. He was the male lead last season and the season broke records. He was on a Disney channel show when he was younger. He was on multiple stage shows on the West End. He’s had many other roles in smaller projects and just picked up a lead role in a new film. While it is considered an independent film, it is a LEAD role.

With that evidence laid out, how can anyone actually say with their full chest that Jake is the better and more successful actor? Oh right they can’t. What it comes down to is the fact that the “Jakola shipping” movement is not based on anything more than being an Anti-Luke Newton movement and it is GROSS. No matter what they tell you, there was no “relationship” being universally talked about prior to late summer. On August 25 those festival pictures were released and some very twisted narcissistic people in this fandom took them and ran with them. They created a narrative to help dictate what and who people in this fandom are allowed to discuss online. They’ve bullied creators off of TikTok and Twitter and gaslight the hell out of everyone when called on it. A 24 year old gay man (OMG I SAID IT) is being bullied on the internet and the blame is fully being put on “Lukolas” when the truth is that no one would be paying any attention to him if this narrative wasn’t perpetuated in the first place. (Side note: if you’re sending hate to Jake on behalf of being a Lukola, please stop. Please treat him like you treat every other one of Nic’s male friends. No one should be getting hate.)

The majority of the hate and toxicity in this fandom stems with the Jakolas Jackholes and those who blindly follow and defend a certain creator. I’m not going to say her name because I know how much she gets off on people talking about her (even when it’s bad) AHAH. This is the shit that everyone else is afraid to say out loud but it’s true. And for those of you in that discord reading this to report back, hiiii!

Oh and if anyone has a problem with this and wants to call me out for being on Anon, let me know and I’ll DM you because I’m not afraid. I’m grownup.

Xx

Finally seeing people with common sense!

My fave anon pulls through yet again.

Everyone say thank you fave anon.

[thewadapan]

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.

[lilislegacy]

Okay, I’ve been thinking about something lately

All the time I see people make statements about Percy that start with “Percy would never…”

Some examples I’ve seen: “percy would never kill someone/something in front of his mom” “percy would never yell at someone he loves” “percy would never get drunk” “percy would never let his child go to camp-half blood”

Now if you passionately believe one of those, hear me out. I’m not necessarily saying I disagree!

I’m saying… who would have ever thought Percy would torture a goddess and choke her on her own poison? And…. enjoy doing it? If someone had said that on tumblr pre-HoH, every single comment and reblog would have been “PERCY WOULD NEVER!!” I mean, who would have thought Percy would do a million things he’s done? He’s done some very not so ‘silly little guy’ stuff. He is an extremely complex character. In his own head and to some people, he’s sweet and fun and silly, but to many people he’s reckless and scary and dangerous. Some people see him as someone who’s very gentle and relaxed, but some people see him as someone who’s quick to get very angry and cause destruction. And the truth is, he’s all of it. It depends on his mood. Consistency does not apply to him in many aspects. He has consistent traits, like loyalty, humor, and bravery, but his actual actions and reactions are NOT consistent. I understand why we think Percy would never do certain things. We think we know based off of his past and his history with his mom, or with Gabe, or with Luke. And I’m not saying I think he would do those things, but unless he specifically states it, we can NOT, ever, infer what Percy Jackson might or might not do.

Like for instance, the drinking thing. I am not saying percy would be a big drinker, if one at all. And he probably does have an aversion to the smell of beer because of how the apartment used to smell when he was young. But we have no evidence that Percy associates all alcohol with Gabe. Alcoholic drinks aren’t just foul smelling hard liquors. There are a million different forms that you can consume alcohol in - some of which don’t even smell like alcohol, and barely taste like it. And in The Chalice of the Gods, it’s said that Sally drinks a glass of wine every night. And Percy thinks Sally hangs the freaking moon. So if his mom drinks, he definitely doesn’t believe that alcoholic beverages = the enemy. And here’s the thing, if Annabeth and Piper and Leo were all drinking and having a good time, like college students do, and they go “Hey Percy, come sit and have a drink with us!” there’s a very good chance that he’s so comfortable with his best friends, and just wants to let loose and be a college kid, that he wouldn’t even think about Gabe. He’d just be like “Sounds fun! Count me in!” But I don’t know. That’s the point. I don’t know. Maybe he would, maybe he wouldn’t. I truly think it could go either way. And even if he does drink, maybe he never - not even once - gets drunk. Maybe he’d drink in college and as a young adult, but when he becomes a father one day, he decides he doesn’t want his children to ever smell so much as a drop of alcohol on his breath, and therefore completely stops drinking. Or maybe he doesn’t ever like it, even in college. Or maybe he’s like his mom, and he and Annabeth just have a glass of wine with dinner. Who knows?

Not us. That’s what I’m saying. WE don’t know.

I’m not saying we can’t have headcanons based on what we know about him. I have a million. But the point is, I feel like we can’t try to pretend like we actually know what Percy wouldn’t do. As a fandom, we analyze him and his choices WAY more than he ever thinks about a single choice. He definitely does not think about his life and his actions as much as we do. (I’m not saying that he’s dumb or doesn’t contemplate his life and his actions, but he doesn’t nearly do it to the degree that we do.) Us, we pretend like it’s simple math. (Our first mistake, since math is consistent and full of rules, which is the exact opposite of Percy’s character.) We go “okay luke did this and gabe did this so therefore percy would never do this.” But Percy doesn’t think that way most of the time, especially not in heat of the moment matters. The only thing we 100% know about Percy is that he will always be loyal to his loved ones. But even then, we don’t know what that loyalty will look like. Is it sacrificing himself for someone? Is it murdering the enemy? Is it manipulating someone else? Percy lives in the moment. He doesn’t often think too much before he acts. He just acts. Whether it’s in a life of death situation, or his after school activity for the day. He is unpredictable, like the ocean. It’s one of his defining traits.

Honestly, I think that’s why annabeth is so drawn to him. With everyone else, she can read them super easily and know their next move. But with Percy, she has no idea. Which is frustrating to her, but also exciting. It’s a big part of her initial attraction to him. It’s also why many of us like him so much. We don’t know what’s coming next, and we never know what he will do in a situation. Like, how could we possibly know what he would or wouldn’t do when HE doesn’t even know? Half the time I don’t think Rick himself even knows.

We become so sure that Percy wouldn’t do something because we understand his character so well, right? But I think the truth is, the minute we become certain about what Percy would or wouldn’t do, is the minute we don’t understand his character at all.

Thank you for reading my analysis of Percy on why we can’t reliably analyze Percy