#Jo’s fine now far as I know | Explore Tumblr posts and blogs

nichuuu · 9 months ago

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Scatterbrain

Word count: 18k+

They say it takes a village to raise a child.

To raise a girl as fine as Jang Wonyoung, you’d probably need 3 whole villages.

Two of those three villages would be used to train the way she walks because it’s perfect: classy, poised, elegant. The other one would have to work on her outfits because god would she need those. Hopefully the village doesn’t operate a Shein style manufacturing line. She’d hate that.

Her face is the definition of “striking the gene pool lottery”, and so is the rest of her body. Lanky arms and legs; toned, slim tummy; big, bright eyes that glimmer under the flashing lights. Personally, you like her “you’re on camera” smile the most. She knows this, and she always makes it a point to shoot it your way as she struts towards you. She stops half way to get a flute of Champagne, make that two actually, then grabs another. Those long legs can cover one hell of a distance, and they bring her right to you in a matter of seconds.

“We have to stop meeting like this,” she hands you the Champagne flute in her left hand, and the rings on it shine in the light, “cause it’s starting to feel like you’re just stalking me now.”

Of course, it’s the snarky remarks that open the conversation. Jang Wonyoung, airheaded as ever m’lady, and you sip on the Bubbly that she’s very nicely delivered to you. Wonyoung is, of course, a little bit of an airhead in your books (only because she believes that you’re always there for her, nothing else), and it’s never not hilarious to watch her draw her lips into a thin line. It’s not the first time she’s hearing this from you; it certainly won’t be the last. You can’t control where you’re posted to, but you know for a fact that you’ll see her again a couple months down the road.

Cause your meetings with Jang Wonyoung are through pure serendipity really, and you certainly will start calling it that after you read that one story. You know: the one where this guy cheats on his idol girlfriend, who he has a tense relationship with, with another idol that he happens to meet just about everywhere. There’s 0 communication between the two of you when these types of events come around, and neither of you know if either of you will be there or not. Actually, it’s just you really; neither of you know if you will be there.

“Here for Kwon Eunbi again? Or are you finding someone else?” This question of her’s is customary at this point. Never once has it been perfunctory.

“Well, I was actually here to try and catch an interview with Jo Yuri, but I guess you’ll do,” you reply. Wonyoung scoffs—so I’m second place then?—and you have to assuage her oh-so-damaged ego, “you’re making this inference on your own Princess. I never said anything remotely close to that.”

And it’s that smile on her face that makes you want to kiss her really. It’s gorgeous, it’s cute, it’s beautiful. She’s given you that damned smile so many times that you could probably draw it from memory, though you’d definitely butcher it. The dress is certainly doing it justice, and you watch it brush against the skin of her legs as she shifts her weight to the other foot. I’ve never been that good at inferences. You’re far better than me, Prince, and she’s playing with her hair: twirling and untwirling it around her finger. That ribbon atop her head… Her stylist certainly knows their stuff.

“Think I’ll win an award this year?” Her question draws you away from your thorough examination of her. You take a moment to think, and you have to say, it depends, but I think you could definitely get something in some category. She gives you this inscrutable look, and she’s chuckling to herself as she looks at the crowd and sips on her champagne. You can guess what she’s about to say next: quite the crowd today, huh? And you’d reply, “Don’t think that they’re all here for you”, and that would prompt her to shoot back with, “Then who are they here for? You?”.

But of course, when do things ever go according to plan?

“Have you thought about my offer?” she asks, and you’re caught off guard.

Cause here’s the history between you two: Middle school best friends, always kind of inseparable. She was the beauty queen, it girl, and she still is; you were the writer, head of the school magazine, and you’re pretty much writing for the rest of your life. Wherever you went with her, rumours followed—Are they dating? I think they’re just friends. Maybe she’s trying to be the front of the magazine?—but you never thought much of it. It was just a simple friendship to you, nothing more.

Then the kiss she gave you in high school changed it all.

It was a party, hosted by one of your mutual friends. She kissed you, and no, it wasn’t a Spin The Bottle forfeit, nor was it a dare of any sort; it was a sincere, tender kiss in the garden—unprompted, and away from any prying eyes and soft like silk chiffon. You have to admit, the sensation had your brain mired for a minute or so. But when you came back to your senses, you kissed her right back, and things got complicated after that.

No one knew of it; it was your little secret. Wonyoung became closer than ever, and next thing you know, she declares the two of you “exclusive” but not dating. It’s because her agency has that funky dating ban thing, and Wonyoung was desperate to find a loophole, albeit a little complex. Of course, you’re willing to stay “exclusive” with Wonyoung in secret, but you started to worry that it can’t stay this way for long after the two of you get out of high school.

But as fate would have it, your career paths meet at the crossroads, and now you see her every other month or so. You still text her when you can, and the “exclusive” relationship has sustained. Now that she’s an adult and she’s bringing in mad bucks for the agency, she’s informed you of some changes in her contact. From there, the offer was birthed, and you have left it unchecked for the past four months or so, “grey ticked” as she liked to call it.

“You haven’t texted in a while, thought you died,” she continues, leaning on her elbows against the table. “Thank god you’re alive, huh?”

You hoped that she’d just forget about it, but she’s more of a mnemonist than you give her credit for. An award show is the last place you expected to be caught off guard by Jang Wonyoung, but she’s definitely a master of surprise. I uh… I haven’t really thought about it, is a lie you tell her and yourself. She smiles enigmatically, downs the rest of her Champagne.

“Let’s talk about it tonight,” she touches your chest, and it’s soft like silk chiffon, “you know where to find me, Prince.”

She struts off to join the rest of her members, stops halfway to return her Champagne flute, then looks back at you over her shoulder to give you a small wave. You sip on your Champagne as the silk brushes against her skin.

It’s a heavy breath that leaves your mouth, and it’s the rest of the Champagne that goes in.

302.

Gold lettering, black plaque. It’s grand, pretty elegant. Suits her well.

Then the door opens.

In her bathrobe, Jang Wonyoung shoots her “you’re on camera” smile. You’re earlier than expected—she lets you in—Matter of fact, I thought you might not show at all.

And it’s a must to quip back, “thought you’d be asleep by now you big baby.”

When the door closes, it’s straight to work, and here’s how that normally goes: kissing, undressing, foreplay, then finally—fucking. Not that it has to follow that order or anything, but it’s the unspoken schedule that Wonyoung’s written up. God forbid anyone goes against what the princess is comfortable with, not that you’d ever try to either way. Your voice is barely a mumble past her lips—aren’t we supposed to talk about something?—and Wonyoung’s quick to dismiss any queries, “later. There’s always time for it later”.

So it’s the kiss that’s pulling you back into her. Her front teeth capture your bottom lip, pull, drags it back a little like she’s trying to unwrap you like a present. You hold her waist, and with gentle hands, you push her back against the wall. It’s not that you’re trying to get control or anything; you’re just attempting to give her something to work with, a place to rest as she starts to work on the buttons of your shirt.

“Are you already naked underneath that?” you whisper, though it’s more of a drawl than a whisper. In response, she momentarily stops with your buttons to slide a section of her bathrobe away, giving you a good look at a column of her naked, milky skin.

In short: Yes, she is very much naked under that robe.

“Don’t get distracted, my prince. Eyes up here.”

“You’re the one that made me look, princess.”

She’s evidently struggling with the last button of your shirt, and you have to let go of her for a moment to help her get it done. Then it’s off with the shirt, and she flings it against the door for convenience sake. Your belt’s next, and that’s taken care of before you can even say, let me undress you Princess. It does make her hesitate at the clasp of your trousers for a bit. Just for a bit.

“I’d like,” her fingers are moving again, and they’re awfully quick at unfastening your pants, “for you to unwrap me on the bed instead.”

How raunchy of her. Makes you want to try her on.

Your pants fall. Your hand slithers into the bathrobe. Her jaw drops. Wonyoung my darling, and your fingers have captured one of those perky breasts, the right one to be exact. How do you ever—it’s light pressure to the nipple for you; it’s mind melting for her—get away with being such a big slut? Look at you, I’m barely even squeezing here. You’d like to save that face she makes in a supercut of her other memorable faces: eyes wide, mouth agape and her chin tucked into her neck. Frame it up, take a step back, admire it. It’s the face of someone who’s pent up, the expression of a needy girl who’s been aching to get some dick. Maybe if you guys had met a little sooner, she wouldn’t be this sensitive. But now? A twist of your forefinger and thumb is all it takes to draw a cry out of her, a little more pressure is enough to rain hellfire upon her. What a crazy-hot mess she is; only god knows how to clean her up and get her sorted out.

Open mouth straight to your ear, Wonyoung lets out a breathy gasp. In your fingers, the stiff peak rolls between the pads—back, forth, back, forth: motions that make her weak in her knees. It’s with great effort that she pulls your face back to hers, captures you in her quivering lips. Elegance has long been thrown out the window by now, and it’s not going to be returning for quite some time, as if you ever need it at a time like this. She’s barely holding herself up at this point. Where did the prim proper Jang Wonyoung go?

The answer’s in her kiss—gone, dusted, she was here just a minute ago though. She’s grasping at whatever inch of your skin she can find, and her nails are definitely gonna be leaving marks on the sides of your neck. You let out a small, wry laugh as you silently observe her behaviour, watching her implore without speaking, badger without requesting. It’s an art form really, the form of expression for the horny and desperate and bratty. When her hands grip your face and her nails sink into your cheek, you pinch a little harder and relish the pleasant vibrations that are sent into your mouth as she gasps. Her palms press into your jaw, and they’d probably crush it if you press any harder. Her feet patter against the wood as she starts to direct you to the bed. You kick off your shoes together with your pants.

It’s definitely a sight to take in: Jang Wonyoung in a massive king size bed, a thin bathrobe being the only thing between you and that wonderful body being the bathrobe. Maybe if she wasn’t in this state she’s in, she’d gesture to you with a come hither motion, and invite you to remove the fabric from her body. Instead, she opts for a spine tingling mewl, and that’s your invitation to her body. It’s hardly an insinuation; the fact that she wants to be unwrapped like a present is undeniable, she used the word unwrap herself. The bunny knot holding the two pieces of fabric is symmetrical—has Wonyoung’s fingerprints all over it. If it weren’t for the fact that she’s watching you with a half-open mouth, maybe you’d compliment her on her efforts a little, maybe even call her “princess” a couple more times before you properly ruin her.

(But she’s already ruined, ruined by a mere bit of pressure to the nipple. What else can make her tick now?)

Her body is at your mercy and it, quite literally, jerks as you start to pull at the knot, undoing it centimetre by centimetre, millimetre by millimetre, inch by inch. You want to see how long she can watch for, how long she can witness herself be undressed in a painfully slow fashion. Needy as she is, she’s patient as she watches one end of the rope grow longer.

Longer.

“Do you want me to speed this up, baby?” The smirk on your face would earn you a pout from her if her nerves weren’t in a bundle at the given moment.

“W-Whatever you want,” she answers, and her voice is brimming with breathy arousal. How are you getting away with all this? She’d grab your wrist and pull by now if she wasn’t so damn needy right now.

You give a dry laugh. “Then I’ll keep at this then.”

Longer.

“Fuck. Just pull it all the way already.” She looks you right in the eye as she begs you to hurry, and now you can see the need brimming in those large, round eyes, the ones that stare back at you with soft intensity, if that’s even possible. She’s good at mixing emotions into her stare.

“I thought you said—”

“Just fucking do it!”

Slack.

And the knot comes undone, and together with it, the robe falls off to the sides of her body—it’s beautiful. Never have you taken so much pleasure in undressing her, but you sure-as-hell have taken this much time to admire that wonderful, slender frame. From your standing view over her, you get down to her level to get a better look at her. It’s all part of the game of course: the way you look her in the eye, the way you touch her jaw ever so slightly to turn it towards you. The kiss is sickly sweet, and she’s starting to taste more and more like that cherry lipstick you gave her when you saw her some time ago at another event. Into your mouth, she lets out a sonorous moan. Your fingertips brush along her skin, slither down from her collarbone to her cleavage—down to that flushed pink region between her equally flushed thighs. Almost instantly, the tip of your digits are coated in slick fluids, and you raise an eyebrow at the girl on the bed.

“I literally touched you.” It’s amusement permeating your voice more than anything. In the sheets, she squirms in the slightest, eyes locked on your fingers that rest against that dripping heat and breath caught in her throat. You know that if you were to shift your finger in the slightest, you’d trigger a chain reaction that you have no power over. Her legs would clamp, her abdomen would tense, her eyes would roll. In the midst of it all, she’d maybe scream, or maybe she’d moan; either way goes. As far as you’re concerned, she’s needy as fuck at the moment, and she’s not going to let anything stop her from cumming.

“Yea, well… I can be sensitive.” Her defence is hardly a solid one, more of a perfunctory reply. Her head’s far from able to formulate a quip to throw back at you; that ability went out the window together with classy Wonyoung. “Put them in.”

You go against her request, and your fingers start to skirt the edges of that swollen, pink slit of hers. A crime—you’re going against the princess’ wishes, but realistically speaking: she can hardly be called a princess at the moment, so why comply?

A portion of the bathrobe is still clinging on to her breast. You use your other hand to push it away, and the split second of contact makes her flinch. “Jesus. You’re so fucking turned-on right now,” you can’t help but muse, all while your fingers retrace te outline of her swollen lips. She’s shivering, she isn’t breathing quite right. “Do you want to moan, baby? Do you want to moan like a good little slut for me?”

And she fixes you with a glare. “F-Fuck you… Put them in.”

No “please” this time. Shame. If she were more polite, you would’ve obliged; now you’ll just have some more fun with her.

Your thumb finds the swollen nub, and a little brush is all you need to get her straining like a psycho in a straitjacket. What will I ever do with you Wonyoung?—and she’s getting wetter by the second—You look so pretty when you’re so needy, you know that?—why would you ever, for a second, think that she’d be as refined as the last time? She doesn’t play with herself when she needs to get off; she waits till she sees you again to get off on your cock, your fingers, your mouth. Sexting was off the table, she wants you to be physically there, driving her insane as she lets herself come undone.

“You know,” and you’re almost laughing as you watch her face twist even further, “that I could do this forever right? I could just lie here, tease you for as long as I want… Or maybe that’s what you want?

She’s messy, so fucking messy. Juices are starting to soak the bed—you can feel it as your fingertips round the bottom of her slit. Housekeeping would certainly question the spot, and the two of you wouldn’t be there to reply anyway. Her cheeks are flushed, the veins of her throat are popping. It takes a considerable amount of effort to stay this composed, but you know that she’s breaking more and more. With each round your fingers make, cracks start to form along that perfectly sculpted face. The fine lines on her forehead begin to show as her brows start to furrow. Strained sounds are coming from her throat as the urge to moan is slowly winning the battle against her will. She wants control, but she can’t have it when she’s a wet, hot mess next to you. She’s being bratty for the sake of it. Your fingers are your leverage against her. It’s killing her. It’s delighting you.

And just like fine China thrown against concrete, her will shatters.

“Please! Put them in!”

And your fingers stop just at the top of her pussy. It feels like a long minute, but she isn't about to take another second of this. Her thighs clamp against your arm. Her fingers wrap around your wrist in desperation. She begs again. And again. And again. And again, again, again. The bed starts to creak as you start to move your fingers down her lips, down to the very end of her cunt.

God is she dripping.

“Will you moan for me?” you drawl huskily. A finger, two, three rest themselves against her heat.

“Yes.” There’s barely any of her original self left in there. “Please just—”

The fingers breach her opening. She screams, a high-pitched, keening cry. The noise makes your cock strain in your boxers, and you have to grit your teeth as her inner walls wrap tightly around your intruding digits. A moment of stillness comes, a moment where she’s just breathing raggedly, struggling to process this pleasure that’s racking her body faster than she can comprehend. She’s a ticking time bomb of nerves; the slightest movement in this state could send her into perdition, and she’ll barrel past that point of no return faster than both of you can imagine. God, she’s sensitive. God, she’s a mess.

The chuckle that departs from your mouth is one of perverse pleasure. “Baby,” you whisper, right into her ear as she struggles to catch her breath. She squeezes her eyes shut, and you watch with a grin as her chest rises and falls. The grip on your wrist is a vice, knuckle-white and unrelenting. She’s begging you, with her eyes, to start moving, and you have to tell her, “I can’t start till you let go of me, baby.”

And it’s with reluctance that she slips her hand off your wrist, but that hand won’t stay empty for long. You guide it to her own breast, and with a soft whisper, you tell her to squeeze. She’s servile. She complies without protest. Her eyes slowly open themselves, and you relish the way they’re lust-glazed appearance looks under warm light while her breaths level themselves out. For a moment, there’s calm. For a moment, it’s tender.

Then your fingers start to move. All hell breaks loose.

Everything she did to calm herself quickly becomes futile; it becomes undone as her back arches in a way that catches your breath in your throat. Your fingers graze her walls, pressed into each other as they slowly draw in and out of her. And mind you: you’re going slow, slow enough to make her feel every bit of your fingers brush against her insides. But it’s enough to make her curse, enough to get her mewling like a damn kitten while her hips start to rock, rubbing her clit against the base of your palm. There’s no way to describe how needy she looks; her want is beyond words, and you’ve barely even started. Three fingers is the most you’ve ever put inside her. Clearly, it’s working wonders for her.

And now you yourself have to admit: you’ve wanted her for some time now. Since the last time you saw her, you’ve fantasised about that slim tummy twitching, about holding that snatched waist once more, about those long legs wrapped around your neck while your tongue and fingers turn her into a pliant plaything. For weeks, you’ve wanted nothing more than pulling Jang Wonyoung apart, reduce her into a withering mess wherever you guys are and get her screaming till she’s sore. You can’t even begin to describe what you’ve done with her in your dreams, nor can you ever convey how it feels to desire her as much as you have. So, you put all of it into action, sordid sentiments channelled into your fingers that are making those cute features twist and contort in perverse pleasure. She’s rambunctious, and her juices are quite literally soaking your hand, spilling the strongest sillage of lust all over the bed.

“Why do you always have to be so fucking messy?” You’re really just trying to see how much you can get away with at this point, though the answer seems to be: just about everything. Your fingers start moving faster. You love the way her cheeks are starting to flush even more. “Are you always this wet? Or is it just for me?”

The squelching is lewder than you can ever imagine. The sound of her slick, wet heat being breached by your fingers is enthralling. Add the sounds she’s making into that and you have the ultimate erotica audio that can bless mankind. She’s panting, she’s moaning, she’s whining—she’s doing it all really, and you’re just using your fingers. God knows how she’ll react once you’re inside of her, rock hard meat stretching her out instead of a few fingers fiddling around in warm walls.

But hey, the sounds she’s making are ever so erotic, and she’s definitely making your blood flow to all the right places. She feels out of place; you can’t put your finger on what’s wrong in this whole thing. It’s probably a small detail, something you’d overlook over the sight of her chest heaving as air shoots out and gets sucked back into her mouth, her whole body straining and convulsing against the bed while you get a thumb on her clit and rub at a languid tempo. Probably something miniscule, not worth mentioning because all your attention is focused on the look on her face (you want to mess up the makeup so badly it’s almost frustrating). And no, you’re not trying to make her cum in five seconds; she’s just really riled up—bundle of nerves and trigger happy. Probably hasn’t been treated this way in a while, probably hasn’t had three fingers twisting around, sliding in and out of that tight wet hole slow enough to make her feel every bit of skin against her walls; fast enough to make her combust if you were to speed up, in, like, forever.

“I–I…” She’s quite literally mewling, and the sharpness in her voice is so cutting that it makes an incision in a bag inside you that’s keeping all the perverse thoughts at bay. The thoughts are leaking out now, and it’s almost impossible to stuff them back in. You want her against the glass: tits against the window and ass in your hands while you pump and pump and pump into that slick tight hole; you want nothing more but to pick her up and have her lock her legs around you, tight frame flushed against you while you nail her against one of these walls that surround you; you want to unhinge that jaw and watch that pretty mouth—now parted to let the stream of moans flow—take your cock in and out between those kiss-swollen lips and watch the drool leak out the corners of her mouth. Shit. It’s killing you. Jang Wonyoung, dolled up. She’s killing you.

(No way in hell are thighs meant to be this hot, and lips are not supposed to look this delicious. Yet Jang Wonyoung somehow goes against every fucking norm, fights it naturally and effortlessly and wins like a seasoned warrior. So just for her case: her thighs can be this hot and flushed, and her lips can look this fucking appetising. You kiss her; it’s sloppy, it’s lewd, it’s hot and everything in between. Mark her neck, mark that row of skin above her right collarbone, mark her everywhere. Cusses are flying—god forbid her agency finds out about the things hse says while she’s getting fingered. She's making a mess out of herself. She’s making a mess out of you.

Fingers, just fingers and she’s already looking like this: hair fanned out, frazzled, looking like she just went through a car wash and yet somehow has her make-up intact. Fuck. You want to watch the mascara run, watch it streak while she tears up as she’s choking down cum and she’s struggling to take in air. Pretty little princess, messy and glacially being turned into some improper slut. It’s hard to not smirk while you ruin her with the same fingers you use to type articles about her—fingers that sing praises and can also make her moan enough to make her throat hoarse.)

The rhythm of your hand makes her body roll. Her toes–painted over, fresh manicure—curl into the sheets. Doe-like eyes stare back at you, plump red lips part to gasp your name, throat muscles strain trying to curse and moan at the same time. The fingers are gliding in and out and in and out and she’s begging you to not stop (like hell you ever would) in those choke up little sobs while she’s—

Oh fuck baby I can’t I can’t I can’t — Anything. I’ll do anything. Please just let me cum. I’m so fucking close baby. Please just let me fucking cum. I’ll be a good girl. I-I promise I’ll be a good fucking girl for you just… Fuck!

—blue screening on your fingers: lost in the sauce or whatever. Pliant plaything, docile doll. You’re certain she hasn’t gotten off in at least a month if the way she’s taking it is any sort of yardstick. She’s far beyond drenched, far beyond salvation and way off the deep end of the “needy” pool—drowning herself in her own sea of sighs and gasps and moans and loose phonics that slip out of her mouth. Ostinato of your fingers squelching in her cunt; half time rhythm of the creaky bed; melody of the chorus of Jang Wonyoung’s voice—music to your ears.

And there’s lots to unpack from the moment you locate that soft spot at the top of her pussy. There’s a lot of cussing, a lot of jolting, a fair amount of whining and your name is thrown somewhere in that mix. You find her lips, she kisses back, one of her hands grabs your arm, nails dig in and stay there. Flurry of actions, filthy language—fucking hell, someone stop her.

Bottom line: lots of action. You find it congenial to start from the part where it quite literally ends her world. Once your digits curled up into that sensitive patch of flesh, it was all over for her.

You can pinpoint the exact moment where the orgasm rips through her body, the exact moment where her muscles seized so perfectly that her back arches. The pulse around your fingers is strong, walls tight around your digits and your thumb gently rubbing on her clit while the pleasure rolls through her body, molten iron libido converting the feeling between her thighs to electricity that makes her short circuit. The moan is breathy if anyone’s asking, and the look on her face—twisted, perverse satisfaction: superimposing need and want—has a whole foot over the line of pornographic. Wires are fraying in her head, her vocal cords are strained, she’s ruining the sheets with her juices; you’re complicit in every damn part of this, and guilt is the last thing on your mind.

Then her back falls back flat against the mattress, and the sheets ripple as her body makes a dense thump against the bed, punctuating the sigh she releases into the air. Nerves are unbundling themselves. She’s sweaty and panting. Your fingers are beyond soaked.

“Messy,” you muse, slowly drawing your juice slicked fingers out of her cunt. You bring them to her mouth. She languidly tastes herself, sweat-darkened sheets hugging the muscles of her shoulders and lining her ribs. She looks so tiny in the bed if you looked over the fact that her legs were dangling over the edge of the mattress, and that’s easy to do once you lean in for a kiss.

(It’s not hard to slip your tongue into her mouth, and there’s barely any fight left in her as you roll her nipple between your index finger and thumb. The sweat-matted hair sticking to her forehead adds a nice touch to her face.)

“Such a good girl.” Your tone is warm as you praise her, and a hand moves to cup her cheek in an act of tenderness. Her eyelids flutter shut. She puts the weight of her face into your palm.

“Do I get my reward now?” she whispers, and it’s more of a plea than a question really. You take a moment, not to think, but to drag out the suspense for a little more before you give her an answer. You take guilty pleasure in knowing that you could keep her on tenterhooks for the whole night—the only thing stopping you is the throbbing of your cock in your boxers and the look of sheer need on her face. If you could: you’d drag this out a little longer, maybe tease her a little and call her more names. You still could do that, but you’d much rather fuck her instead.

“Where do you want it?” your thumbs hook into the waistband of your boxers and hook them down. Your cock springs free from its cottons confines, and Wonyoung’s eyes instantly dart to it. She may be a little obsessed with your cock, but only a little when she’s depraved (which is right now). Before you can even react, she has your shaft in her hand, lanky fingers wrapped around it and pumping it with considerate strokes.

“I want a big load in my ass.” she requests, far from innocent and banking more towards improper, which seems to be a pretty big theme of hers tonight. “I’ve been wanting to feel daddy’s hot load leaking out of my ass for a long time…” The strokes delivered to your length grow firmer and firmer by the second. “Please?”

The spikes of pleasure her small hand delivers to your system is really making it hard to say no at the given moment. Of course, she’s well aware of it, and she’s definitely feeling so damn smug right now. And so with a very clouded mind, you nod. She smiles smugly, unaware that you’re about to fuck that smug little smirk rig of her pretty face. Conveniently, she’s already on her back—it’ll make the process so much easier.

“I take it that the lube is in your bag?” You raise. She grins and nods.

Sure enough, you find it in the exact same place as it usually is: side pocket, right next to her lipstick. You toss it towards her and move around her, slip her ankles over her shoulders. She lies still, unmoving and obedient as her left calf goes past her head, then her right. You lean forward, and she gasps as she's almost bent her completely in half. She’s flexible; this position won’t bring any harm to her, but it is congenial to ruin her asshole and leave her sore for the next day or so, which is exactly what she wants, but probably not how she imagined herself getting it. She cracks open the lube, and with precision, squirts a generous amount of it on the tight ring of her ass, making eye contact with you all the while as the clear liquid gathers at the puckered ring of muscle. The tube is discarded to a side when she’s done, and she uses her hands to spread her asscheeks for you, inviting you to take your liberties with her hole.

“Come on Daddy,” she urges you. “Come fuck this ass,” she continues, her hands spreading her ass cheeks even wider as you start to line yourself up with the tight ring. “Wreck this fucking hole Daddy, I can fucking take it.”

To hear her say those words was almost enough to have you cum right there and then. You press the tip of your cock at the open, gaping hole of her ass, swirling it around the entrance, collecting more of the copious amounts of lube around it. She was generous with the amount of lube she dispensed; you're about to be generous with the strokes you're gonna make inside that ass.

(She yelps when you slide inside her ass. God does it feel so fucking divine.)

She is so tight and wet and hot that you think you could’ve cum with your first thrust inside her. Her pussy was tight and hot, but her ass was even tighter and even hotter. Even though your cock was slick with lube, it did close to nothing to keep the sheer tightness of her asshole from clenching around you like it was a really small glove. It wasn’t the first time you’ve been inside her ass, but it sure as hell felt like a novelty every single time you entered that tight ring of muscle. Fuck. The heat, the tightness—sublime. You think you could cum in a matter of seconds if you didn’t have self control.

“Go!’ she hisses, through the pain and discomfort. “Fuck me. Fuck my ass!”

You would have been happy to stay there, buried balls deep in Wonyoung’s ass, but her own words goad you into moving—slowly at first, but with a steadily increasing pace, you begin to fuck Wonyoung’s ass with long, slow strokes. She hisses—part glee, part discomfort—as your shaft starts to pump itself in and out of her ass. You draw yourself out till only the base of you tip remains inside of her, and then you thrust back in, hard, hard enough to make her yelp out in pained pleasure while she grits her teeth and watches your rock hard shaft fill her ass. It's a perverse show for her, and it brings you a sort of dark satisfaction in knowing that past all that discomfort she’s feeling, she loves the way your cock stretches her out and fills her defenceless little hole.

With her ankles over your shoulders, you’re practically spearing yourself vertically into her ass, fucking her deep and making her feel every inch of your throbbing meat inside of that hot, tight hole. Every penetration is punctuated by a deep, guttural groan from Wonyoung, sometimes a curse, or something along the lines of: fuck. So fucking full. You know for a fact that the pained sounds you hear now will turn into airy gaps of pleasure once she gets used to the discomfort, and that she’d probably be a mewling mess by the time you reach the stage where she can take you in and out of her ass with only pleasure in her system and no pain. For now, you’ll settle with the pace you have—slow, long strokes in and out of her ass while she squeezes her eyes to block out all sensations distracting her from enjoying the sensation of her ass being filled with cock. You have to admit that she’s doing a great job at it, and your praise vocalises itself in the rather harsh form of, “what a good little slut.”

(And here’s something interesting you noted: never once in this whole thing did she ask you to stop, nor did you ever think about stopping to let her adjust. If this was anyone else, you would have given them a moment to breathe upon entering, and you certainly would be checking on their wellbeing throughout it all.

Thing is—the two of you know her too well to know that you could only dream of stopping once you got started with her, and it could only end in two ways. 1) You cum in her. 2) You cum on her. Edge her and you’ll never get the end of it, you would know. The last time you pulled a stunt on her like that, she left you tied to a chair with a vibrator taped to your cock till you were begging and a cummy mess. It wasn’t pretty. She could dominate if she wanted to, but she preferred to be a manipulative brat instead.)

It’s not long before she’s desensitised to the pain, and your slow pace is not enough, no, not for Wonyoung. Next thing you know it, she hissing for you to go faster, fuck her harder—I told you to fuck my ass Daddy. Don’t hold back on me now—and deeper. She swears, all three languages that she knew strung together shabbily like they were put together on some shitty production line and thrown out at random—and while you made little sense of the sounds coming out of her filthy mouth you knew what they meant.

Harder. Faster. Rougher.

Then you fuck her ass. Hard and fast.

You almost surprised yourself with the liberties you were taking, drilling in and out of her butt with the same speed and depth that you would use with her mouth and pussy.

“Yes!” she shouts—a loud, full shout. “Yes! Fuck me like this! Pound me, fuck me until you cum in my slutty little ass!”

You grunt in reply, because it was all you could do. The faculties of human language have long since abandoned your grasp and ability, and nothing else exists in your mind except the thought of filling her tight, hothole with warm, white semen. Her eyes lock with yours and you only find that they’re full of need, nothing else (not like she’s capable of displaying any other emotion at the moment). The rest of you, every fibre of your being, was focused on pounding Wonyoung’s tight little hole as hard and fast as you possibly could. Her ankles bounce helplessly behind your head, her knees press into her shoulders and her breath is ragged; sweat drips off your forehead and onto her tits, and your hot breath mixes with hers as you struggle to keep yourself propped up with your arms.

In short: the two of you are sweaty and messy (one more so than the other. Take a pick, not sure if there’s a prize for guessing right), victims of lust and slaves to pleasure. You blame Wonyoung just because you can.

For a few delicious moments, there is absolutely nothing in the world aside from the tight hot sheath of flesh around your cock, the warm flesh of her legs against your shoulders and the strands of sweat-slick hair that fly just about everywhere, all topped with the lewd, filthy, obscene words spilling from Wonyoung’s mouth. For a few delicious moments, she feels nothing but the feeling of her tight hole being stretched and used by the cock that turns her face into a wrought outlet of pleasure while she lets filthy words and exclamations spill from her lips.

Try as you might, you couldn’t have it last forever. Not when you were already so turned on from watching her writhe and twitch under your fingers. Not when the sheer, pure pleasure overwhelming you was more than enough to cause you to cum at any moment.

And when she orgasms for the second time, her ass tightening exponentially around you—there is little you or anyone else could have done to stop the inevitable.

“I’m gonna cum in your ass, Wonyoung,” you hiss through gritted teeth, your lust and pleasure-addled brain on the edge of losing all comprehension.

“Cum with me! Fill me!”

And so you do it, burying yourself hilt deep inside the quivering woman’s asshole before filling it with the last of your cum, giving her every last drop you had left in your body, leaving rope after rope inside her sore, well-used, cum-filled asshole. You almost black out, and you quite literally have to dig your nails into the sheets while Wonyoung’s own orgasm takes over her body, making her twitch and her ass contract—milking every last bit of cum from your throbbing, twitching length till it was nothing but a dry, hard rod inside of her creamy asshole.

There’s silence that is punctuated by both of your ragged breaths. She looks at you, you look at her. And the two of you can’t help but chuckle at the mess you’ve made of each other. You want to remember the way her nose wrinkles as she teases you, “you fucking animal”, and you want, so badly, to burn the image of a sweaty, weary Jang Wonyoung, folded in half beneath you like she was a piece of origami paper, panting and gasping as a fresh load of cum spills out of her ass.

It takes energy, but you bend down and kiss her, letting her sweaty calves slide off your equally sweaty shoulders as you do. She’s satisfied, for now, and she pulls you down next to her on the hotel bed with one hand and gathers the cum leaking out of her ass with the other.

“Look at this,” she whispers, and your eyes train themselves on the pearlescent, sticky, slimy, fluids that run down from her fingertips slowly. “You made such a big mess inside my ass,” she chides before bringing her fingers to her mouth and sucking your cum right off her fingers like it’s a delicacy. “Now I have to clean all of this up. You’re lucky I like the way your cum tastes.”

You raise an eyebrow. “Um… Ew?”

Wonyoung smirks and gently nudges you with her left foot.

“It’s okay,” she tells you, all smug and everything. “I know you love the way I taste too.”

* In the dark, her small hand creeps around your torso and grasps yours.

“You’re awake, aren’t you?” She’s whispering right into your ear, and it’s a sensation you want to be able to hold on to for the rest of your life. “I know your eyes are open.” The feel of her small fingers rolling the knuckle of your index finger sticks itself in your head like a post-it. “ I can hear and feel you tossing, you know?”

Okay. No dodging.

The sheets stay still as your shoulders turn. You roll over, face her, and you really just want to capture the way the night lights paint her face: doe-like eyes reflecting glimmering pools of moonlight, warm yellow light painting her cute-yet-so-fucking-gorgeous face in a manner that not even Van Goh could copy, lips parted slightly as if in mid speak. She’s right there—you can kiss her if you really want to.

“Are you still mad at me?” She asks, tender with her tone. “I know that I fucked up, okay?” You can tell that she’s not even trying to look pitiful at the moment, but the way her face is sculpted really makes you want to just hold her to your chest and stroke her hair. Sincere are her words—heart heaved into her mouth. “I don’t blame you if you’re still mad. It’s your right. But… Just hear me out? Please?”

If you were mad, you wouldn’t have let her hold your hand the way she was now. If you were mad, you would’ve pretended to be fast asleep; ignore her pleas and just close your eyes and fall asleep. Alas, you can never stay mad at her for too long.

“I was… Never really angry, Wony.” Your tone is a lot softer than you would ever expect, but you know it’s because you probably needed this talk more than she did. “I... I’m sorry if it came across that way.”

And she studies you for a moment, lets the sound of your breathing fill the space as she furls her upper lip into her front teeth, and it’s a perfect moment for you to try and understand what’s happening in her head. She’s a complex creature really; understanding her is like finding a meaning that everyone can agree on when you look at abstract art.

Down below, you can still hear the cars moving through the street. Billboards and screens are still on, and from the window in your bedroom, multi-coloured lights filter into the room past the blinds like moonlight through bamboo leaves. The sheets you lie in are fresh, and they feel nice and smooth against your skin, and they smell like roses. The mattress creaks a little as Wonyoung shifts her weight, and you have to admit that you’re half-drunk on the scent of her shampoo.

“You must have been scared,” she whispers. “I’m sorry. I got really emotional. I… I shouldn’t have walked out. I’m sorry.”

You didn’t know how to reply to that. Not now at least. Maybe it’ll come to you the next morning.

You give her a sweet smile. You hug her to your chest. You want to remember how she feels in your arms.

The gentle trickle of water down the arch of her spine is really something—a steady stream flowing down her back, running over the muscles of her shoulders, the curve of her breasts and fraying at her plump ass. You can’t remember the last time you showered with her, but you certainly remember the view being this good.

In the shower of room 302, Jang Wonyoung lets the warm water hit her skin from the rain shower nozzle. Her hair—wet and freshly shampooed (and conditioned)—sticks to her back. Creamy skin glistens, small beads of water affix themselves to random parts of her body, stay there for one or two seconds, then roll down in streaks, almost as if they too were admiring Wonyoung’s well-sculpted figure.

Slim fingers grasp locks of hair. She lifts and looks over her shoulder, the whisper of a grin on her face as she shoots a beckoning wink. “Are you gonna help me soap my back? Or are you just gonna keep staring at my ass?”

“Don’t you have to, like, turn off the water first?” you ask, and you already know what she’s gonna say, but you just want to hear her say it. For memory sake.

“Mmmm.” Her humming as she ‘ponders’ reverberates in the shower, floating over the sound of water from the shower head falling to the floor like rain. “No… Adds to the atmosphere, don’t you think?”

Ah. There we go.

“Then could you at least step back?” you request. This shower is comically huge—long length, breadth about the same length as your arm span. In the space, she looks so tiny, but you know for a fact that she could probably walk to the other end of the shower in a stride. You’re not one to disregard the facts, but you do like to live with a bit of imagination.

Wonyoung chuckles, low and sonorous. She pushes her hair over her shoulder, then—painfully slowly—walks back till she’s out of the stream of water. Water wastage is the last thing on her mind. She stops when she feels your hands on her back, and she looks over her shoulder, expectant. You move your hands and the soap lathers as it’s spread. You start from the centre of her back, rubbing gently in the section where the muscles of her shoulders meet and working your way outwards and upward to her shoulders. Then it’s down from there, your palms moving in small circles and covering every inch of skin.

“You’re good at this,” she mutters, watching with intent as your hands start to trail to her lower back. “Maybe you should’ve been a masseuse instead of a writer.”

“Uh… Patronising much?” You chuckle, watching as her back muscles twitch a little when you apply gentle pressure. “The pay’s about the same,” the soap makes patterns across the area above her ass—spirals of foam that stick to her skin like styrofoam flowers. “The hours are probably the same… But I don’t think I can live on rubbing someone’s back really hard. I Think I’ll just save this service for you, but only for when we meet.”

Humored, Wonyoung offers a giggle, high pitched and cutting above the sound of water striking the floor tiles. She shifts her weight to her right foot, making her body slant a little. Her skin is soft under your palms. Your hands are going lower and lower, slowly spiralling towards the curve of her ass that’s literally just a centimetre away.

“You know…If you take up my offer, you can do this for me everyday.”

Your hands slow to a stop. You raise your head a little to find her searching for your gaze over her shoulder. “Oh?”

“Yea.” Her voice is low, like a mother trying to persuade her child to eat their vegetables. “Every night, we can be like this: you soaping my back, us chatting… Doesn’t it sound wonderful?”

Your lip furls behind your front teeth. “Yea… It really does.”

And in her gaze, you sense her sensing your apprehension. “What’s stopping you from taking it up then?”

(For context, here’s the deal proposed by her company: the two of you go public with the relationship, get clout for the company, and Starship will let you lead your lives together—no qualms, no disturbances. She can visit you whenever, live with you, appear outside together with you like it’s a regular Tuesday night; you get to date the girl you fell in love with all those years ago for real. Only issue: once you get the last stroke of your signature out on the contract, you practically agree to blurring the line between your private and public life. Press will be all over you like ants after you step on their nest, you probably won’t get to enjoy a cup of coffee in peace, everyone will suddenly want to curry favours with you… Was it worth the sacrifice?)

You find it hard to meet her eyes, and so your gaze affixes itself on your hands. It’s not like you don’t love her or anything, but your apprehension makes you feel like shit. It shouldn’t be this hard to say yes, yet the idea of selling your life of privacy to live a life with her makes you screech to a halt at the crossroads. Sometimes (in these moments), you wished that you didn’t always make decisions with your head and your heart.

As the shower continues to run, Wonyoung slowly turns around. One hand finds yours, the other gently takes you by the chin and raises your eyes up to her. She’s tall, and the two of you are staring eye to eye; same height, different trains of thought.

The hand on yours guides you to her breast. Eyes locked with yours, she lays your palm flat against her tit. The skin beneath your fingers is slippery, but it doesn’t remove any of the familiarity from the sensation. Then she squeezes, and the flesh spills out between your fingers like putty. She gasps—airy.

“Don’t you want me?” She whispers, and it’s raunchy more than anything. It isn’t aggressive, but it’s certainly blurring the line between demanding and caring. “Don’t you want to be able to fuck this pretty little pussy every night?”

She’s really far from home base. “Wony…”

“Don’t you love owning me?” She’s squeezing harder. Her knee twitches. Sopa’s spilling out of your fingers. You’re certain that you’re gonna mark her. She doesn’t care. “Don’t you want me all over you? Every night?”

“It’s not that Wonyoung.”

“Then what’s on your mind?” She’s not prodding for an answer, nor is she trying to demand a reason for your silence. She wants to understand you, to internalise what’s going on inside your head. You have no reason to lie.

“Will it all really be okay?” you ask sincerely. “My family, my life… Will… Will it all really be…”

She understands where you’re coming from (if the relieving of pressure around her own breast is any indication), and she’s starting to tune herself to the frequency of your worries. “If you’re wondering if you’re gonna be harassed—you won’t.”

“Yea but—”

“I promise you: I will do everything I can to make sure that you will be safe. You and your family–if so much as a finger is laid on any of you, I will quit.”

“Wonyo—”

“No one will intrude on you. You won’t have to live with the flashing lights. I give you my word: I will make sure that everyone who wants to invade your privacy will leave you alone. You and your family will all be left alone.”

If it’s possible for sincerity to ring clear, Jang Wonyoung has absolutely made it happen. Sweet like honey; she’s left you feeling like you had a spoonful of it. And just for good measure, she steps closer and repeats once more: “I promise.”

Considering that your hand was at the left side of her chest, this was really a “I swear. Hand to my heart” type of deal (whether it’s intended or not is purely up to your discretion).

And as you gaze into those eyes, you want to remember the way she gazes at you softly, gently, tenderly. If it weren’t for your hand on her tit, you would’ve considered this one of the more tender moments you’ve shared with her. Not that it’s not or anything… Just that it’s a little hard to call this a loving moment when you can literally feel her nipple poking into the flesh of your palm at all times of the conversation.

“Are you sure you won’t land yourself in trouble?” you ask her, and she’s quick to scoff.

“Of course. I make too much fucking money fo those higher up fuckers to not listen to me,” she reminds you.

Well… Then that settles about everything then.

“Okay,” you tell her. “Okay… I’ll do it.”

The corners of her lips play up in a smile. She leans in, kisses you—no tongue, closed mouth—and lets the hand keeping yours at her breast fall. Long arms wrap around your waist and she pulls you close, flushing her tight frame against your body. When lips part, she whispers a soft I love you, a sparkle in eyes that lingered for a moment.

But only for a moment.

Then—without you noticing—her hand snakes down and grips your rapidly hardening shaft, and she squeezes. This time, the line between demanding and caring is clear as day, and she’s chosen to play her ball to the court of demanding. With a gleam in her eye, she begins stroking with her closed fist, and she pumps your stiff length at a slow but steady rhythm, adding an occasional twisting motion to her wrist, corkscrewing her fingers around your cock, increasing the pleasurable shocks she was sending through your system with each pump of her hand. It was almost like she wasn’t the sweetest, loving girl in the whole world just two seconds ago.

“Jesus fucking…” You can’t even finish your sentence. Your teeth grit. Your fists clench. It’s hard to breathe. “Maybe… A little bit of a heads up next time?”

She smirks proudly, watching as you tilt your head back and let out a groan. “Where’s the fun in that?” And gently, she pushes against your chest, guides you to the wall. When your back presses against the cool tile, she presses herself against you. She leans in, hot breath on your skin, and then the feeling of her lips against your jaw almost makes you yelp. She kisses a path down your jaw, paves a way towards your neck to get cheeky: sucking, nibbling, licking the skin of your neck while she keeps the movement of her hands slow and considerate. The shower continues to run.

Do you know—she breaks contact with your skin for just a second—how fucking horny—her breath’s tickling your ear, sending shivers down your spine—you make me?—and she squeezes a little harder around your shaft, not enough for it to hurt, but enough to feel you throb in your hand and make you gulp a little. She starts going faster—jerking, fucking pumping your length in her closed fist, and it’s almost impossible to keep your eyes open; your eyelids flutter shut. Your head rests against the wall, a sigh slipping past your lips. It’s filthy really—down from the way she catches you off guard to the way she makes your skin sore after she’s done feasting. Almost every interaction with her in a private space is as X-rated as this; it’s hard not to get into a situation like this around her. You know: a situation where the two of you are naked and getting really touchy and actively trying to get each other as many times as humanly possible.

“Fuck yes baby…” you rasp, your nails starting to eat into your palms as she the sound of her hand sliding up and down your dick starts to cut above the steady stream of water. With each rise of her hand, the pad of her thumb plays with the head of your member, and when it sinks down, she twists her wrist in a screwing motion. Rinse and repeat; up and down and up and down and fuck. “You’re so fucking good at this.”

She hums in reply, and she has your earlobe between her teeth the next second, nicking you mischievously, sending small pricks of pain shooting through your system as she adjusts her grip on your cock without ever breaking her motion. Next thing you know, your tongue is inside your ear, and she’s leaning in so close that when you open your eyes, you’re practically looking over her shoulder, looking down the curve of her back that glistens with moisture and soap bubbles.

“I love this cock so fucking much,” she whispers, a bit of a hiss in her words as she takes the head of your cock between her forefinger and thumb and pinches lightly. “It stretches me out when I need it.” her fingers start to trail down your slipper shaft, letting the smoothness of her palm rub against your whole length, “fills me when I want it.” She’s milking the precum out of you, making you all leaky and squirmy as she starts pumping faster. “And it’s so fucking big that I can choke on it. You know how much I love being choked.”

She chooses that last bit to make eye contact with you, and she’s practically served you what she wants next on a silver platter. The next move is clear cut and simple; no words need be spoken. You were going to fuck her—and you mean properly fuck her—with a hand wrapped around that small throat. How you were gonna do it was still a mystery, but you figured that it’d slowly come to you, but it will definitely be related to the mirror and the sink outside and the mirror in front of it. At once, you reach over to the handle of the shower, and you turn it down to the handheld showerhead mode. Wonyoung bites her bottom lip, perverse glee painted all over her face as you use it to wash the soap off her back. She’s watching, waiting, probably drenched down there and aching to be stuffed full of cock.

She’s almost shaking with excitement as you finish washing all the soap off her body. You’d hardly consider her clean, but it won’t hurt to hop back into the shower again once you're done with her. The shower door swings open and you’re cupping her pussy, dripping wet while stumbling out with her, lips locked on hers and her hand on your cock as you push her against the sink of her hotel room. From the moment her mouth opens and let the moans pour out while you rub her clit to the moment her hand leaves your cock to cradle your face, she’s practically radiating need from the pores of her skin. You can’t help but playfully remark, “you’re such a fucking loser”, while your thumb thumps against her clit and sends pleasure tearing through her system. Weak in the knees, she holds on to you for support.

And the moans (those fucking hair-raising moans), they tumble out of those plump lips like marbles down a ramp, and they mix with the sound of your lips smacking against her skin as you start to leave a trail of kisses down her neck, doing to her what she did to you in the shower; you give her a taste of her own medicine, and the way she’s titling her head back to let you mark her freely makes it almost seem as if it’s the intended outcome of her actions. It’s like she knew that you would get back at her, and it wouldn’t come as a surprise if you ever find out that she gets off on knowing that she can manipulate you in her own bratty ways—get you wrapped around her finger and have you doing all the things she wants you to do without having to tell you. Not that you have something to gripe about it, but you’re just so amused (and that’s just one word to describe how you feel) by how she goes about her ways.

“Come on,” she manages to whisper, all while you’re busy sucking on the skin just below her collarbone till it’s sore. She has a lot of pride in her voice for someone who’s quite literally quivering. “You know you want to fuck me. Give me a good creampie again.”

You lift your head for a moment, and you take in the look of almost childlike excitement on her face as your hand finds its way to her throat. It’s perverse excitement, that lewd exhilaration of knowing that she was about to get what she wanted, and albeit a little messed up, it was pretty hot in its own way. When your fingers gently wrap themselves around her throat, you can feel every muscle in her body tense in anticipation, as if she didn’t get enough from the bedroom earlier.

“Up on the counter baby. Let me see how messy you are down there,” you whisper.

She knows what to do, and she has herself propped up on the counter and engaged in open mouth kissing. She doesn’t need you to tell her to spread her legs, and she definitely doesn’t need you to tell her how cute she sounds when your fingers slip inside of her, feeling around the mess you’ve made of her and coating your digits in her fluids. Your index and middle finger are slick with her juices when you retract them from inside her, and you can’t help but chuckle.

“Messy as ever,” you muse, making a show of sucking her juices clean off your fingers. She’s sweet and borderline tangy—a taste that you’re accustomed to, and you will never get tired of it. She’s biting down on her lower lip, the skin wrinkling under the pressure of her front teeth as she makes a sound that’s close to a purr.

“You made the mess.” She has her eyes locked on yours as you raise an eyebrow, prompting her to follow up after her first statement. Not that you didn’t know what was coming, but more that you wanted to gently coax it out of her, because it was so fucking hot to hear what she had to say next. “You clean it up.”

And you’re more than happy to oblige. She watches you with intent eyes as you sink down to your knees, waits with bated breath as you lower your face till the glistening, pink folds of her pussy are right in front of your face, flushed thighs around your ears. Her excitement is almost palpable, and you can hear the sharp inhale she takes when your palm finds its place on the inside of her left thigh, pushing gently to give you better access to her heat (you’re really just trying to drag out the tension if you were being completely honest with yourself). You lick your lips, lean forward till your mouth is hovering above her slit.

“You better moan for me this time,” you tell her, and you’re making sure to make your breath hit her slick as you speak. “You have such a wonderful voice. Put it to use.”

Praise mixed with the slight hint of authority—it’s enough to make her nod furiously and implore you with doe eyes to just get on with it. With a smirk, your lips find the swollen nub at the top of her entrance. You suck on it. Hard. And almost at once, her thighs clamp around your ears and her hand is on your head, like it’s some sort of natural instinct for her when you’re eating her out. Keeping to her word, she cries out—keening, whiny and ever so fucking bratty, and it’s the the holy grail of every wet dream. Nothing in the world could bring you more satisfaction than that shrill, airy cry she lets out when the pleasure ripples through her body, and you’re just getting started.

Your mouth opens and your tongue flattens itself against her folds, (She tastes so good. You want all of it, all of her) and you drag it up her folds, deliberately, painfully slow as you start to lick up that wet cunt. Her back arches; you can feel her struggling to keep a hold of your head; she throws her head back and lets out a gasp; her thighs clamp down a little harder around your head. The pleasure in her system builds up with the slow movement of your tongue, only rising and rising as you lick from the base of her slit to the mid section to the top. When the tip of your tongue flicks her clit, it's almost like an explosion, enough for her other hand to join its pair atop your head, enough to make her cry out in a perverse plea, “Daddy, please!”

(For the record: she’s wanted this from the moment you guys stepped into the shower. She’s willingly turned herself into some pliant little plaything, and she’s probably getting off so hard to it. Frankly, if she wanted to order you around, you’d be up to it, but this is what she prefers.)

And nothing else needs to be said really. You put your whole mouth on her—relishing the shiver that runs up from her thighs up to her body—and get right into making a wreck of her. You lick, you devour, you ravish her: working your mouth on her pussy, lapping up the juices that spill forth from flushed lips with broad, sharp strokes that make her body grow taut and her legs quiver. You tongue her clit, lick up sweet fluids, make her messy and needy and hot in all the right areas till she’s drilling her nails into the back of your scalp and pushing your face against her sweet slick. In half whispers, she tells you just how good you make her feel—oh Daddy I’m so fucking wet!—and you feel a dark part of yourself be fed by these lecherous words—Oh god oh fuck I’m gonna fucking cum if you keep… Fuck!—that leave her half-parted mouth and linger in the air, reminding you of just how wanton she is and how you’re the only person in the world she ever wants to fuck and be satisfied by. You’re hers; she’s yours—a relationship with Jang Wonyoung that any guy would kill for.

“Daddy—” she gaps, her voice a whole octave higher than it should be as her nails turn into claws at the back of your head. “Fuck I’m cumming. Daddy I’m cumming!”

The pulsing of her pusy against your tongue grows. You continue licking, lapping. One stroke, two strokes—three. She moans, blue screens. You hazard a look up.

Nothing else matters. Only: the sight of that back arching off the marble counter, her thighs around your head trembling and quaking as her hips roll and her mouth parts in a silent scream. You’re certain that there’s blood being drawn from the back of your head, but you're more certain that she’s got enough heat in her core to melt molten iron but a lack of breath that makes her gasp for air as you lick and lick and lick your way into her. You can feel her orgasm getting closer by the second, it’s in her breathing, and in the way her hips are practically thrusting her into your mouth.

And just like the bathrobe from earlier, she comes undone—falls apart and ceases to keep control of her body. She tenses, her thighs go rigid around your ears. Her breath is caught in her throat, her eyes are closed. You stop your work, admire the way she glows as her body twitches and her face twists. Pleasure rips its way through her muscles, her nerves—splits her very being in half as the orgasm rolls through her system. She’s beautiful, and she’s a messy work of art that you’ve created.

You rise to your feet as she winds down, and her hands leave your head to rest on the counter while her body struggles to process the aftermath of that orgasm. It’s not the first time she’s cum for the night, and it certainly won’t be the last. Her eyes open, and she instantly locs them on you as you brush back some of the hair that sticks to her sweat slicked face. You take her hand and give a gentle tug, and she slips off the counter obediently. You grip her jaw—tenderly but rough enough for her to like it—and tell her to turn around. Servile, she obeys, and in the reflection of the mirror, she watches as your hand snakes its way to her throat and grips it. You’re not squeezing, not yet.

“I’m gonna fuck this pretty little pussy now,” you drawl, gripping your shaft in your hand and slapping it against her slit. The contact makes her shudder, but she remains silent as you place a kiss on her cheek. “Your face is gonna be so pretty when I choke you and fill you.”

“Yes Daddy.” Her reply is a whisper, a borderline drawl that’s airy and raunchy and makes your hairs stand on their ends. She’s looking at you through the mirror, plump lips slightly parted and eyes glassy. “Own me. I’m yours, forever.”

And you’re all too happy to hear that from her.

You slip into her, hilt yourself inside her in one swift motion.

(Tight. Hot. Wet. So tight.)

She lets out a sigh, low and sonorous, harmonising with your own groan as you press her against the edge of the counter and make the fingers around her throat squeeze. The sound that leaves her throat is the sound of her sigh being truncated, and it delights that dark part of you. Being inside Wonyoung was otherworldly, as it always was, but here, in the bathroom of her hotel, on the night where you’ve agreed to seal a deal with her, she felt downright heavenly. She squeezes her walls around you, her body thankful for the sensation of being filled by cock, if the intense tightness and slick wetness were any indication; she looks over her shoulder and bites her bottom lip. And when she has your gaze, she mouths something.

Fill me.

The silence is deafening, but it’s all you need to hear.

When you withdraw your glistening shaft for the first time you relish in the feel of her walls gripping you, not wanting to release you—but just as quickly they welcome you back inside as you penetrate her again. Soon you are pumping in and out of her at a slow, steady pace, her soft gasps turning quickly into long, drawn out moans as she is fucked against the marble. Her hands steady her body against the counter, her back arched in a way that lets you get a wonderful top-down view of her breasts as they roll together with her body. It’s a concerted effort, but she makes it seem effortless.

“Be honest.” With the hand around her throat, her voice sounds a little hoarse. It’s hot. “Do you think about this, Daddy? About fucking me like a good little slut?”

“Wonyoung,” you reply, speaking through your gritted teeth. “You have no,” and you punctuate the sentence there with a deeper thrust into her tight slick, a thrust strong enough for her to let out a strained gasp. “fucking idea…”

(In the mirror, you watch as she curls her lips into her mouth and tilts her head back into your shoulder, like she’s submitting her whole being to you and letting you take liberties with her body. You take the invitation, and your free hand finds itself on one of her soft mounds and gives it a squeeze—rough but tender enough to elicit a low moan from her throat that makes your hand around it vibrate pleasantly.

At the given moment, she’s doing all she can to make herself a pretty little fuckdoll for you, doing her best to encourage you to treat her rough, treat her like you own her. She wants nothing more but to feel the rockhard meat penetrating her tight little cunt stretch her out and fill her the way she wants, all while she’s begging and pleading obsequiously while being obsessed with your cock. It’s a lot to take in for her for sure, but she gets off on it, and you get off on it too—the fact that she’s being all needy and pleading just so she can implicitly tell you to fuck her till she’s raw and can’t fucking walk the next morning. The fact that she’s actually in control while being such a bottom. Bratty manipulation.)

“Then fuck me Daddy,” she tells you, almost pleading. “Use this pretty little pussy. I want it. I fucking need it.”

With her invitation to do more with her body, you’re more than ready to do what you’ve intended to do from the very start. You increase your tempo, and before long you are truly fucking her, drilling in and out of the tight hot warmth of her body with quick, deep strokes. With each stroke you don’t pull out more than halfway—you concentrate instead on pumping hard and fast, getting as deep as you could inside her given your standing position. She takes it well, like she was made for this. In her world, this was what fucking looked like, and it was the only definition that she was going to live with and she’d take it to the grave. She indulges in the roughness, the almost animal-like way your cock fills her again and again and again, all while she encourages you with cries and moans and sighs that are music to your ears.

And a notion hits you: she’s going to make you fuck her till she’s the only thing you can possibly think about. She’s going to draw out every single primal urge within you, make you want her like she’s some form of drug and you’re the abuser, and then she’s going to get exactly what she wants—your cum in her pussy. You can’t let her win like that, you can’t. You can tell that to yourself now, but you’re not sure if you can remember it later, not when she practically reeks of the strongest possible sillage of sex.

Her pussy throbs around you, pulse strong and just a beat behind your thrusts as you thrust yourself in and out of her slick walls, filling her up and drawing yourself out before filling her up yet again. Pure filth spills from her mouth, expletives, sordid sighs and cries and any sound or word that comes to mind. She's a quivering and squirming mess, and from the mirror you enjoy the way she’s almost writhing in against the counter. Ample breasts bounce with each thrust that shocks her body, and it’s almost hypnotic if it weren’t for the fact that that pretty face was stealing the show. The face that was marvelled, the face that was the source of jealousy, the face that was on the face of so many magazines and posters and adored by millions, if not billions—scrunched up, improper and so fucking lewd that it looked like it belonged in a porno instead of an idols face, and you take pleasure in the fact that your cock is ruining the face of a princess, turning her dissolute and so fucking needy that she was as good as a fan begging her for an autograph. This side of her was reserved for you, and only you—her duality is reserved for your eyes only.

Her body is slick with sweat, rubbing against your own sweaty torso while her body rolls together with your thrusts. “Fuck—” you’re saying, but it comes out as more of a growl than anything given how hard yur teeth are clenching. Your fingers squeeze tighter around her throat. The slightly reduced airflow at her throat causes her pussy to clench even tighter around you—and the added tightness brings succulent pleasure to your mind that makes you think you’re going insane. You probably are at this rate. “This pussy. It’s so fucking good baby.”

Her reply is a strained gasp, but you get the gist of what she wants to say. She wants, so badly, to tell you how good your cock is making her feel, how well it fucks her, how well it fills her and stretches her and how it’s her favourite thing in the whole world. The squelch of your cock filling her pussy is loud, but not loud enough to drown out the smacking of skin against skin as you press more of your weight against her, pushing her a little more into the corner of the counter and a little more over the line of pathetic. She moans in response to your actions, and it’s telling you: fuck. Harder. It’s better when it hurts.

And you can feel her juices leaking down the back of her thighs, wetting your crotch and making the smack of skin against skin louder than ever, almost as if it was an announcement: I’m being fucked like a good little slut and I love it. She doesn’t know what she’s doing to you,and for clarity, it’s something along the lines of turning you absolutely feral with her moans and the divine tightness of her pussy that makes you want to cum on the spot. Okay,maybe she is cognizant of how crazy she makes you when you fuck her, but you barely have the capacity to think, let alone rationalise wether thai girl in your arms that your chocking and fucking feel smug in knowing that she’s driving you insane.

Oh and she loves it when you play with her tits. The way you fondle them is almost aggressive. Scratch that—it’s really fucking aggressive. You’re slapping her tits, leaving red marks all over the milky white skin and pinching and twisting the stiff nubs atop her breasts, all while she mewls and cries out in that strained voice that makes you throb even harder inside of her wet walls and makes you grit your teeth like your a dog waiting to chew on a bone.

“D-Daddy,” she pushes out, past the fingers that close her airways and past her groans and moans and sighs. “Harder.” And your thrusts are starting to cut her off, but she has more to say. When it comes out, each word that she spits out is punctuated by a thrust of cock into her pussy, and it’s the hottest thing you’ll ever hear.

Fuck.

You thrust deep inside her.

Me.

Your cock drives itself deep into her, slicking itself with her juices.

Harder.

And if words could linger in the air, hers certainly would.

You fuck her hard, and fast, and deep—hammering her into the counter, nailing her defenseless pussy with a pace that you would have thought was rough and callous were it not for the fact you knew this was exactly how she wanted it. All she can do is hang on, grasp onto the counter with a knuckle-white grip with her hands as you take your liberties with her body, fucking her as hard as you can, as deeply as she can take it. The cups on the counter shake, the toothbrush inside one of them shaking under the force. It’s loud, but you hear none of it. You hear only the sharp sighs of pleasure that leave Wonyoung’s lips, and the wet slap slap slap of your crotch as it hammers her cunt again and again and again, your cock drilling her, pounding her, making her yours if you weren’t already doing that.

It takes a little long, but the haze of lust parts for a moment for you to realise that you're getting closer and closer to getting what she wants out of you. While the thought of burying yourself inside of that quivering, pulsing pussy to let it milk every last drop of cum from you is ever so enticing, that small part of you that wants to own her pushes you to fight against the urges. Not that there’s any harm in giving her what she wants, but it’s just that you don’t want to reward her bratty, manipulative tactics. She knew for a fact that she could tie you up and ride you over and over till you were dry—she’d done it before. But instead, she’s chosen to fulfil her needs in a less direct manner, maybe for fun or maybe just because she felt like it.

“Yes,” Wonyoung hisses, spit flying into the mirror and her palms slipping on the counter. “Just like this Daddy.” And she’s making sure to make eye contact with you through the mirror, letting her eyes do most of the talking. If anyone’s curious, the look she gives you is saying, I’m your good little slut. Fuck me. Use me. Fill me. Please, and it's nothing short of hot and tethering far over the line of lewd. At this point, neither of you are in a state where you're capable of coherent thought, nor are you capable of thinking about anything else except each other’s bodies and the wet, lewd squelching of cock filling Wonyoung’s pussy. It goes on and on and on, a cycle of your hips hammering the back of her legs and your cock spearing deep into her cunt. She takes it so well, drinking you in hungrily, coiling around your shaft like a snake as if it was begging for you to stay in her forever. The sight is enough to make your balls tingle and your toes curl, and your hand around Wonyoung's throat tightens to the point where the only thing that can leave her lips is a groan as her airflow is reduced.

She’s tighter, hotter, wetter. Her pussy fits you like a glove, moulding around your cock as it pumps in and out of her at a pace that you had no idea you were capable of. The hand around her neck is nothing but an outlet of pleasure for you, and she’s loving it. “Such a good girl,” you mutter, watching from the mirror as her mouth slacks and opens while she’s being pumped full of cock. “You were made to take Daddy’s cock, weren’t you?”

Her equivalent of a yes is a sharp, strained groan—an amalgamation of phonics and whatever sounds the lack of air flowing to her throat permits her to make. She’s so fucking messy down there, and your cock is sliding in and out of her with ease, aided by her slick juices that coat your shaft and let it disappear and reappear from between her legs with ease. The motion is almost graceful if it weren’t for the fact that it was a sordid one, and you take a moment to admire the way your shaft glistens in the light of the bathroom while you fuck her the way she wants it: rough, hard and tethering over the edge of callous. If it weren’t for the hand around her throat, she’d be making herself hoarse with all the moaning she’d be doing.

And the hand around her throat is bringing her so much pleasure, if the way her pussy squeezes around you when you choke her is any indication. She wasn’t lying when she said she liked being choked. While she didn’t like gagging on your cock, she sure as hell loved it when your fingers clasped around the muscles and made her gasp. She liked the sensation of being deprived of air, be it when she was riding or when she has her kness buried into her shoulders and was being fucked into the bed like a slut. You were always afraid of hurting her, but when she shots you that look, the one that says, come on, you can do better, you know that she’s getting exactly what she wants, just the way she likes it. It was just a matter of how hard you squeeze around her throat before she either cums or passes out, though the latter has rarely happened before the former.

“Daddy!” she chokes, and you know exactly what she’s about to say next. So you release her throat from her grasp, bunch a lock of her hair in your closed fist and you pull back. Her eyes squeeze themselves shut. Her back arches deliciously, her voice now free to finish shat she’s aching to announce. “I’m fucking…”

You never expect her to finish her sentence. Wonyoung’s eyes open, and a gasp leaves her open lips. Her walls, already vice-like, tighten so hard around you that you think you might come there and then. You feel how close she is.

“Fucking cum for me, Wonyoung. Cum around my cock like a good little slut.”

Wonyoung does as she is told—and the quivering, trembling orgasm she experiences is almost frightening in the way it overwhelms her body, turning her into a wet, hot mess. Her pussy tightens and pulsates, her fingers claw against the marble counter, and her entire lower body shakes violently, as though she had lost control of her nerves and muscles. For a few beautiful seconds she is utterly overwhelmed by the sensations, until finally she slumps forward in your grasp, breathing heavily.

It's good. It's so good, but it's not quite enough to get you to your finish. Not yet.

(And if anyone’s asking: it’s not that the sex isn’t good. It’s mind blowing, amazing, and whatever word that can be used to describe “fucking incredible”. She’s hot, so tight and fucking soaked down there. You’re horny, throbbing and on the verge of filling her full of your seed. But you’ve said it before and you’ll say it again—you’re not rewarding bratty manipulation. As tempting as it would have been to simply pound her from behind until you gave her needy pussy the load of semen she so desperately wanted, you knew that there was something even better that you could do.)

You pull out of Wonyoung, your shaft glistening under the hotel light. Her eyes are wide with shock as you withdraw yourself from her body, pulling her away from the counter—but only enough to have her lean back against you and not stand up completely. Her mouth opens to say something, but she's interrupted when you turn her face to you and kiss her. She moans into your mouth, and you swallow it, your tongue slipping into her mouth and massaging her own, lapping at the roof of her mouth as her tongue swirled around your own. You bite her lower lip, and it's not rough, but enough to get her attention. When her eyes flutter open, you whisper, "I'm not finished."

She nods, and you relish the disappointment in her eyes. You turn her around, push down gently on her shoulders. She goes with the motion, and you're not sure if you can ever get over the image of Wonyoung on her knees with her pretty little face staring at you with anticipation. You think about fucking her face, letting your cock thrust into the back of her throat over and over and over till you finally bury yourself inside and cum down her throat, but that would just be a repeat telecast of every other night with her. Spice things up; give her the liberty of creativity with your cock.

And of course, Wonyoung perfectly understands what has to be done. You step up to her. She parts her lips and takes your cock right into her mouth. Grasping the base of your cock and pumping it with one hand while she gently cups and squeezes your balls with the other, Wonyoung quickly launches into a hard and fast blowjob, taking the top half of your cock in and out of her wet mouth with a rapid pace while her fingers work your shaft in a corkscrew motion, just like she did in the shower. The suction of her mouth is almost lethal, and the audacity she has to look up at you while she takes your cock in and out of her mouth is so exhilarating that it makes you weak in the knees. Your hand finds a clump of her sweaty hair, and you close your fingers around it, holding them in your fist. No, you weren’t going to push her head down onto your cock; you had to give her the space to work on her craft.

And of course, she exceeds every expectation out there. Your eyes shut involuntarily, your brain unable to handle any sensations beyond the wet, hot cavern of Wonyoung’s mouth sealed tightly around your shaft with tight, soft lips. With the first entry into her mouth her wet tongue is pressed tightly against the underside of your shaft, lathering it with her spit. With each subsequent entry her tongue becomes more adventurous, beginning with quick swipes left and right on your shaft with each entry and ending each exit with a swirl of the tip around the head of your cock. While she tastes herself on your cock, letting her juices mix with saliva, her hands work in perfect concert with her mouth, one joining her lips at your shaft and pumping up and down, a twisting motion to her wrist while her free hand works gently with your dangling balls, fondling them with considerate fingers. She plays with them softly yet hastily, her fingertips working their magic between the sacs with expert attention.

You are content to stand there with your eyes shut, simply enjoying the feel of your cock pumping in and out of her mouth at a fervent pace, but a small part of you knew that you had to see it happening in order to truly believe it was all real—and so with a not insignificant amount of self-control, you force eyes open to watch the spectacle unfolding between your legs. Black locks bob up and down frantically above your cock, doe-like eyes glazed with pure lust staring right up at you as her cheeks hollow and her jaw unhinges even more to accommodate your length.

It all becomes too much, and it hits you all at once—having her pump your shaft in the shower, eating her out then fucking her—and you quickly find yourself nearing that inevitable peak.

“Fuck, Wony—” is all you manage to say before your orgasm overtakes your world.

Wonyoung releases your cock from her mouth a split second before you erupt, shooting long, thick strands of hot semen all over her pretty little face. Her face glazes over in pleasure and you are all too happy to watch as strand after strand of cum lands on her cheeks, her pretty little nose, and finally her open mouth and jaw. You watch, through half-lidded eyes drunk with pleasure, as the thick streams of cum flow down her face, dripping onto her upper chest and those perfect breasts of hers. Her face is flushed and her mouth open, as though she herself was on the verge of orgasm (she probably was, and she was going to make it your problem as soon as she got your cum off her face).

You want to remember the way she wipes your cum off her face with the back of her hand, how she licks it all up like a cat licking its own paw before moving to clean the stray strands of cum off the tip and sides of your cock. You want to remember how she rises so gracefully even though she was a sweaty mess, and how she gently takes your hand and guides you back into the shower for another clean up.

And back under warm water, you want to remember how she kisses you, and how she whispers, “next time, I want that big load in my pussy.”

“What?”

And it’s hard to meet Wonyoung’s eyes as you set down the papers from the doctor. You can feel her confusion, her frustration, her rage from across the dining table in your apartment. It isn’t pretty. Nothing about this situation is.

“It’s a neurological disease,” you tell her, all while you’re looking at the MRI that’s in the middle of the table. You’re really just regurgitating what the doctor told you—it’s the only thing you have the capacity to do right now. “They ran their tests. They told me what I suspected. I’m losing my ability to read and write, to understand language. In 2 years—give or take —I won’t be able to express my thoughts. I’ll be spouting gibberish. What people say, what I see — on pages, street signs, everywhere — they’ll all be unintelligible to me.” She’s silent, and it unnerves you in every way possible. You haven’t even gotten to the worst part of it all. “My mental competence will deteriorate. I’ll have to live off a tube cause I’ll forget how to eat and drink. Dementia will follow shortly.”

Now would be a great time for her to say something, anything to break this silence. But she is silent, unmoving and reticent in her seat from across you. You have no choice but to gulp and deliver, in your personal opinion, the worst part of it all, “By the time I forget how to breathe I… I would’ve lost all my memories by then.”

She chooses the moment after the last word leaves your mouth to pick up the MRI scan and look at it.

“So… Everything we’ve built up till now will just… Disappear?” she whispers. She sounds hurt, scared and everything in between. You bite your lower lip.

“Yes.” There’s no point sugarcoating it, it’s inevitable anyway. Face it now, sulk later… You think that’s the best way to deal with this piece of news. You hope that the matter-of-fact tone of voice that you’ve chosen doesn't betray how frightened you are by the prospect of losing everything you know. “We can’t stop it. It’s in my genes.”

She sets down the scan, and when you look up, you see the tears flowing down her cheeks and it makes you want to cry as well.

She stands up, shoulders her handbag and walks towards the front door.

“Where are you—” you begin. “I’m going somewhere else to think,” she interjects.

When she slams the door behind her, you feel like you’ve let her down in so many ways. There’s a burning in your chest that you can’t describe. The first hot tear rolls down your cheek, and you let the rest that well in your eyes flow down without resistance.

You don’t want to remember what it feels like to be helpless—the emptiness, the rage, the sadness, the confusion is all so overwhelming. But you figure that you’ll have to feel it again at some point down the road.

Might as well figure out how to cope with it now, when Wonyoung isn't there and you're all alone with your thoughts.

When you awaken later that night in your bed in the apartment, it takes you a few moments to determine whether the soft, slim body climbing atop you is real or part of some wonderful dream—but the familiar warmth of your girlfriend, and the soft, pleasant smell of her hair, convinces you that this was all real.

Wonyoung places soft kisses on your neck and jawline, before moving to your mouth and kissing your lips softly. You are still only half awake, but your senses and instincts take over, and you find your mouth welcoming her kiss and returning it with one of your own, your hands moving to either side of her hips and finding, to your surprise, that there was only bare skin there and no clothing.

“Wony…” you begin, as she deepens her kiss, her lips pressing more firmly against yours.

“Shhh,” she answers, “please. I need this. I need you, right now. Please.”

She’s suddenly reappeared after walking out on you, and you have yet to process the slew of emotions that have come your way. Part of you wants to stop her, to talk things out with her so that you could: a) figure out if she was still mad at you and; b) verify that she wasn’t drunk. But the part of you that formed the majority of your conscience knew that she needed comfort as much as you did, and that she needed something to assuage her and make her feel like everything would turn out alright. So you find yourself relaxing underneath her, letting her scent fill your nostrils as her tongue dances with yours.

She straddles you, and your hands begin to run up her naked body, up from her slim thighs to her chest where the ample mounds sat proudly, her nipples erect and stiff. She isn’t wearing any underwear, and your fingers brushing against the slick of her pussy is enough to verify that for you. She’s naked atop of you, kissing you like you just confessed your love to her or like you’re about to go on some mission and never return. It’s not lustful, but it’s full off passion and aims to soothe not stir.

She breaks the kiss. Her eyes flutter open. In the dark that is pierced by the street lights of the city, you want to remember the way her eyes glimmer and shimmer as she breathes heavily. There’s no alcohol on her breath, and from the way she’s cradling your face, you can infer that she’s not mad at you in the slightest.

“You okay?” she whispers, and her tone is soft and warm, like that time she spoke in the shower of her hotel about signing that contract with her company so that the two of you could officially start dating. It’s been some time after that, but you still hang on to the way her words made their way to your heart. “I didn’t mean to startle you if I did.”

You respond by nodding, and it’s enough to convey: I’m alright. You brush away the hair that falls in front of her eyes, and you really want to remember how silky smooth her hair feels in your hands.

“What are you doing?” you ask her, making sure to keep your tone as warm as her own. She blinks, goes silent for a moment, then answers, “I’m making amends.”

She holds your gaze, you hold hers. The staring contest ends when you gently pull her in for another kiss, and you want to remember how she softly moans into your mouth while her thumb, smooth and tender, caresses your cheek.

When the kiss breaks again, her hands snake their way down to your sweats. You assist her in removing your shorts—a very clumsy affair: tangled hands and arms and lots of chuckling. But your cock does finally spring out from your boxers, the ones that have been discarded in the corner of the bed, together with her clothes. When it’s all done, you have the pleasure of witnessing the sight of her slim frame straddling you once more, long legs surrounding you on either side of your thighs while she peppers kisses on your chest.

“I’m sorry I left you to deal with… Everything. Alone.” she begins, “I shouldn’t have walked out on you like that… I’m sorry. I hope you aren’t angry”

And from your lying position, you lift a hand to cup her cheek. “We can talk later.”

She gets the message, but bends down and kisses you nonetheless. You’d probably have trouble falling asleep later in the night, and she’d wake up and you’d have this same conversation again. You’d rather have it later than now, not when the wound is still fresh.

Wonyoung lets a soft smile play on her lips. You are slightly aware of her raising her hips, her right hand finding its way between your bodies to grasp your wet, erect shaft, and line it up with her entrance. She breaks the kiss for the third time that night, searches your eyes for approval to continue with this. Was it make up sex? You didn;t know if it was for sure, but it sure as hell felt like it. What you do no for certain is: you’d like to experience this now, and you want to etch this in your memory for as long as you can before it fades with the rest of your mind.

You give her the slightest of nods, and you feel the head of your cock press against her wet, tight opening. Slowly, carefully, Wonyoung lowers herself down onto your shaft, your cockhead parting her tight lips to impale her pussy. She gasps loudly as she impales herself fully, and she opens her eyes slightly to match your gaze. You brush stray locks of hair away to reveal her face fully, and you bring her mouth back to yours to kiss her deeply. As your tongues duel, she begins to raise her hips, drawing your shaft out of her body before lowering it once more, and soon she has found a soft, slow rhythm as she rides you, grinding her warm, tight body against yours.

She raises herself upright and lets her hands rest on top of your chest. You’d like to save that face she makes in a supercut of her other memorable faces: eyes closed, lips slightly parted and the wisp of a smile on her lips as she rocks her hips. From where you lie, you watch as Wonyoung takes you in and out of her body with soft grinding motions, riding you slowly, enjoying every entry and exit of your shaft as it fills her over and over in slow, tender strokes that make her shiver. You watch as your shaft appears for a split second or so before driving back into her, each disappearance accompanied by a soft spike of pleasure. As always, she’s letting moans and sighs and gasps tumble freely from half-parted lips as she takes you in and out of her slowly, rocking her hips with innate grace and elegance. All you do is let your hands rest on her thighs, moaning softly to encourage her as she rides you lovingly, tenderly, a far cry from what you’re used to when it comes down to sex with Jang Wonyoung.

Through the night, your cock glides in and out of that perfect pussy, elicits moans and gasp and sighs and cute little cusses when you hilt yourself deep inside of her and tug a little at her hair. Her hands were always active, sometimes caressing your chest, sometimes on your jaw, sometimes behind your head as she snaked an arm behind your head to keep you locked where you were just so she could sneak in a kiss. You came in her mouth, her ass, her pussy. She came on your fingers, your cock, your mouth. She cussed a lot, almost passed out once or twice. You cussed a lot two, and you caught her when she almost rolled off the bed (the two of you laughed for a minute about that situation before you ended up spooning on the floor, her leg in the air and your cock pumping in and out of her while she had your back to you and your face in her right hand).

Bottom line: it was wonderful, wonderful make up sex that ended with both of you sweaty and panting and wanting more from each other but you guys just don’t have that energy to keep going. It was a novelty for both of you, and you wanted to remember just how special she could make you feel, even in the impurest of acts.

The flash of the polaroid camera is almost blinding, but you power through and keep your eyes open. Like a child that’s seeing snow for the first time, Jang Wonyoung watches excitedly as the polaroid emerges from the slot in the camera, and she’s all too eager to grab it and lay it face down on the coffee table in your apartment.

“I thought you’re supposed to shake it?” you ask, watch as she fiddles with the camera for a little bit before she snaps a selfie with her newest purchase. She gives you a look that basically translates to, “uh, are you dumb?” and waits for the next polaroid to emerge from the slot before she launches into her lecture.

“Shaking the polaroid to make it develop faster is a myth,” the way she sounds so official and everything is so cute. You can’t help but smile a little as she sets the other polaroid down. “It shifts the pigments and blurs the photo, but an idiot like you would need a genius like me to tell that to you.”

The remark is clearly meant to be biting, but it’s nothing short of hilarious to you. “When did you become a camera nerd?”

“Ever since I got this,” she lifts the polaroid camera up and hits you with that you’re on camera smile. “Maybe I should do an ad for this brand. Increase their sales, you know?”

She leaves you to think on that and retrieves the first polaroid she took: a picture of you and her on the couch of your apartment. Not the grandest first photo, but hey, a memory is a memory, and you really are just focusing on cherishing those at the moment. As she leaves the couch to clip the polaroid onto the photo rack (a bunch of metal wires on a metal frame with wooden clips to hold photos) she just set up, you grab your journal next to you and flip it to the page you wrote on a few hours before. With your pen (that you now carry around just about everywhere with your journal), you scribble down a new part of today that you want to remember. It was her idea to journal down everything you wanted to remember.

The entry goes right under the one about Wonyoung’s new camera.

She looks so happy with that new camera. Bet she’s going to go back to the dorm and show it off to all of her members because she’s a fucking child. I hope that…

And you trail off in your writing, What you wanted to say was just on the tip of your tongue just a second ago. Why can’t you remember it? It was literally just in your head a minute ago…

No.

You shut the journal. It makes a soft yet substantial thud as the leather cover slaps against pages. You place your pen in your pocket, set the journal back down on the couch and stand up to walk towards your girlfriend, who is currently adjusting the angle that the wooden clip holds the polaroid at. She senses you walking up to her, steps aside and makes a space for you to watch her struggle. You would offer help, but you know that it removes half the fun for her when you do something for her.

She fiddles around a little more, makes a couple of grunting sounds under her breath, curses a little, and next thing you know, she exclaims, “tada!” while pointing at the first occupant of the photo rack. You roll your eyes, throw an arm over her shoulder and look at the slightly blurry photo within the white frame.

“With the camera,” she tells you, her tone soft and warm like… Like… Fuck. “I hope that we can help our memories live on. Sounds pretty deep huh?”

You can’t help but chuckle in agreement. You take a moment to stare at the two faces that occupy the space in the polaroid, and you hope to God that they will never, ever look foreign to you. It’s a futile prayer, you know, but a glass-half-full mentality is the best chance you have at not spiralling out of control.

Wonyoung lays her head on your shoulder, silent and all sentimental as she closes her eyes and takes in a deep breath. She lets out a shuddering sigh, and you know that she’s trying not to cry, cause in this situation she’s the one that will end up hurt at the end of it all. You’ll forget the pain of forgetting; she’ll remember the pain of being forgotten. It sucks, but it’s just the way it is. You hug her, hold her close and stroke her hair. You don’t want to forget what she means to you, what you mean to her.

How many more polaroids left till it all ceases to matter?

____________________

Hello! Hope you guys enjoyed this fic. I'm a bit rusty so this one might be a bit funny, but hopefully the style of storytelling I chose didn't fuck you up too bad. Non-linear storytelling will be the death of me. Also: I kinda didn't edit this one too much. My bad hehe.

This was really more of a PSA to cherish the ones you hold close to you, because you never know when they will just disappear. Love the people close to you, cherish them forever.

~Lots of love Nichuuu

#jang wonyoung #wonyoung smut #ive smut #ive wonyoung #kpop #fanfic #writing #smut #nichuuu #ansgt

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thewadapan · 12 days ago

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So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That's all any of this stuff is.

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

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

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

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

...

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

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

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

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

When Eric Pearson came onto the project,

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

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

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

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

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

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

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

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

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

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

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

#transformers #transformers one #movie review #essay

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rene-spade · 9 months ago

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Ok but how are the crazy f1 dads with their daughters dating? Who on the grid do they like?

oof this is a loaded ask bc they really are all out of it 😭 they just love their babies fr

♤ ♤ ♤

dad! kimi | growing up räikkönen!

FIRST OF ALL kimi doesn’t really vibe with most people in general, let alone anyone who’s trying to get with his little lumienkeli. kimi was lucky to raise a little girl similar to him, who listens when he places a no dating rule lasting until she’s 21 (as far as he knows anyways). despises the guys on the grid trying to get with her; he was one of them once so he thinks of them as animals, especially leclerc who’s known for his brow-raising dating life. also hates pierre but he already didn’t fw him bc he’s french. he is SLIGHTLY more easy going with women around his daughter so any grid guys with girlfriends might have an advantage. he finds that he wants the im-a-dog-and-ill-do-whatever-my-girl-says type for his daughter, but he dislikes unintelligence. he does not like anyone on the grid, but he best tolerates:

mick schumacher!

oscar piastri (+lily)

he vibes with kika okay but hates pierre 💀

bonus! he actually really likes max but his hate/distrust for jos overpowers that so he’s not letting that happen

♤ ♤ ♤

dad! jenson | growing up button!

OK SO JENSON is a bit less intense than kimi, however he is much more publicly affectionate with his daughter which means that he has definitely gone on public rants about how no man is good wen enough for his baby. that being said, he is a decent judge of character so he doesn’t hate anyone on the grid. but he gets real serious when he notices people hitting on his baby. this is mostly bc he was def a whore when he was younger so he isn’t quick to trust guys who are living the same lifestyle he was. he kind of turns on dad-mode when he notices anyone eyeing her up. but alas, he raised his own mini-me, who attracts just about everyone, and who likes to flirt back. it takes warming up to, but he can see himself fine with most of the drivers. he most prefers people who are friendly and who didn’t act like him when he was in f1 like:

george russel

daniel ricciardo

lando norris

♤ ♤ ♤

dad! fernando | growing up alonso!

NANDO IS DEFINITELY one of those guys who thinks he’s a “cool dad” bc he’s a young father and his daughter is his best friend. but in reality he’s one of those intense, fiercely overprotective dads who have impossibly high expectations for his daughters partner. 100% the type to punch a mechanic for saying gross things about his princesa. he’ll be calm and in a good mood then someone on the grid (or any man ever) mentions his daughter and he’s like 😐. UNLESS! it’s carlos. carlos is the only one who meets his standards, sorry to literally everyone else. but even with carlos, he can be a little stern just to get his point across about not messing with his only child. he just feels the need to personally approve of his daughter’s partner bc he’s hyper-paranoid about someone hurting her. his list looks something like:

carlos sainz!!!

that’s it

i mean if you put a gun to his head maybe max bc he’s a winner but he needs to learn to speak spanish so-

♤ ♤ ♤

dad! jos | growing up verstappen! unfortunately

FUCK JOS VERSTAPPEN obviously, however this man is one crazy dad who we have to discuss. his love for his youngest daughter is wild and unpredictable, and it’s very different from the way he treats his other children. his baby has some extreme one-sided beef with him that he’s smart enough to know about, so he isn’t too forceful about bonding, it’s definitely more desperate since max found success in f1 and she sticks with her big brother now. her entire life, he’s never allowed her to date, and when he found out about her first secret bf, he got arrested for trying to kill the kid so. he has IMPOSSIBLY high standards for his daughters partner and definitely wants her to marry within the f1 community, but he hates losers and despises half the grid.

suddenly he’s charles leclerc’s biggest fan !

lewis hamilton but he’ll never admit it

MAYBE carlos sainz

bonus! max obvi likes daniel ricciardo best but jos doesn’t fw him like that

♤ ♤ ♤

Ren

#dark! f1 #f1 fanfic #f1 fic #f1 grid x reader #obsessive f1 #carlos sainz x reader #charles leclerc x reader #f1 oc #f1 reverse harem #daniel riccardo x reader #max verstappen x reader #lando norris x reader #lewis hamilton x reader #kimi räikkönen x daughter reader #dad! jenson button #dad! fernando alonso #dad! kimi räikkönen #jos verstappen

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mockerycrow · 1 year ago

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super big congratulations on 4k!! you deserve it <3

i was wondering if you could write a gn! reader x price with the prompt "Hey, it's okay, I got you. You're alright, you're okay." it doesn't matter if it's platonic or romantic; whatever feels best for you!!

Thank you so much and congratulations!

YOU’RE ALIVE (Price x GN!Reader) — 4K CELEBRATION

[WARNINGS; Car accident, implied situationship w/ Price, moderate injuries, flashbacks, near panic attack, open ending.]

YOU DON’T REMEMBER the events that lead up to you in a hospital bed, a cast fitted around your arm, a brace on your knee, a bandage around your skull, and only God knows how many stitches and bandages in random assortments. You can’t forget the numeral wires and tubes attached to you, too. Oh, and the ear-bleeding beeping. John sits next to you in a chair—he’s your… friend, of sorts. You aren’t really sure what to call what you two have going on.

You look at him, slumped in the visitors chair he’s pulled up beside your bed, his arms crossed and his legs spread; his neck is bent at an awkward angle and you know it’s going to ache whenever he awakens. John looks quite tired—he’s looked tired and stressed the entire time he’s been in the hospital room with you. Stressing over you, like a worried hu—…. you shouldn’t think about that. Suddenly the ceiling looks far more appealing to stare at, rather than the beautiful gentleman who is willingly staying at your bedside, despite your exhausted attempts to have him get some proper rest.

You glance over at him—envious of how he’s able to sleep right now. Hm. Honestly, you know John would be awake with you if he had the energy. The only reason why you’re awake is your stitches itch, and the only reason why he’s asleep is because you did not wake up for four days after you passed out at the scene of a car accident you were apparently in; an accident you don’t remember too well. You barely even remember what you had for breakfast that morning; cereal of some kind, maybe? Eggs? You don’t know.

“You were on the way to work, love.” You remember John telling you. You remember the tense expression, the firmness of his eyebrows. The frown of his lip, the way he amusingly resembled a quokka in the moment. You were also apparently on the phone with John at the same time, so whatever happened, he heard all of it. The details from your own memory are fuzzy—your doctors concluded your amnesia is temporary, so they gave you the choice of remembering it yourself or having them tell you. You opted in for the first option.

It was coming back to you in bits and pieces. Small moments where you feel the hairs on the back of your neck standing up, you think you hear glass shattering in the distance; your heart begins to race at different moments. You aren’t sure what to make of it—until now.

“I’m not excited for this meeting.” You whined, your eyes were glued to the road. Your phone is bluetooth connected to your car’s system so you can talk with John and have both of your hands on the wheel. “I’m sure it’ll be fine, honey. Surely it’s just about budgets like last month.” John hums through the speakers of your car. You sigh, turning on your windshield wipers as it’s pouring out, obscuring your vision a bit.

“It’s raining pretty hard, how do the roads look?” He asks, a bit of rustling coming from John’s end. He’s probably reading a book or looking out from the curtains. “I’m driving slower than normal, visibility isn’t the greatest..” You admit, letting out a breath, slowing the car down once again. “..I was sliding a bit, thinking it’s time I get some new wheels.” John hums in agreement. “Definitely. Please be safe, love.” You chuckled glancing around the road, furrowing your eyebrows when the double yellow line seems to fade. “I’m trying my best, Jo—“

You’re suddenly being jostled around violently after a big impact from your front, your seatbelt digging into your skin as something launches your car off to the side. “SHIT—“ You scream, attempting to stop the car, but the rain causes you to slide across the road. Something hits you from the back and you feel you physically feel yourself lift in your seat—and then you’re fading in and out. You wake up with wetness against your face, pain in your ribs, your arm, your skull—

You let out a choked sob as there’s ringing in your ears and your eyes refuse to focus—but you can tell you’re upside down. You see a pair of legs sprinting towards you through your broken side window, and you aren’t really register what’s happening. You blink and the person is try to pry the door open frantically. You still don’t hear them; it’s almost like a silent movie.

The door gives, the flipped car jostling from the force used to pry it open. You blink and fuck—It’s John. His eyes are wide and his jaw is tense, shaky hands. He’s grabbing the sides of your head, forcing you to keep your head still—his lips are moving but you can’t hear him. You sob and you try to reach up to touch him, and he lets you. Your eyes look at your own hand as it’s caked in your own blood, causing you to inhale shakily. This isn’t happening. The pain starts sitting you harder, a pulsing in the side of your head.

“Hey—“ John’s voice suddenly cuts through and you blink, and you’re back in the hospital room. You’re breathing hard and fast, causing your chest to ache more than it already does. His hands are cupping your cheeks like he was in the flipped car, and you let out a panicked sob; your machines make loud beeping noises in retaliation. “Hey, it’s okay, I got you. You’re alright, you’re okay..” John quickly murmurs, his thumbs gently wiping your tears away. “Focus on my voice, okay? You’re alright. You’re in the hospital, love.”

You sniffle and nod, shakily inhaling once again as you try to calm your panicked lungs and struggling heart, your good hand coming up and gently grasping his wrist. “I-I was flipped over—“ You choke out, which John quickly meets with soft shushing and a kiss between your eyebrows. “I know, honey. I know. I got you, you’re safe now.” You nod, choking out another whimper as you lean into his touch—because John’s right. He has you; you’re safe, he’s the one who got to you first. You’re sure you’ll want to ask him how he found you so fast later, but all you want to do right now and feel him and hear him. Because you’re alive.

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adventuringblind · 1 year ago

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Pleaseeee part two of media relations!!!

Maybe J*s’ texts and comments to reader get brought up and Mac and Charles get all protective (maybe time skip with a mini verstappen 👀)

- 📚 @ireadthensuetheauthors

Media Relations Part Two

Max Verstappen x Reader

Genre: angst

Summary: Max and Charles get protective when Jos goes a bit to far.

Warnings: Jos Verstappen, lestappen if you squint, rough pregnancy and birth,

Notes: Reminder that I'm not a doctor :)

Masterlist

Charles had mixed feelings about the whole situation. Angry that Ferrari and Redbull screwed over his sister and friend. Happy that they don’t have to pretend to be in love anymore. Sad that she moved out of his apartment and into Max’s. Now he adds confused to his list.

The two had come over to his apartment for dinner. He wanted to show his appreciation for his sister and what she'd tried to do for him regardless of if falling through.

The female, though, had been anxiously eyeing her phone screen. It had buzzed a few times against the table, but she hadn't picked it up. It looked like she was even getting farther away from it.

When she excused herself, Charles jumped on the opportunity. "Is she okay? She's been acting a bit strangley."

Max sighs and stares at her empty place at the table. "She insists everything is fine, but you and I have known her long enough to see when something is off." Max looks at Charles, and the Monegasque can see the worry on his face. "She's been eating less and has barely touched her phone. She hasn't talked to anyone outside of me or you in a while."

"Yes, I know. My mother is getting worried about her."

Both of them had come to the conclusion that it's possible she's just going through a rough patch.

It's crazy how things change over the course of a year. Her and Max had been flourishing. Absolutely in love.

Max had been planning on proposing. Even going to Charles to ask his blessing.

The Dutch had yet to learn that plans change on a whim. That when he found his hopefully soon to be fiance crying on the bathroom floor of his hotel room his world would be changed again.

He sets himself down onto the floor and pulls her into him.

“I’m sorry.” She whimpers, handing Max a plastic stick. Ten of them, actually.

“You’re pregnant?”

She starts sobbing again but Max feels the opposite. He’s all smiles and warmth.

It’s not shocking she’s upset. Not to him, at least. She’s been on the receiving end of hate over the last year. Someone had leaked that they were originally doing this for a contract. Another reason Max wants to marry her. Help her insecurities about the whole thing.

“There is no reason to apologize.” He kisses her head.

“Your not mad at me? What if this is another distraction?”

“Another distraction? Where did you get that idea?”

She freezes. Her chest was barely moving. “No reason - just my brain being dumb." She starts wiping her tears away, but Max moves her hands aside and does it for her.

"Marry me?"

"What?"

“Marry me, please.” It was supposed to be romantic. He’ll make it romantic eventually. But as he stares at the smile on her face and shine in her eyes, he knew he made the right choice/

“Yes.”

Charles was the first to know. She’d called him much more excited then when Max had found her on the floor. She had yet to tell him about the threats she’d been receiving. He had his own things to worry about, specially with the contract leak. She didn’t want to bother him with her problems.

She’s two months in and laying on the floor in Charles apartment waiting for Max to come get her. “Charlie, what if this is a bad idea?”

Charles looks up from his phone. “What is a bad idea?”

“Max, the baby, everything I’ve ever done in my life.” She sighs.

Charles rolls his eyes at her. “You used to never ask these questions. I think there is something else going on.”

“Nothing at all.”

Charles once again want to push for answers. She got better for a while. Now she’s worse again. The truth is that mental health is not a straight road and he knows that, but he wishes for nothing more then his sister to communicate with him.

Four months now. She’s struggling worse then she ever has been. She loves Max with every fiber of her being. Yet she can’t bring herself to tell him the vile things Jos whispers to her when he’s not around or the texts she receives whenever he catches wind of what they do in their off time.

She’s struggling with the pregnancy in and it’s only been three months. She’s had to stay with her mother while Max is traveling. The doctor keeping a close eye on her.

She didn’t want to be a problem while he’s working. Maybe that’s the reason he’s dominating right now. She’s not there to Interfere.

She knows Max loves her. It’s what she clings to daily. The reason she pulls herself together every morning despite the fans and Jos.

It’s the thought that puts her to sleep as she curls up in bed and dreams of him.

Jos leaves with a huff when he gets no response.

Is the pain supposed to be this bad? Where’s her phone? Everything is fuzzy and if she could just find someone who could help her maybe she’d be okay.

But the exhaustion hits to soon. The floor becoming her new home.

Seven months. She’s going to see him race seven months pregnant. It’s the last race before summer break. She wanted to see at least one race before they go on holiday.

That’s how she got herself here. Standing in hospitality with Jos Verstappen.

She needs Max. Jos had been not so subtly telling her she shouldn’t be here. She’d turned her brain off after the first paragraph.

Her water had broken after the second.

She needs Max. Or Charles. Or literally anyone at this point.

“Are you even listening to me?!” When did he get so close? She’s three months early so the stress of the situation must have cause an early labor. It doesn’t help that she’s not listening and the feeling of liquid on her leg isn’t helping.

“Charles! Have you seen your sister anywhere?” Max gets the Monegasque’s attention.

Charles spins on his heels to face him. “She was in the Redbull garage last time I heard from her. Have you tried hospitality?”

“No, not yet. Might be a bit stupid for that one.” He chuckles.

“Mind if I come with? She looked pale when I left her before the race.”

“Only if you’re okay with the stares.” They both laugh and chat on the way. Since the female Leclerc has become a common factor between them, they’ve grown into quite the pair themselves.

They walk leisurely together through the paddock until Max catches sight of his father. The older male stomps in their direction.

"Tell that girl of yours to be more respectful." He shoves past Max and continues his fit straight through the lines of people.

Max rolls his eyes. His fiancé hadn't hesitated to stand up to his father in the past when it came to him. She was willing to fight anyone for people she cares about. Most likely, that's what happened.

Though there is a feeling in his gut that something else is going on. He and Charles now jog to the entrance.

Why are there so many people around?

His eyes fall to the figure on the floor, and he freezes. Clueless on what to do.

"We've called an ambulance for her." Says somone in the area. He can't tell who. Everyone's voices are swimming.

Charles' hand on his shoulder shakes him from his trance. Max's body is kneeling next to her in seconds.

Charles is calling his mother. She knows everything about her recent medical history forwards and backward.

"She's in labor, I think." Says a different female.

Labor? She's three months early. His mind is reeling, and he knows he needs to get a grip.

He looks at Charles for any sort of support, but the Monegasque is ranting in reach over the phone. Charles does catch his gaze, however, sliding to the floor on the other side of her.

It feels like an eternity until the ambulance gets there. Then Max and Charles are driving to meet her there.

Of course, it's the one week they are in a different country with no family around. He'd texted Christian, the Austrian was more than understanding. He even said he can't wait to meet the mini Verstappen.

The realization hadn't sunk in that he's going to become a father here shortly. "Charles I'm going to be a dad."

"And I'm going to be an uncle. We've known this for a while, mate." Charles is smiling, but Max can see the fear behind his eyes. Passing out is never a good sign.

Max is brought back to her room immediately. Charles had to wait for now until she could give permission. Apperently, she'd woken up screaming for Max.

It was too late for any kind of pain medication. The labor was induced by stress. Things didn't look like they should, and Max was panicking when they told him.

They get him sanitized so he can go in the room, and he dosen't know what to do. So he does the one thing he knows how to do and holds her hand.

"Max, it hurts so much." He can see the sweat and tears in her eyes.

It's long and tiring on her end.

But the sound of her baby's cries are all worth it.

Charles gets to go see them hours later when she's cleaned up. She looks exhausted when he peeks in the door. The baby lays peacefully on her chest.

Max is sitting next to her, waving him in with a massive grin.

"Charlie." She whispers. "Meet Jules." A baby boy is handed over to him and he dosen't know what to do with himself.

"How are you feeling?"

"Tired and sore. Where is maman?"

"She'll be here as soon as she can." He smooths some hair out if her face.

"Charles, can I talk to you outside for a moment?" The Monegasque nods his head and hands the tiny body back to his sister.

Him and Max step outside the door, it shutting behind them with a small click.

"They said it was a stress induced labor. She suffered immensely because of it. Both her and the baby are going to need extra care for a little bit." Max explains.

Charles can hear the waiver in his voice. "Stress from what? The race ended perfectly." Charles taps his chin. His brain trying to think back.

"Do you - do you think it could have been my dad?" Max asks. Teary-eyed and exhausted, the Dutch doesn't know what else it could be.

"You don't think?-"

Max creeps back out of the room a second later. His lover and son asleep on the bed.

He clutches her phone in his hand. "I don't like invading her privacy."

"She's been scared of her phone for around two years now. I think we need to look for her safety and health."

Max unlocks the phone and sees a million unread messages. The majority is from an unsaved number.

Max keels over when he reads them. It's his dad's number. He'd texted his dad when the baby was delivered. He's coming to the hospital shortly to visit.

He feels idiotic. How had he not caught this sooner?

Charles helps Max back to his feet. "My dad's been sending her threats. Convincing her not to come to races. Telling her my success is better when she's not around to distract me." Saying the words out loud makes him feel sick again.

Charles takes the phone from his hands and scrolls through the messages so he disent have too. "I don't like how he calls the baby a parasite." He scrunchs up his nose in disgust.

Charles turns off the phone and grabs Max by the shoulders. "You cannot blame yourself for this. It's your dad, and you are not him. You are gentle and kind, and you've treated my sister better than I could've asked for." Max dries his eyes and nods his head.

She and his son both need him now.

Everything hurts. Her body feels weak and exhausted. But her mind hasn't been this elated in months.

Jules is lying on her chest. The name was something her and Charles fought over. Having then losing their godfather made them both want it. So it was decided that whoever had a child first gets the name.

Why does everything hurt so much? Charles and Max had to run back to the track to get their stuff but promised they'd be right back. That was twenty minutes ago, meaning they'll be back shortly.

When there's a knock at the door, she's surprised. Maybe her nap was longer then she thought?

Then, a familiar unfriendly face appears inside. "You had one job."

"Please get out."

"I told you to get rid of that thing." He snarls. Her mind is reeling, and the shouting wakes the baby.

She's crying as well, and his antics are doing nothing for her pain. Her heart rate was going up. She could hear it on the monitor.

She's frozen. The pain she felt from their last encounter back in full force.

She screams this time its so bad.

Max and Charles come running in the room. She didn't know how long she'd been screaming, but it was enough that people had heard.

Charles runs back out, yelling the word security.

Max's voice is fuzzy, but he's here. Her heart calmed with his presence. The beeping noise now less intense.

There are a few nurses around. One to take the baby, which makes her panic again. Another is to get her to breathe and give her something for the pain.

"You need to leave. I know what you've been doing now." Max seethes. He doesn't raise his voice, but he doesn't need to. His tone is enough to say everything and more.

They start speaking in Dutch. She can't keep up with it. She's too busy attempting to get Jules back anyway. Jos had threatened to take the baby a few times and being sperated like this with him in the room was doing nothing for her anxiety.

Charles comes back with security, who escort him out of the building. The room goes silent as he leaves.

"I told him never to speak to us again." Max is breathing heavily, and for a moment, she thinks she misheard. "I told him what he did is unforgivable, and he is never to speak to us again."

They both cry this time. The nurses leave them, and Charles is left holding Jules until the two calm down.

"I'm so sorry. I didn't want to ruin your relationship with him." She chokes. "I didn't want to be a hindrance for you or another problem to worry about."

All the hate she's received the past few years is not something she'd ever wish on someone. She just wants to live peacefully with her family.

"You have no reason to apologize. None of that is on you. They are jealous of you, and my dad is plain evil."

Max leans his forehead against hers. "We have our own little family now. I don't care what anyone has to say, I'm going to fight for it always."

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bitethehnd · 9 months ago

Note

Hii, love your writting! ❤️❤️ Can i request one where JB and reader are seen kissing at a party and fans freak out on social media and the next day they look at the posts together?

₊˚⊹ ʚɞ style !

pairing : julien baker x fem!reader

synopsis : after a fun night out celebrating the boys’ new album, you and julien wake up to madness

cw : really nothing, just fluff and an accidental hard launch. some sexual innuendos, actress!reader because i said so, femme!reader, phoebe being a menace

you were a fairly well-known actress, julien was a fairly well-known singer. the two of you should have probably known to be more cautious if you didn't want your business showcased all over enews, but neither of you were thinking about that. the boys had just released their album 'the record' last night at midnight. it had done very well on the charts so far, and there was nowhere to go but up from there. you were insanely proud of the women you loved and all of you were celebrating their achievement.

muna had joined you and the boys at the bar you were at. the four of you all sprouted grins as you stood up to greet them. you pulled jo's girlfriend, kelli, in for a long hug.

"hi, baby," kelli said into the hug. you smiled brightly and kissed her cheek.

"thank you for coming, kells. i know it means the world to them that you're all here," you said sweetly as you pulled away.

"are you kidding me? jo wouldn't shut up about seeing them all week." you and kelli started to giggle loudly. jo and julien turned around in amusement at the sound.

"and what are you ladies laughing about?" jo asked sarcastically and raised one eyebrow. julien walked up to you and wrapped one arm around your waist securely, a giddy smile on her face. it made you practically beam to see her so happy.

"i was just telling kelli my elaborate plan to steal her away from you. you better watch out, jo," you winked at the curly-haired woman with a smug smile. jo fake gasped and pulled kelli away from you. the four of you all started to laugh loudly your antics.

"who's ready to party?!" phoebe suddenly yelled over the loud music. you all started hollering and made your way to the bar top. some ordered drinks, but you and julien opted for soda instead. she was sober and you had decided when you two got serious that you wouldn't drink around her. she insisted that it was fine and it didn't bother her in the slightest, but you stuck with your decision. you were sober in spirit for her.

as the drinks were downed, all of you made your way to the dance floor. you cheered in delight as a rihanna song came on, pulling julien to dance with you.

"babyyy," julien whined, "you know i can't dance."

"anyone can dance, jules. now c'mon, just follow my lead," you said and placed her hands on your hips. you guided her movements, instructing her to move her hips in sync with yours. you put your arms around her neck as your bodies got closer together.

julien leaned up and burrowed her head in the crook of your neck, sucking marks onto the delicate skin. you giggled softly at her actions, moving your torso right up against hers. at that point, you two were practically grinding on each other. you could feel the outline of her abs through her button up shirt, and she was right at eye level with your cleavage that was probably spilling out of your top.

neither of you were thinking about anything other than each other, so you failed to see the woman that was recording you sitting at the bar.

after about ten minutes of dancing, you pulled julien's face away from your neck and told her you needed a drink. she, of course, followed you to the bar and ordered a cherry coke for you.

the bartender filled up the glass for you and slid it across the bar. you took a long sip from the straw as julien watched you. she took the drink from your hands and did the same. you sat down on a stool, and she moved to stand in between your legs. you placed the drink down and wrapped your arms around her neck, her pulling you by the waist to get you closer.

"have i told you how proud i am of you?" you asked her as you played with her hair. she let out a soft chuckle.

"have i told you how beautiful you are?" she countered with a smug smile. you laughed loudly and slapped her on the shoulder.

you leaned in to give her a sweet kiss. she immediately responded, kissing you back passionately and gliding her tongue along your bottom lip. you gave her access, letting her tongue into your mouth. you two made out for a few minutes before phoebe came into sight and wolf whistled loudly. you laughed and julien just flipped her off. that night was perfect.

˚₊‧꒰ა ♡ ໒꒱ ‧₊˚

the next morning, you and julien woke up to phoebe banging on the guest room door. the two of you and lucy decided to stay in the blonde’s apartment, which in hindsight was a bad idea. phoebe stayed up all hours of the night doing god knows what and woke the two of you up so early.

“phoebe! cut it out!” julien whined and rolled over, shoving her head under a pillow. the door practically busted open and phoebe came running in.

“guys, oh my god. you have to see this,” the older woman said and almost threw her phone at you.

you sighed and took her phone from her hands, the blonde bouncing on her feet anxiously. what could have made her so worked up? you didn’t know.

phoebe’s phone was opened to twitter. the tweets on her homepage were filled with videos and pictures of you and julien from last night. your eyes practically bulged out of your head as you scrolled.

“oh my god, julien, get up,” you said with a hardy laugh. the dirty blonde rolled over and glanced over your shoulder at the phone. her jaw was slack and she had a horrified look on her face. phoebe came and sat next to you on the bed as the three of you saw the leaked photos.

“this is…” julien trialed off and tilted her head.

“kinda funny…” you said monotonously before looking over at your lover and bursting out laughing. phoebe joined you in the giggles as julien looked at you guys like you grew three heads.

“guys! it’s not funny!” julien tried to reason, but she herself was starting to crack up.

“it’s funny. like, really funny,” you let out through your laughter. it sucked that someone had invaded your privacy, but the two of you were making out in the middle of a bar, so really it was your fault.

“it’s julien’s fault for practically fucking you in public,” phoebe shrugged.

“i was not!” julien exclaimed dramatically and hit phoebe with a pillow. the blonde fake gasped and hit her back. you were stuck in the middle of their childish fighting, trying to get out of the way of the flying objects.

“can you guys shut the fuck up! some of us would like to sleep!” lucy suddenly yelled from her bed down the hall.

“sorry, luce!” you yelled back.

“alright, get the fuck out, bridgers,” julien said and pointed a finger at the blonde.

“fine, baker,” she sassily responded before taking her phone and walking out of the door.

you and julien looked at each other as she shut the door, soft smiles on your faces. you hugged julien and gave her a kiss on the forehead, she cuddled into your chest.

“do you think we should tell people we’ve been together for two years?” julien asked jokingly as she looked up at you. it was surprising that you guys managed to keep your relationship a secret for so long.

“do you think we should tell people we’re engaged?” you joked back as you two fell into laughter again.

the rest of the morning was spent scrolling on social media to see people’s reactions. most were surprised and overjoyed, and some said they knew all along. which was obviously a sham because the two of you were ‘just friends’ to the public until now.

the tiktok edits made you blush and people’s shocked tweets made the two of you smile. after a while, you two decided to post an instagram story to your profile. the picture was the two of your hands laced together. julien’s unique tattoos made it obvious it was her, but the real surprise came from the diamond ring proudly placed on your ring finger. let’s just say twitter had another field day after that.

#bitethehnd #julien baker x reader #julien baker x you #julien baker au #julien baker fanfic #boygenius x reader #boygenius fanfic #muna fanfic #muna x reader #sapphic #wlw #lesbian #bisexual

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jolalibrary · 1 year ago

Text

xi. hold her, and tell her everything's gonna be fine

javier peña x f!reader | chapter eleven of late night texts

summary: It's the year 2000. Javi is minding his own business on the porch of his pop's ranch when a text from an unknown number vibrates his phone. The only problem is, no one knows he has a phone and no one has his number.

chapter warnings: sad!reader, talks of jobloss, comforting!javi, two idiots pining for one another. fluff. flirting. continuous romcom vibes. falling in love. idiots in love ✨ wordcount: 3.3k. an: i know, when will jo stop changing the banner, but I love this so much and feel it encompasses everything for these two.

text key: bold is you/reader | italics is javi

I have one last thing to research and then I’m all yours.

have you eaten

There is a piece of fruit in my hand, as I research.

you said you were gonna order

In my defence, I’m not super hungry.

if I was there id hide your notebook and make you eat tamales my mama taught me to make

Make me, ay?

oh baby normally i would be so down to talk dirty with you and make you blush but only when youve eaten

I really want this job, baby.

i know but i really want you to not be ill

Because you really really really like me?

i heard that in your voice and yes because I really like you

In the last few days, the two of you have managed to complete three crosswords. Something he’s impressed with and you’re disappointed in.

“So, another one—I’m still unsure what this even means.”

Laughing, he hears you crunch another piece of fruit—thankful to hear you eating. “What’s the clue, baby?”

He’ll never tire of it, hearing you call him that. A sweet sound, all wrapped in kindness—floating down the phone line all the way to his ear.

“‘Not a company man’, six letters,” he says, fingers rolling the bridge of his nose.

“Hermit,” you say, calm, casual. “Or, you know, me if I don’t get the job.”

“Baby,” he warns, pen scratching the paper as you try to laugh.

Then you asked to change the conversation. Something he was more than happy to oblige, capping the pen, shoving the book away, leaning on the counter as you tell him about a new recipe you like. Talking fast, busy—almost far too energetic, but he knows why.

It’s all because of today.

The interview—the things he’s heard you jump through hoops for—arriving sooner than he could have relaxed you for.

You’d practised elements of your presentation and called him more than you usually would. Something he liked, enjoyed. The feeling of being needed. That his opinion mattered. It all weaving within him, stitching the parts of him that had weakened since the goodbye, since the drive home—alone and without you.

After a quick text in the morning, Javi had known not to expect to hear from you for a while. Likely not even immediately post your interview, probably needing a coffee—a breather.

If he lived there, where you were, you’d likely need him. Meet him outside, coffee in hand to give to you, a comforting hug, your breath on his neck as you let the tension out.

But he wasn’t there.

And he had thought he might have heard from you an hour later.

let me know how it’s gone baby

Javi tries not to be needy.

A battle he finds easy to lose when it comes to you. Digging his phone out the back pocket of his jeans periodically, ignoring the animals nuzzling their noses at him for food as he checks his battery, texts, calls…

Then the hour bled into two. Your interview was two-hundred and thirty-nine minutes ago, to be precise.

By now, he’s expected to have heard something, anything.

you still want me to call tonight

He tries not to worry. Even as his tasks dwindled, the sun beating down, his stomach growling and sweat building in parts of him that he should shower off.

But a part of him thinks if he goes inside, it’ll layer on top of him: the loneliness. The thing he feels, but pretends isn’t there.

Because normally, he’d have heard from you at lunch—if not more frequently throughout your day. The silence expected, very out of character. Which turns some cogs in him that twist and tighten, forcing his throat to burn and his stomach to flutter with a nervousness he can’t explain, except that:

Javi wants you.

Not just in the sense that he wants to run his fingers up and down your side, to crush his lips over yours, to bury himself inside of you as he feels himself falling, freely, and happily. But more that he wants to wake next to you, see you smile and laugh amongst the field, show you the water’s edge—feel some contentment there rather than boiling anger at the boats.

You could wear your jacket as the weather cools, and spread your warmth from the photo strip to the rest of the ranch.

youre doing that thing where you make me worry, baby

Eventually, after much internal fighting, he heads in and showers.

Hands washing the day as he hopes the water will take away his worries too. Pressing his palm flat to the tiles, he allows the water to beat down on him—eyes occasionally glancing to the phone on the windowsill, willing it to light up.

He suspects it’s why he stays in a bit longer.

Allows the soap suds to have long since vanished down the plug hole, letting the water begin to go cold as he uses all of the water up.

It’s only when he’s dried off, thrown some comfier clothes on—sunk into his usual chair, does he rotate the phone in his hand. His fingers slid along the underside of his chin, eyes fixated on a photo of him and his parents—their faces beaming, smiling, his hands in theirs.

even got me using punctuation and everything

Please, he whispers.

To no one. Not his Pop in the next room, some show bleeding into the air. Just to himself, as he works the spot on his forehead.

You don’t text him back, but you do call bang on time.

He’s spent the last half an hour pretending he wasn’t loitering, while his pop pretended he wasn’t coming in to make drinks to check on him. Giving him that look, the one Javi had seen so often when he’d first come back from Cali.

All concern, all deep lines embedded with worries as he ticks, tick, ticked.

This was different. Something in his gut telling him that you weren’t okay, a need inside of him to get to you—pack a bag, head to the airport and hope there was a flight or something.

He only hadn’t because a part of him, small—but loud—hummed that it could be him. He could be the reason, the cause. It all too good to be true. His fingers pressing keys to read back his texts, see if he can find the cause—the moment it all began to spoil and undo.

The last hour of investigation led him to nothing. Irritation threading into his muscles until he heard the phone ring—loud, punching holes with its noise into his unravelling.

Smirking, he wipes his hands on his jeans, cocking his head around the doorway—checking for the flickering television and no lurking pop, before he unhooks the ringing phone from its place.

“Took you long enough, was about to ring you and ruin—”

“J—Javi?”

Sniffle. A sob. The beginnings of you splitting in two.

That’s what he hears—clear as anything. It cuts straight through his attempt at teasing and slices through him as though the sound was laced with the edge of a knife.

It’s instant, barely explainable, the way his stomach falls to his feet. His smile vanishes, stolen and robbed, as another sob expands in the space of your two’s silence, making his throat dry, and the phone crunches a little under his grip.

“Baby. Talk to me, what’s happened?”

You swallow, all thick, as though it's a struggle. “I… I—I didn’t g-get the job-b.”

Slowly, his eyes close. Hearing you cry again, louder, less restrained and more freely, them rolling and rolling from you like a wave. The depth of it travels freely down the phone, in the same way, he usually craves when it’s your voice, noise, or presence.

“I’m… cariño, I’m so—”

“—I’m s-sorry, Javi. I’m so sorry…”

Frowning, he slides the fingers down his nose as you continue to apologise—them merging with your hiccups and tears.

“Cariño, wait. Stop.”

And you do. Your sniffles all of a sudden ceasing, more restrained—practically swallowing another one back. Trying to keep it on your tongue, rather than let it escape.

“Why are you apologising to me?”

You’re quiet for a moment, a second. Then you seem to let out a strange noise, before clearing your throat. “The job… I… we’d have been seeing each other more, and I’ve ruined it—I ruined-d it all.”

Frowning, he opens his mouth. Confusion there, all evident and brimming. Because he hasn’t got a fucking clue what you’re talking about. His brain runs, dashing through the notes it’s been making, the snippets here and there you’d spill about your day and your work.

“It was-s in Houston. I’d have been able t-to move. We’d have been c-closer.”

And then it lands.

The realisation. What it would have meant.

It appears in front of him before it slams straight into him. Forced his head to drop, sight lowering to a mark on the wall as his chest tightens. His eyes fixated, unable to tear his eye from the stain on the off-yellow wall—one likely made from him sitting on a stool or chair, maybe even his knee when he’s stretched, when minutes have quickly tumbled into an hour.

Even if he’s reeling, your ramblings have continued. They’re all in various pitches, spluttered and painted in painful cries and strangled sniffs.

“—I—I didn’t want to tell you at first, in case we didn’t, you know, get on.” You continue, some words slamming into the next as you try to level out your cries. “Then I didn’t want to tell you in case you got excited, and I fucked it up—and I did, didn’t I? I fucked it up. And now we won’t live closer, and—“

“Baby—“

But you’re tumbling, rolling right off the emotional cliff you’d been on the edge of. Thick, horrid sobs that shake his foundation and dart cracks through all of him continue to travel from you.

And it hurts. Makes him feel both horrid and weak—helpless. Unsure what he can say, do.

So he offers, “They’ll be other jobs.”

And as soon as it unfurls from his tongue, he wants to drag it back. Swallow each syllable, and letter, and never let you hear them again.

Because he’s sure you cry harder, louder. Even if it appears like you pull the phone away so he can’t hear how deep they go.

And you keep trying to spill out his name, a sentence here and there, trying to form as he pushes the phone against his ear, palm flattening against the wall—balling his fingers up—

“There won’t be…”

Sighing, he lets you take a breath. “Baby, of course, there will be. You’re good, I can tell, alright? And you’re brilliant and just cause those fuckin’ idiots can’t see—“

“I quit, Javi.”

The words he’d been about to say, fizz out on his tongue, die, fade. And it seems to only make you cry harder. His mind trying to catch up, to follow on with what is happening as you explain, in broken sobs, how your entire life seems to crumble apart all around you.

“I… I couldn’t take it. The reason, the explanation. How they gave it to the new guy, the one who doesn’t even know how Houston operates—and I just saw red, Javi. And I quit. Me? I… I just packed my desk up, left….”

He bites the inside of his cheek, listening as you take a breath—it sounds so much like defeat has replaced your sorrow.

“Then I just wandered. A box under my arm… and… I wanted to reply, but I didn’t know where to start. Like, ‘I miss you so much, but by the way, I didn’t get that promotion, and I snapped because they treat me like shit, so I quit. That my best friend is so excited because they’re paying for her to move this month for her new job, and my lease on my apartment is coming up’ and…”

“And what?”

It’s your turn to sigh, it more shaky and still embezzled with sniffles—fluttering down to his ear. “And…” you pause, his pulse suddenly quickening, waiting, mouth opening and then closing. “And, the person who would make me feel better isn’t even in the same State as me—because, I know this sounds crazy, but as soon as I heard why I didn’t get that job, all I wanted… well, all I wanted was you.”

Me?

His lips curl, sliding up into his cheek. His eyes look up, dancing around the marks on the wall as he straightens his spine, and swallows back whatever lump had been forming.

“I just…” you continue, “wanted to be back in that hotel room. Curled up in your arms.”

“You….” Clearing his throat, he tries again. “You know how we could solve that? You could come here—clear your head… just for a minute. Get all the hugs you want.”

You let out a noise, low, shifting it from it to a breath in record time. “Well, I wouldn’t be much fun. I’d just spend it in your bed.”

“That doesn’t sound all that bad, baby.”

“Sleeping and crying, do it for you, charmer?”

He grins, before rolling his lips. “Not if it’s not from how good I make you feel, no. But. I just—want you to have options.”

You go silent, far too quiet for his liking, until he hears the sound of movement, shuffling. His ears honing in, trying to work out what it is you’re doing, could be doing.

“What am I actually gonna do, Javi?”

Fuck. It suddenly dawning on him how unequipped he is for this. For comfort—for being there for another person. He barely looked after himself before, never mind since he came home. He hasn’t got a fucking clue what to say to even begin to make someone feel better, never mind someone who means as much to him as you.

“I… I quit my job. Without even finding another one—that’s… that’s crazy, insane—I don’t do these things and-and—“

Rolling his head on his neck, he ran a hand over his face. Trying to buy a second or two, digging deep for an answer—something comforting that would help.

“You, baby, are gonna get some sleep, and tomorrow we’re gonna sort it.”

He hears you swallow. Loud, followed shortly after by a sigh.

“We?”

You say it quietly, full of disbelief.

Because only you still wouldn’t realise how deep he is in with you. If he could, if he could risk hijacking the moment to explain, he’d tell you how worried he’s been, how he’s been obsessively checking and clicking, to the point he’s pretty sure he’s taken some life of his phone battery for it.

Swallowing, he bites his lip, nodding to himself. “It’s you and me, ain’t it, cariño? You’re not… you don’t have to figure this out alone, is all I mean.”

It’s soft—the way you reply, okay. Delicate. He’s hopeful it’s accompanied by a smile, one with a nose scrunch.

“Javi?”

“Yeah, baby.”

“Can you… can you stay on the phone with me?”

Pulling a stool over, he sits himself down on it. The ache in his chest widened, a lump in his throat forming. “Sure, baby. You want me to talk about anything in particular?”

“Not sure…”

“What would you do if I was there?”

He swears he hears you smirk.

“I would cook you almond saffron chicken.”

Shifting on the stool, he adjusts the phone in his hand. “Yeah? How come?”

“It’s the first dish Aish taught me to make, and I think you’d like it. And, I’m quite hungry, I… I didn’t really feel up to food before. But maybe, y’know, if I came to see you, had the chance to cook, maybe over a long weekend?”

Smirking, he lets out a content breath. “I like the sound of it already…”

“Because of me cooking in your kitchen?”

Laughing, he rolls his lips. “No, because it would mean you were here, cariño.

Morning baby, hope the cows aren’t trying to eat your shirt.

morning hermosa why are you up so early

Well, I thought of having a lie in but decided to grab a coffee, print off some CVs and not look as desperate as I feel.

if it makes you feel better im pretty sure my pop would hire you in a heartbeat

Bet I’d look real good in dungarees.

fuck baby

Could even wear your shirt, tie it so it’s a crop.

youre killing me

I’ll leave you with that, I have a list of places to beg to give me a chance.

wouldnt need to beg me

Stop, baby. Save it for later.

He’d barely dried himself off before your text came through.

Javi had found that the one upside to you being unemployed was the amount of time you had to reply or call—something he wasn’t complaining about in the slightest.

In a way (a small, acceptable way), it felt like a taste of what it would be like if the two of you lived closer. If there weren’t towns, cities and states between the two of you. If you lived close by, or better yet, on the ranch with him.

Across the last few days, while you’d seemed upbeat through text—just as you were when the two of you were in Houston—he quickly realised how much of a mask that was when he had you on the phone.

If not for the fact that when you ended the call, you seemed more yourself than when it started, Javi would have already begged someone from a ranch or two over to help, and book a flight out to surprise you.

“Hello, charmer.”

Grinning, he runs his hand over his chin. “Someone’s in a good mood.”

“Well, I have good news.”

“What’s that then?”

“Remember when I said I had to meet with someone in Houston, from imports? Well, apparently, they’ve been trying to get hold of me at work—one of the few nice people there let me know, even passed my details on.”

It begins—right in his stomach. A nervousness, a bubble—it rising and rising, sliding into his heart as it makes it beat just that much quicker.

“He wants to meet with me… apparently, I impressed him?”

“That’s—fuck, that’s amazing, baby.”

Javi can almost hear your grin as you laugh—can even picture you hiding your face in your hand at his happiness.

“Yeah,” you say, more in a sigh than anything else. “It’s obviously just an interview—maybe even a chat, but it’s something.”

Tracing the back of the phone with his finger, he runs his fingers up his neck, up his chin—

Pulse thumping in his neck. “I could… Could always drive up, see you after?”

“Oh… um?”

Oh? He thinks. The noise suddenly on repeat. It’s all he can hear—that little surprised noise rips from your throat and punctures his ear. His own fingers scratching at his cheek.

And then you clear your throat, and he grits his jaw. “Well, if you wanted, once I’ve had my meeting with him, I was going to ask if I could come to Laredo, see the ranch… and you?”

Just as quickly as it came, the earlier shame from your ‘oh’ vanishes. It bursts, erupts into a thousand pieces of nothing as the edges of his lips begin to curl up.

“For a second, didn’t think you wanted to see me.”

You don’t laugh, don’t ridicule his confession, and if you were here, he’d imagine you’d have tilted your head in that way you do.

“Javi, of course, I want to see you. I…” you take a long pause as though battling with yourself. “Baby, I’ve been trying to find my way back to you since the moment I left you. There’s nothing I want more than to see you. I promise.”

His shoulders descend from his ears, a smile spreading across his face so large—he’s not sure anything could take it. Something inside of him shifted, sliding back together.

“So, do you mind if I come to see you on your ranch? Bother your animals, let me admire your fence work?”

If he hadn’t been sure before, he’s sure now he would have kissed you. Grip you by your cheeks and crash his mouth to yours, stealing that question mark from the air and using his lips to remind you that with him, you never need it.

But, since he can’t, he finds words. One’s that are more eloquent than ‘fuck, yes’, but are close in family to it.

Because, of course, he wants to see you. He never wanted to let you go in the first place.

an: we have next weeks and then an epilogue, and LNT 'main story' will be done. honestly, thank you for all the love as we've gone on this journey. i never expected this for one second, and i'm so emotional right now at how well loved/supported this story has been. i'm gonna miss it, so much.

#javier peña x reader #javi peña x reader #javi peña x you #javier peña x you #narcos x reader #javier pena x reader #javier pena x you #javi pena x reader #narcos javier x reader #narcos javier #pedro pascal x reader #narcos fanfiction #pedrostories #mm: late night texts #javier peña fanfiction #pedro pascal characters fanfiction #pedro pascal characters #pedro pascal fanfic

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so-long-soldier-writes · 11 months ago

Text

The Agreement

kai parker x reader | requested by @chocolatepalacecloudhoagie back when i asked for fluffy prompts bc i was having a hard month

summary: helping kai adjust to a normal life has its ups and downs, but he, of course, always wins in the end.

tags: domesticity, adjusting to normal life, lots of comfort & cuddling, gemini coven lore, minor indirect mention of abortion where kai's being a dick, but he's mostly soft in this fic, bartender!kai, mentions of alcohol, minor bar fight, minor mention of assault, accidental murder, protective!kai, protective!damon, bonnie is kinda mean in this one, damon secretly wants to be friends with kai, angst & fluff ish

word count: ~9.9k

a/n: this is so cheesy and somewhat choppy but bare with me 😅

You, Damon, and Bonnie have made a deal. Neither will kill Kai, as long as you can help the witch settle into a new life in Mystic Falls. Those are the terms made, and boy, are they hard to get.

“You can’t fix him, Y/N. He’s beyond fucked up,” Bonnie scoffs, “and I don’t want to be partly responsible if I were to make some crazy deal with you that goes wrong.”

“I just want him to try and have a normal life, Bon. He spent twenty years in an abusive household and another twenty years in isolation. He has no idea what normalcy is.”

“By the sound of that, he’s too far gone for you to even try.”

“Just give me a chance to work with him!”

“I don’t even like you being with him! He’s going to hurt you, and I don’t want that to happen to you.”

“I haven’t given him a reason to hurt me, Bon.”

“He doesn’t need a reason. He just does things.”

“Well, in that case, I’ve given him a reason not to hurt me. I’m the only one willing to try and help him adjust.”

“Y/N-”

“I see the point you’re making, Y/N,” Damon interrupts his best friend, “but are you really going to put all this work in for him? Seriously?”

“Yes! I don’t get why you guys are so against this. I’m helping you out; I’m giving you one less person to worry about that could raise hell in this town.”

“He already has-”

“Bonnie, please.”

“It would be easier to just kill him.”

“Bonnie!”

“Look at him! He’s plotting right now! No one is quiet for that long unless they’re plotting something.”

You sigh and turn to follow her gaze. Kai is sitting on a barstool, in the room of the boarding house that’s surrounded by windows, watching snow fall.

“He’s just observing!”

“Sure he is.”

“And he’s probably trying to tune out this conversation, too. I’d be, if people were talking about me, and two of them wanted to kill me.”

Bonnie gives you a hard glare.

“Four months,” Damon says suddenly.

“What?”

“You have four months to get him settled.”

“Don’t give me a deadline. It took you longer than four months to stop killing people when you got back to town. And the only reason you did is because Elena finally fell for you. But then every time she dumps you, you kill people again.”

“Thanks for the summary.”

“My point is, I might need longer than four months. I can start with the killing stuff first, teach him he can’t do that, but getting him on his feet might be some work.”

“Easy. Pull the chair out, he’ll figure it out.”

“Damon-”

“I know what you meant. Fine. Six months max. If he’s still (A) killing people, (B) in my house every time I come down for a cup of coffee, or (C) a complete and utter basket-case, by that time, then he’s,” Damon makes the gesture of a throat being slit, “done. No more killing, no more kidnapping, no more terrorizing. Got it?”

“Fine.” You roll your eyes at his insistent face. “Got it.”

“In return, I, nor Bonnie, will kill him unless you take longer or he goes off the rails.”

“You guys do you know you can’t kill him, right? If he dies, so does Jo, so does Liv. Alaric will never speak to you ever again.”

Damon hesitates, but Bonnie already seemed to have an answer to that prepared. “Don’t think I won’t toss him back into 1994, or make a new prison world entirely, if I need to.”

“Bonnie-”

“But if you think you have him under control, you don’t need to worry about that now, do you?”

You sigh, then look over to Kai. He’s still turned towards the window, but you don’t doubt he’s listening. “No, I don’t.” You straighten your posture. “And you won’t need to worry about him, either.”

“Alright, Ms. Confident,” Damon mocks, “guess we have a deal. You have six months to get that weasel somehow adjusted to real life, and we won’t kill him, or throw him in a prison world.”

“Nor will you antagonize him for fun, Damon, which I know you like to do.”

“I do not-”

“Mason Lockwood. John Gilbert. T-”

“Alright! Fine. Bonnie and I will stay out of your way while you work on your little project.”

“I’m going to prove to you he can be good. Just mind your own business while I do it.”

“Fine.”

“Deal?”

“Deal.”

Two minutes later, you gather Kai and hurry out the door.

“Did you hear all that?”

“Yeah. I’m on thin fucking ice.”

“Mhm.” You then grab his arm before he can slip on real ice right outside the boarding house.

The pair gave you a rather strict set of rules to follow, and Kai’s surprised you didn’t give up on him just hearing the terms. He makes sure to thank you on your way to the Grill, where you’re headed for coffee. He hopes he sounds genuine, but still tends to struggle with that stuff sometimes. You, being the loving person you are, give him a smile and a kiss to the cheek in return. You then walk hand-in-hand to the restaurant, where you plan to carefully explain a few places you’ll help him start.

Two coffees and a lava cake later, you catch his attention.

“So, this is a bad example.”

“What do you mean?” He looks up at you, chocolate syrup dripping from the side of his lip.

You reach out to wipe it off, then lick it off your own finger. Kai then wipes off the rest with his napkin, the little that you missed. He smiles at your lack of hesitancy to reach out to him.

“It’s like, five o’clock-ish, and our dinner shouldn’t be dessert-”

“This is your influence. I fed myself properly when I was locked up.”

“Oh really?” You ask with a sarcastic tone.

“Yeah, actually, I did. And in fact, the first time I met you, you were in this very same seat, with Caroline, eating a lava cake.”

You narrow your eyes at him. “Fine.”

He smirks at his win.

“So you cook. You need somewhere to do it.”

“Like?”

“An apartment, maybe?”

“I can just move in with you.”

You bite your lip. You love Kai, but you’ve only been dating for three months. Of course, he’s spent days and slept over before, but it might be too early for the ‘moving in together’ stage. “You could,” you start, “or we could find you an apartment close-by. So you can get a little bit of autonomy, figure things out for yourself. Have a place to get away, if you need.”

“I don’t think I’d need to get away from you,” he chuckles.

“I certainly hope you won’t, but, I don’t know, I think it’ll be good for you to have your own place. Just for a little while.”

“Do you not want to live with me?”

“No, that’s not what I’m saying! I’d love to, but it might be just a little too early for that. And I really think you’d benefit from having your own space. I’ll help pay rent for the first few months. Well, unless you want to go to college? Live in a dorm?”

“At Whitmore?”

“Anywhere.”

“But you live here.”

“Yes.”

“And you’re not in college.”

“No.” You’re not sure where he’s taking this.

“I don’t want to be away from you. I don’t even want to live away from you.”

“You live away from me now.”

“That’s different. At least in the boarding house, there’s people.”

“People who have no qualms about killing you, Kai. What’s this actually about?”

“I don’t want to be alone!” He finally admits. A few people look over from the shout, but you wave them off. “I was alone for eighteen years, I can’t take it anymore!”

“Kai, there are other people in apartments, too.”

“But not in the same room! They’re all in locked doors. I’ve seen plenty of shows. Besides, what if the time away makes you not want to be with me anymore?”

“What?!” You ask, genuinely surprised.

“You’re the only person that cares about me. What if space apart makes you not?”

“Baby, that’s not going to happen. I’m not going to stop loving you just because you move into an apartment.” You lower your voice, recognizing your conversation has an audience of three old men. “We’re apart now,” you repeat, “and I still love you. A couple minutes apart, even less time than our distance now, isn’t going to change that.”

“I still don’t want to be alone, Y/N.”

“Tell you what… we’ll find you one in the same building that I’m in, maybe even the same floor. We’ll be two minutes apart at most. You can come find me at any time; I’ll give you a key.” You reach out to take his hand. “When we’re dating for longer, we can talk about moving in together, but for now, I really want you to try living on your own. Please? We have to prove to Damon and Bon that you can, or you know what they’ll do. Do it for me, so I can keep you safe, okay?”

Kai bites his lip. “Okay. Same floor.”

“I think the woman across the hall is moving out anyway.”

He nods.

“Besides, I don’t want you too far from me, either.” You wink. “Who else is going to cook for me?”

He smiles at your first comment, but at the second, pushes your hand playfully. “See, you admit I can cook.”

“Never said you couldn’t!” You pause. “So that’s a definite ‘no’ on the college thing?”

He nods. “First of all, you wouldn’t be there. Second, I don’t care for the college experience that’s so hyped up in movies. Third, I’ve read thousands of books while being locked up. If I wanted to study one thing really intently, I either already have, or I would’ve.”

“Okay then.” Obviously, his mind is made up. “Sounds good.”

You both eat a few more bites of the cake, then he crinkles his nose. “I know you’re gonna say it sooner or later, so I might as well ask now… are you gonna make me get a job?”

The cynical look on his face makes you want to laugh, but you manage to hold it in. “Yep.”

“Crap.”

“It doesn’t have to be something crazy. Hell, you could work here. Be a bartender or something.”

“Do I have to work with people?”

“I thought you just said you want to be around people?”

“Not stupid people, though. Y’know, like the what-you-call-Karen types that would make me want to wring their neck.”

You chuckle. “Baby, that’s a type of person difficult to avoid. Any job is gonna have its fair share of annoying people. Unless you deliver mail, or something.”

“What’s that require?”

“Valid driver’s license.”

“I have one of those.”

“Valid?”

“Made it myself, but it got me through airport security.”

You sigh. “Can you drive?”

“Yes. Taught myself.”

“Would you pass a test?”

“I don’t know. But I drove BonBon from Mystic Falls to Portland without killing her.”

“Lower your voice when you say stuff like that!” You warn again, waving off a man.

Kai seems to ignore you. “Though half of that trip, we did fly…”

“You flew a plane?”

“Had eighteen years to learn!”

“Okay. Let’s get off this topic. You spend so much time in this grill, it might be a good place to start. As long as you show up, do your best, and don’t,” you lower your own voice, “spike people’s drinks for fun-”

“I would never!” He fakes offense.

“-I think you’d be good.”

The boy takes a sip of his coffee. “Fine. Just for you, I’ll try it.”

“Great! I’ll talk to Matt.”

“Ugh.”

“And don’t mention that you killed the manager, because they never found out who did that.”

“Noted.”

“And he’s besties with the Sheriff.”

“Great. You don’t want me to work here for an extra set of eyes on me, do you?”

“No, ‘course not. You’re my sole responsibility, I don’t want Matt involved at all. I just think you’d be a good bartender.”

“Okay.”

“And you like it here, so you might be more comfortable here.”

“What are the odds you could work here, too?”

“I have a job.”

“You could quit it and work here.”

“Kai…”

“Fine. Talk to Matt.”

“Okay.” You stand up to find the other boy. “Stay here.” You kiss his head as you pass him, then head to the bar.

Kai stares into his coffee while you wait by the bar. He likes the Grill, but doesn’t know about working in it. The customers around him are often annoying, and he doubts his ability to remain patient with them. Still, you made a deal to keep him safe, and if his two little prison world friends are going to uphold their end, the two of you have to keep yours. He sighs, then turns to find you. You’ve caught hold of Matt, but as you seem to explain the situation, he rolls his eyes. Kai bites his lip. He has to make this work, for you, even if he doubts his own ability to fit into the world.

As you turn to look at him, he looks away abruptly. A minute later, you return to your seat.

“How’d it go?”

“He’s gonna give you a chance… on one condition.”

“Which is?”

“If I’ll work here, too.”

The boy’s eyes light up. “Really? I thought you said I should do it myself.”

“Well then scratch that. It’ll be more fun together anyway.”

Kai smiles before growing serious again. “So apartment, job… anything else to cover?”

You’re quiet for a moment. There’s a lot more to cover, but you’ve just tackled two of the biggest factors when it comes to normalcy, and you don’t want to overload the poor boy. So instead of bringing anything else up, you shrug. “We can tackle it later. For now, let’s finish this cake.”

Grateful, he nods. He knows, not only from Bonnie and Damon, that there’s a lot more expected of him than just housing and working. He’s lucky he has someone that understands that. “Okay.”

“Okay,” you reply back.

*****

For the next couple nights, Kai stays with you until you can secure a room for him in your apartment complex. Turns out Ms. Mary White had moved out just recently - wanted to find a complex with fewer stairs - and Kai would be able to move in by the end of the week.

Of course, that process doesn’t come without its own issues. A key piece of information required for renting an apartment is proof of one’s identity. When Kai is asked to present his, he stares blankly at your landlord.

“Uh, I think my father has it in the attic of my childhood home.”

“Well can you call him?”

“He probably burned it,” Kai mutters.

Your landlord’s eyes quickly widen at the same time yours do. Your boyfriend’s blunt honesty is quite fatal for the situation; your landlord does not need to know about his abusive childhood, nor the crimes Kai had committed over twenty years ago. One Google search could quite possibly open a whole can of worms you aren’t ready to contain.

In the following two seconds after that, you dial Caroline’s number.

Luckily, the vampire comes to your aid. She compels the man into forgetting both the conversation, and his need for any proof of identity. She seals his spot in the apartment, and simultaneously, in his new life.

As Caroline then helps the two of you settle in, Kai catches her attention.

“Why did you help me?”

The blonde faces him. “Well… for one, Y/N cares about you. If she sees good in you, and the ability to change, to be better, then I trust her. Two, I do owe you for helping my mom. She’s healing, slowly, ever since you siphoned the vampire’s blood out of her system, and I never fully thanked you for that. And third… I know someone like you. Someone who came to Mystic Falls, and wrecked absolute havoc, but for some reason, he had a soft spot for me. I was used in all of the plans they would make to distract or ‘neutralize’ him, and with time, it worked. He got better. He’s an ally now. A friend, even.”

“So Y/N is like you, and he’s kinda like me. You see that happening? You can see me getting better?”

“Klaus did.”

Kai swallows. It means a lot to hear someone other than Y/N have faith in him. “Thank you.”

“All I’m saying is prove them wrong. Damon’s an ass sometimes. And remember, he was the villain too, a while back.”

“I heard some stories from them back in the prison world.”

“Well they probably didn’t even cover half the stuff he did. Trust me, Damon has no room to judge.”

Kai nods.

“Text me if you guys need help with anything else. Kai, good luck. Treat Y/N well.” With a smile, she’s gone.

“Klaus,” Kai repeats.

“You’re not half as bad as Klaus,” you inform him, “killing-wise, I mean. That thing is a thousand years old and has killed probably five times more people than his age.”

“She said he got better.”

“He did. Still kills, obviously, but he is a friend to us now.”

He nods again, processing the information without replying.

You spend the rest of the evening settling him in with the little stuff he has. Most of his belongings are clothes, and whatever else is either from 1994 or stolen somewhere along the way. You have some extra furniture in your apartment, and earlier that day, bought him a comforter. It’s enough to live, and he seems fine with it. Besides, you both know he’ll be in your apartment most of the time, anyway.

*****

A couple days after that, you start your new jobs at The Grill. You’re only part time, considering you’re already a dedicated employee elsewhere, and Matt’s fine with that as long as you “watch him” at least most of the time. The boy is clearly not excited about the reformed serial killer joining his work team, but at the same time, Matt’s not one to turn down anyone looking for a fresh start.

At first, he keeps Kai in the back, away from people. A smart move while he still adjusts. He’s mostly tasked with filling drink orders and cleaning up, and only after he’s been working in the restaurant environment for a week is he actually allowed to hand people their orders. So far, he’s incident-free, but you can tell Matt is just waiting for the other shoe to drop.

His heart almost stops the day he sees Damon enter on a day he has Kai serving drinks.

Matt rushes to the back, trying to find you to take over before the vampire can saunter over to the bar.

“Bourbon. Neat.” Damon says to no one in particular.

Kai swallows hard at the sound of the man’s voice, but then stands up to pour him the drink. As he passes the glass to him, Damon’s attention turns from the distant game of billiards to the unidentified bartender.

“Oh.” He blinks in surprise. “It’s you.”

“Yep, I am working here now.” Kai enunciates every word, still in disbelief that he does.

“Gotta say I’m shocked. Had any urges to kill anyone yet?”

“No, it’s been mostly tame. There was one lady the other day who was so drunk, she fell out of her chair, but that was more amusing than anything else.”

Damon snorts. Part of him wishes he could have witnessed that, but he’ll be damned if he admits that to Kai. “And her inconsiderate ways didn’t have you tempted to toss a glass at her head? Maybe you are improving.”

Kai bites his tongue. He knows Damon’s just trying to get under his skin, and the bar is too busy for him to react. Besides, one wrong move and the vampire will call off their deal.

Luckily, a heartbeat later, you pop around the corner from the kitchen.

“Hey, how’s it going?”

“Your little pet served a drink.” He takes a sip. “Ten points to Slytherin for getting my order correct.”

“Be nice, Damon. I’ve never seen you attempt to get a job.”

“Why would I need a job? I’m a vampire, if you haven’t forgotten. I don’t need money, and I don’t need to buy food-”

“Because you just eat people? Right. And you do buy food, let me remind you, and drinks, on a daily basis, which requires money. But since your nephew - whom you killed - was rich, you don’t need to work for anything. So no, you don’t need a job, but if you were born into a less rich family, you’d certainly need to, to support your hobbies.”

“Touché.”

You shrug. “I’m just sayin’.”

Damon glares at you, sips the rest down in one gulp, then spins the glass back to Kai. “Refill.”

Knowing you’ve won, you give your boyfriend a kiss to the cheek as he pours another glass. You’re halfway back to the kitchen when Damon clears his throat,

“I could report you for PDA.”

“Try me.”

He doesn’t.

That night, you praise your boyfriend for keeping his cool under the unexpected presence of Damon. Truth be told, you hadn’t even considered the man’s frequency at the restaurant when you spoke out for Kai to work there; you only thought about where he’d be most comfortable. Kai admitted he started pushing buttons, but your interference diffused the situation immediately. You give him a kiss, then snuggle into his chest, legs over his as you sit in his lap. Kai grabs you before you can get too comfortable, turning your cuddling into a make-out session. Unlike his shift at the bar earlier, things escalate pretty quickly.

*****

Weeks pass of coaxing Kai into a normal life. He’s doing well despite the cards handed to him, and you’re sure to tell him how proud you are each night. There have been a few instances where he’s yelled at customers who’ve yelled at him, and then he had to muster up an apology to them. On two occasions, you’ve traded places with him, seeing either Damon or a crowd of college kids approaching the bar. But though he’s had a few mistakes, he’s received compliments, too.

One woman, a regular, and very picky about her cocktails, told him she’s impressed with his ability, especially given his age, and that he makes some of the best drinks she’s had. She always leaves a good tip, and has made sure to tell the manager what she said to him.

Kai only gave a dimpled smile and a polite, “thank you,” and decided not to tell her he’s actually in his forties, and had nothing better to do for eighteen years than craft cocktails.

“See,” you then said to him, “I knew you’d be a good bartender. I didn’t even know you could make cocktails.”

“I couldn’t tell if she was hitting on me by the end of the night,” is all he replies.

You scrunch your eyebrows, but then widen your eyes at the fifty percent tip. “Yeah, maybe just a little.”

*****

As much progress as he’s made, he’s not done yet. Kai’s had about three months of getting on his feet, and now he has to address a big issue that both of you have been avoiding. On a calm night neither of you had work, you decide it’s now or never to bring it up.

So, laying across his lap again, you fiddle with the ring on his finger as a show you’re half-watching runs in the background. Tension builds in your shoulders as you try to form a good question. Within minutes, he can tell something’s up with you.

“What?”

“I have something to say, but you’re not gonna like it.”

“Spill.”

“So… You’ve fought hard against the fate chosen for you by your father. He didn’t think you were capable of leading the coven, so he cast you out. Made you feel like you were less of a person; of a witch, because of the way you were born.”

“Point?”

“Against all odds, you came out on top. You broke down the barriers, literally and physically, and became the leader. Now,” you pause, “you gotta lead.”

Kai swallows as if he hadn’t anticipated this aspect of his choices. That, or he never expected to get this far, and therefore, never thought about any way he’d do it. “I am,” he finally says.

“How?”

“I’m alive, aren’t I?”

“You’re telling me your father never had any specific duties he’d have to perform as leader? No responsibilities? No expectations? Nothing?”

“He had to find a wife and have a set of twins.”

“Kai-”

“I know what you mean,” he sighs. “I don’t know how I’m supposed to lead a coven! What the hell do they do? Do I have to feed them? Give them water?”

“They’re not plants, Kai. Th-”

“I know!” He pauses the TV, but luckily doesn’t try to get off the couch. “But I don’t know how I’m supposed to do that myself. I saw my dad do some of it; he’d go to meetings, and set the standards, and was there to congratulate every stupid baby ever born-”

“Kai,” you warn.

“Sorry. I just… they hate me. How am I supposed to lead them when they hate me, and frankly, I hate them, too.”

“You’re just gonna have to do your best. Don’t do exactly what your father did, but use his leadership as a guideline - whether that's what to do or what to not do, that’s your choice. Try to co-exist with them, and follow whatever rules are absolutely required.”

He bites his cheek. “Will you help me?”

“Of course.” You kiss the side of his face he’s biting to make him let go. “I told you before, I’m always gonna be here for you. If that includes helping you make decisions in regards to your crazy coven, then so be it.”

*****

You’ve never seen anyone from his coven aside from his immediate family, so seeing more of the group that you’d ever anticipated was terrifying, to say the least. The whole plane trip across the country, you’re both having trouble sitting still. As he consumes mini pretzels at an abnormal rate, your tapping foot is probably peeving the passengers around you. Still, he tries his best to prepare you for what den of lions you’re about to face.

“So… meetings are usually just comprised of “elders” and their wives, plus anybody else deemed important enough to attend, or anyone who has something important to share. The elders are the decision makers, and now that includes my dad - elderly, and a past leader.” You snort at his choice of word, but then remember Kai’s actual age and realize the man probably is elderly. “So he’ll certainly be there. Jakob’s had it out for me since day one. I’m assuming he’s still alive, and he’ll be filled with piss and vinegar to see me in person. Leon’s fine. He carries the siphon gene and hasn’t had children because of it. His great uncle is rotting in a prison world somewhere, and I only know that from reading the journals from when I was in ‘94. Patrice is… unimportant,” he says, not knowing what else to say about her.

“Jeez… is anyone in your family actually pleasant?”

“My Aunt Maisie.”

“Oh, so one person.”

He nods. “She’s where Jo got ‘Laughlin’ from. You’d think if she was trying to hide from me, she wouldn’t pick the one name I’d immediately recognize.” He doesn’t say anything else on the matter, but there’s clearly more to it. You don’t push. His childhood isn’t something he wants to relive, and going to this meeting is doing exactly that. Instead, you change the topic.

“So I got us a hotel for the night, and a flight back the next morning. Partly because I know you don’t want to be here, and to be honest, I don’t want to be here, either. And, partly, because when you took off yesterday to prepare for this stupid thing, Matt texted and said Jenny missed your cocktails.”

The comment makes him smile. Even though the grill regular definitely flirts with him most nights, he’s come to enjoy her presence.

“Though I told him you’d need tomorrow night off, too, because this is going to be mentally draining, on top of the plane trip that crosses several time zones. And maybe Saturday, also.”

“Thank you,” he says genuinely, relieved that you understand him in such a way. He leans over to kiss you five seconds before the plane hits turbulence.

*****

On top of the four elders Kai mentioned, his father included, six others were also in attendance. Three were present when he was a kid, though Kai deemed them of lesser importance - they’d rarely speak, and usually only vote - and three had been elected sometime post-1994. He knows them from biannual gatherings and special occasions, but had never really spoken to them. And that reason is, of course, because he was rarely allowed out of his room for those occasions.

When he first enters the room and meets their eyes, small chatter fades to complete silence. Breaths are held as they look the boy up and down. They stare at him, then at you, and a little at your clasped hands. One-by-one, they address him, all by his full name, making his eyes twitch.

Joshua is the last of the elders to greet the new leader, being the most recent to join the council. He looks down disapprovingly before finally spitting a welcome.

“Where’s A-” Joshua turns on his heels and walks away before Kai can ask the question.

His sister then stands before him. “Aunt Maisie passed away in ‘99.”

Kai’s throat dries. “Why are you here?”

“I’m carrying the next set of twins, of course I’d be here.”

You squeeze his hand, trying to comfort him. He bites back a reply, but you can feel the anger coursing through his body.

Nothing important happens in the actual meeting. Jakob, as Kai predicted, shouts most of the time at no one in particular. Everyone knows he’s mad at Joshua, though, and you later learn that he originally wanted to kill the siphon boy at a mere eight years old. This time, Kai squeezes your hand to calm you.

A couple minutes is spent talking about the future of the coven. Patrice points out that although Jo is pregnant, her husband isn’t the leader. Something in her tone hints that the leader’s girlfriend should be the one to be pregnant and to bear the next set, but she’s instantly overridden by everyone shushing her about not wanting to continue the siphon, nor Kai in particular’s, direct bloodline.

In summary, you and Kai flew all the way to Portland just to be annoyed for three hours. That night, you cuddled him on the hotel bed, massaging your hands through his hair. He put up a strong, confident front to prove his ability to lead, but melted the moment you coaxed him into your arms in the privacy of the room. He’s quiet for a long time, and you’re the one that finally breaks the silence.

“I’m proud of you.”

His shoulders relax but tone hardens. “Why?” He wants to believe you, but doubts himself so much that he can’t yet.

“Because you stood up to them by coming here. You’re making an effort to prove your worth to them. Not like you should have to do that, but they’re a bunch of assholes who think you do. But regardless of that, too, it took a lot of strength to face the people who’ve done nothing but cause you pain. You handled both Jo’s and Jakob’s hostility well.”

He exhales, racing mind beginning to ease. “Thank you for coming with me.”

“Of course. Thank you for braving this step and showing them you’re more than capable to lead.”

“They’ll never think I am.”

“That doesn’t matter. They have no say in it; you’re already doing it.”

“For twenty-two years. Until whatever is germinating in my sister’s womb pops out.”

You bite your cheek to keep from laughing. His back rests against your chest, though, and there’s no way he didn’t feel at least a chuckle. “Well then that means we have twenty-two years to figure out something else instead.”

“Pennyroyal tea?”

“No!” You say quickly, unsure if he’s joking or not. “I mean more like, I don’t know, whatever that one woman was saying.”

It takes him a moment, but then his eyes narrow. “You want to have twins?”

“Better me than Jo to have the set that will eventually take over. Even if I’m a couple years behind, they’ll have to accept the current leader’s set over his sister’s, right?”

Kai shrugs, having no idea. It sounds true, given what was hinted before the elder was shushed, but he doesn’t know. Regardless of the answer, he sighs. “You wouldn’t want that kind of tie to my coven.”

“I’m dating you, I kinda already have it.”

“Yeah, but that level of ‘in it’ is something you can’t get out of.”

“I’d do it for you.”

He swears his heart stops. You would marry into his coven and produce a set of in-line twins just for him. Kai is still trying to wrap his head around the fact that you’re dating him, not to mention you’d suffer a coven meeting for him, but to also go that far… just because you love him? He can’t process it.

He wonders… maybe, he misheard you. “Did you say-” When he turns to face you, he realizes you’ve fallen asleep. Your hands remain to hold him, though you’re no longer playing with his hair. He watches your breathing for a moment, still bewildered. At some point, though, his racing mind and tired eyes drive him to exhaustion, and he finally falls asleep in your arms.

*****

Joshua’s presence at your terminal prevented you from never mentioning the conversation, as you were already late to catch your plane. The salt and pepper haired man had a few last, weak words for his son, as he tried to thank him for attending the meeting, but still shame him for winning the merge at the same time. When he made a spiral hand gesture in search of the right thing to say for the fifth time, you snapped your fingers to speed up the process, and finally then did he spit out something half-meaningful. You got on your plane with two minutes to spare and had, for the time being, completely forgotten about your earlier talk.

*****

You’re nearing the fifth month mark in your agreement with Damon and Bonnie, but to be honest, you aren’t worried about it one bit. They have no reason to punish Kai; he’s done nothing but make good progress since the deal was made.

That is, until one night at The Mystic Grill goes horribly wrong.

*****

A rather impatient series of knocks has you opening the door with your eyes rolling.

“What now?” You swing it open, expecting the pizza man. The last time, the man was so terrified of the neighbor’s dog that was barking, he was quick to hand it over and leave, forgetting his tip in the process. “I promise, the dog isn’t getting out. He’s just-”

Instead, Damon stands on the other side. “What dog? I’m not-”

“No.” You try to close it, but he stops it with his foot.

“Wait, Y/N.”

“What do you want?”

“Can’t just check up on a friend?”

“I still have time to work with Kai. And for your information, he’s doing great. We don’t need your commentary.”

“I’m just curious.” He tries to look past your shoulder into the room. “Where is the little weasel?” Unfortunately, he spots him on the couch and offers a wave.

“He has his own place down the hall, we’re just having dinner together. Got a problem with it?”

“Kai Parker has his own apartment? Wow!”

“Shut up, Damon. And why are you really here?”

“Jo told Alaric, who told me, that Kai’s been going to coven meetings lately.”

“Yeah. So?”

“Just seeing if it’s true! So what made him go?”

“He’s the leader; he’s taking up the responsibility. Like a leader does.”

He scoffs. “No influence from you?”

“Of course I’m helping him, but I’m not making decisions for him.”

“Really? This apartment, a job at the grill, being there for his family, that’s not you telling him what to do?”

“If didn’t want to do it, he wouldn’t. I don’t know if you know him, but Kai doesn’t do anything unless he wants to. Sure I’m guiding him, but he has the ultimate say in all of these decisions.”

“Yeah, except if he doesn’t follow the rules, we’re gonna kill him.”

“If you can catch him,” you challenge, “because if Kai decides he doesn’t want this life, I’m prepared to run with him.” You watch Damon’s face before continuing. “But the thing is - he does. He does want to fit in, and he does want his life to have meaning, and he doesn’t want to waste it. Contrary to what you all think, he’s really trying to start something here.” Damon stares at you. “So I’d appreciate it if you’d butt out and go away.”

The man clicks his tongue, but then ultimately leaves. “See you later, Y/N.”

“I’m sorry you had to hear that,” you mutter, joining him on the couch.

“You didn’t mention the guy at the bar.”

“Didn’t seem relevant. Damon makes mistakes, too.”

“What if he finds out?”

“I won’t let him hurt you. You’ve been making such good progress; you’ve been a downright angel most of the time. One bar fight in my defense isn’t going to erase all that.”

“Y/N, I killed him. He’s going to send me back to a prison world. I can’t go back there.”

You take his shoulders gently and pull him down into your lap. “He’s not going to hurt you, Kai. I promise. Rest your little head, okay?”

He nods. “And you’re sure you’ll leave with me if it comes to that?”

After the incident, he had a meltdown, fearing for his life, and almost preparing for Bonnie to burst through the door and send him away. You promised that if she were to come for him, you’d abandon this life and run with him, even if that dissolves the terms of your agreement with the pair. You had then admitted, too, that if Kai decides he doesn’t adapt well to domestic life, even without the incident that had occurred, you’re prepared to leave with him. Damon knowing that little contingency plan probably wasn’t the best, but you doubt the man believes you anyway.

“Of course. I promise.” You assure him.

*****

At nearly midnight, one week later, you hear a banging across the hall. After a moment, you poke your head out and see Damon at your door.

“The fuck do you want?”

“I thought this was your door?”

“I’m with Kai.”

“Ooh, in his apartment?”

“Did you think I was lying?”

He shrugs. “A little.”

“What do you want, Damon?”

He comes up to you with a piece of paper in his hand. He reads, “obituary of forty-two year old Patrick Johnson. Died in a bar fight last week. Split his head against the countertop. No arrests have been made,” he looks up, “happened at the grill.”

“So?”

“Sound familiar?”

“No arrests have been made.”

“Well I didn’t do it. Stefan didn’t do it. It could’ve only been Enzo, or your little “reformed” sociopath in there, and I think we both know who’s to blame.” You roll your eyes. “It’s easier to just tell the truth, sweetheart.”

“So what if it was? What are you gonna do? You’re not invited in; you can’t touch him.”

“Just tell me what happened, Y/N.” He makes a push against the boundary, but it doesn’t budge. “Look, Bonnie hasn’t seen this yet. Just tell me, and I can make it go away.”

“Why would you do that?”

“The goodness of my heart?” You snort. “Come on, Y/N.”

“I don’t believe you.”

“I can go show this to her then,” he points his thumb in the other direction, “because I can promise you who she’ll point the first finger at, and considering Enzo’s been so busy sticking his nose in my brother’s business lately, odds aren’t in your favor.”

You hesitate. “Fine.”

Kai watches from the couch with bated breath. Damon gives him a little wave as he notices him. “Hello, Malachai.” You glare at the man, who then half-apologizes. “Sorry. Explain.”

“There was a fight one night when we weren't working. Matt wasn’t working either. Kai had nothing to do with starting the fight, but unfortunately, we were sitting right in the middle of it. We got up to leave, but then some man grabbed me and reached down my shirt, and Kai lost his cool.”

“Details, please.”

“He pushed him into the bar but the man kept fighting back. He spit in Kai’s face and made attempts to pull at his clothes. All the while, yelling all this shit about what he wanted to do to me, screaming profanities. Made comments about other women, too, but when he specified that he had been watching me all night and was waiting for Kai to leave, Kai pushed his head down into the countertop. He still fought. After a couple of blows to the counter, we heard a crack. It wasn’t his fault, Damon, don’t hurt him, please.”

The man stares for a moment, then at Kai. “Y’know… I’m surprised you even made it this far. I had no faith in you.”

“Damon-”

“But, I have to say, I’m impressed by your progress. Y/N here wants you to be better, and clearly you love her enough to be better for her.”

“He’s doing it for himself, too, Damon. All he’s ever wanted is to be accepted, and-”

“Save the speech. I admire the progress you’ve made, and I’d honestly hate for all of Y/N’s hard work to go to waste. Now, Bonnie hasn’t seen this yet, and you’ve toned down your menacing almost one hundred percent, and I can agree that this incident isn’t your fault. So, if you promise not to repeat it, and don’t ever speak a word of this to Bonnie-”

“She doesn’t even talk to me anymore.”

“-we don’t have to let her know it happened. I’ll go Liz, clear your name from it. She can put the blame on someone else or claim it was an accident. Just tell me that you won’t let this happen again.”

Now you’re the one staring at Damon, wide-eyed with surprise. “I-I promise.”

Kai nods, agreeing. “I didn’t mean to get in a fight, and I certainly didn’t mean to kill him. I just couldn’t let it go and he wouldn’t stop.”

“I’d do the same if it were Elena. Hell, I’d do it for Y/N, too. What’s one less douchebag in this world?”

The boy half-smiles. “Hey, Damon?”

“What?”

“If Bonnie does find out, or if she has a suspicion, what do we do?”

He shrugs. “Tell her what you told me. He wouldn’t stop. It was an accident. You were protecting Y/N.” Damon looks at you. “I know you two used to be close, so even if she’s mad about it, she’ll understand. I won’t let her do anything in terms of the agreement, I’ll, as Elijah always says,” he says with a smirk, “keep my word. And hey, you might even win brownie points for defending her.”

“Thank you.”

“Just don’t let it happen again. Next time someone starts shit, call me to compel them away, or call Liz.”

“Okay,” you reply.

“Speaking of compulsion,” he adds, “how’d you get this apartment?”

You’re quiet for a moment, then admit, “Caroline helped.” He laughs. “Don’t tell Bonnie.”

Damon puts his hands up as if to surrender. “Not a peep.”

“She said I remind her of someone named Klaus,” Kai offers.

“Ah. Yes! Baby Klaus.”

You shake your head, offended. “Not at all!”

“I’m kidding!”

“You’re a jerk.”

“All kidding, sourpuss. Alright, off to Liz.”

“Thank you again.”

“Hm. Be good.”

The death was ruled an accident the next day.

*****

Six months on the dot, Damon summons you and Bonnie back to the boarding house to rule if Kai can stay, or if Bonnie can boot him back to a prison world. The boy is nervous, despite you promising him he has nothing to fear. If anything, she should be the one anxious, upset she can’t go through with her little plan to trap him again.

The two of you show up right on time, and to your surprise, Elena’s the one to open the door.

“Hi,” she smiles. You two haven’t seen much of each other lately. Bonnie’s been adamant about her friends avoiding both you and The Grill, and many of their nights have been spent at the Scull Bar instead.

“Hi,” you greet her back. Kai gives her a smile, too, but nervousness twitches at the tip of his lips.

“I’ve been seeing the other Parker so much, it’s refreshing to see a different one,” she references Liv and her salty-ass attitude. “Hey, Damon’s said you make a mean cocktail. Put it to the test?”

Damon’s been keeping a secret eye on Kai and reporting everything back to his girlfriend. She wants to believe he’s changed, Caroline, too, and asks the question as a small way to test it. When he gives her a more confident smile and steps inside the house, she takes it as a good sign.

You follow them inside.

“Y/N!” Damon welcomes, arms open wide. He pulls you into an unexpected hug, but then whispers in your ear, “careful, she’s bitter.” The hug suddenly makes sense, and you thank him for the warning before hugging back. “And where’s the little weasel?”

“In the kitchen with Elena. She wanted a cocktail.”

“Ah. I may have told her he’s built up a little fanbase at The Grill. Jenny the Drunk is no longer his biggest tipper.”

“So I’ve heard. All the milfs want my man.”

“Well, he is closer in age to them than you.”

“Shut up.”

“Y/N,” Bonnie’s voice interrupts your banter. She smiles at you from afar, eyes clouded with mixed emotions.

“Hi,” you reply with a similar tone. Not cold, but not exactly warm, either. “How’ve you been?”

“Okay. Been studying a lot. Been helping Jo with… I’ve been busy.”

You nod. “She’s close.”

“Yeah. You know?”

“She stopped coming to meetings.”

“Meetings…?”

“Coven meetings. They’re in Portland, so we have to fly, and she’d always be there, too.”

“You’ve been going to coven meetings?”

“Kai’s the leader, he kinda has to.”

She gulps, as if not expecting him to be so productive in the six month time span. Before she can say anything else, though, Caroline comes out of nowhere with a bright yellow cocktail and a bendy straw.

“Mhm! You have to try these, they’re so good! Who’d think Kai could make such a good tropical drink? I wouldn’t until thirty seconds ago.”

You laugh. “Where’d the bendy straw come from?”

She shrugs. “Found them in the cupboard, probably Damon’s secret stash. Bonnie, you want to try?”

“No.”

“Okay.” She retreats back to the kitchen, promising she’ll bring you one.

“Did he learn that skill at The Grill? Matt taught him?”

“He learned in the prison world. They only had to train him on the more modern drinks.” She doesn’t answer. “He’s really been trying. Not only trying, but doing really well.”

“What about-”

“Guys, come in here! Damon’s summoning you,” Caroline calls.

You share one more glance and then follow her voice to the kitchen.

“Decision-making time,” Damon announces, fighting with his tongue to find his straw.

“Preferably before we get drunk,” his girlfriend agrees.

Bonnie looks less than thrilled. “This agreement was made between Y/N, Damon, and I, and only the three of us will actually be making the decision.”

Her slight attitude makes the room silent.

Caroline’s the first to speak up. “That’s fair, I guess.”

“Thank you, Caroline.” The girl looks back down at her drink. She made input to keep the peace, not to argue on the behalf of one side or the other. “Y/N?”

“Hm?”

“You mentioned Kai’s been going to Gemini meetings. Anything else he’s done?”

“Yeah, well, we started with the apartment, then the job. Felt like The Grill would be a good place since he was a regular, and that he’d be comfortable there. With time, I helped him ease into his coven role, and we go to Portland monthly for meetings. Nothing important ever really happens, they all just argue.”

“You mentioned you’ve seen Jo. She’s around eight months now. That hasn’t been a problem?”

“She wasn’t at the last meeting. Her father said he nor Rick wanted her flying. And no, it hasn’t been a problem.”

“He’s not worried about the next set of twins taking over in twenty years?”

“We’ve discussed it, but no, it’s not a problem.”

“What do you mean ‘discussed it’?”

“That’s actually none of your business, Bonnie. The only people who should be concerned with that are those in the Gemini coven, and considering you’re not, you don’t have the right to ask. And, actually, Jo got pregnant and engaged without even consulting her coven, too, so frankly, that business only belongs to Kai and I.” She blinks, not used to being told off so directly. “We’re not concerned about Jo, nor the twins. Besides, that’s over twenty years away, and not worth worrying over right now.”

“Fine. So he’s adapting well?”

“Yes.”

“Bonnie,” Damon starts, “I know we were skeptical, but I think they’ve proven us wrong-”

“One more thing.” You gulp, knowing exactly where she’s headed. “A couple months ago, I read an article where a local bar fight turned deadly. The man’s death was ruled an accident. Do you know anything about that?”

“That was-”

“And don’t you dare lie to me because we both know-”

“I wasn’t going to lie,” you snap back. “If you’d let me talk, I could explain.”

“Oh, so you do know about it? I want to hear it from him,” she nods to Kai.

Kai’s nervously chewing his lip. When you give him a gentle tilt of your head, he begins to explain. “Okay, yes, that was me. I was defending Y/N. I-”

“We told you no more killing people. The deal’s-”

“Let him explain, Bonnie,” the vampire interrupts.

“You’re defending him?!”

“Just hear him out first.”

Kai looks to Damon, then back at the girl. “The guy got physical with Y/N. He was yelling all this profane shit about her and grabbed at her shirt. When I got in the middle of them, he started hitting at me, and spitting. Every time I tried to shake him off, he’d come back for more. It was a complete accident; I didn’t mean to kill him.”

“So you did kill him.”

“Did you not hear me? I said it was an accident; he was trying to get to Y/N. I wasn’t going to let him touch her.”

“Think about it, Bonnie. If you were there, you would’ve given him a magical headache, and if his brain burst, oh well! The only difference is that Kai didn’t use magic. If anything, it’s better that he didn’t.”

“I’m sorry, I’m still confused. Why are you defending him? And why do you seem to know about this?!”

“I did know about it, okay? And I’m sorry for not telling you, but this is why. He was defending Y/N and I can’t blame him for that. C’mon, Bon. You’ve always been worried about her getting hurt, but he keeps her safe. It’s crazy, even for me to admit, but he does.”

“So you’re okay with him staying? You’re serious?”

“Look, he hasn’t been bothering us. Hasn’t been bothering Jo. This is the only person he’s killed and it was in Y/N’s defense. He makes great cocktails. Let’s just put this whole thing behind us.”

“Bonnie, I’ve missed your friendship these last couple months, and if you give Kai a chance, you’ll see he’s really put in a lot of effort into building a life here.”

She glares at the both of you, then back at him. She even looks to her friends for support. They shrug. “Fine.” She holds up a finger, “but if he falls back into old ways, he’s gone.”

“Thank you, Bon.”

Kai offers his thanks as well, and a second later, you jump at the feeling of his lips on the back of your neck. He apologizes for startling you, but then wraps his arms around your waist. Bonnie watches, both at how unafraid you are of him, and how in love he is with you. She fights the urge to smile, wanting to keep up her cold exterior for a little longer.

After some time, plans are made to get together for real. There’s a lot of work to be done in rekindling your friendship, but you’re on the path to getting there. As for her negative feelings about Kai, she’s just going to have to see his change for herself.

*****

That night, you’re curled in bed together when something suddenly harbors in his mind. He hesitates for a moment, unsure if he wants to bring it up; if you even remember it happening, but then curiosity begins to fester in him.

“Can we talk about something, Y/N?”

“What’s that?”

“I was reminded earlier, when you were talking about Jo to Bonnie… in the hotel room after the first meeting, did you mean it?”

“Mean what?”

“What you said about, like, having twins? That you’d do it for me?”

You backtrack your mind several months to that conversation. It happened a little like this one - you holding him, him being a little weary about the day’s events. Ah. “Yes.”

He perks up. “Yes, you remember it, or yes, you meant it?”

“Both. I do remember that conversation. And yes, I would give you a set of twins if you wanted to keep your bloodline in the leadership.”

“Why?”

“Why?” You repeat his question, glancing at him to see if he’s serious. His face is riddled with confusion - definitely serious. “Because I love you. And they might have doubts about you, but I have faith in your ability to lead, and I believe you’d be a good father, too.”

Now he crinkles his nose. “Why?”

“Well the man who raised you barely did at all. He isolated you, and hurt you, and treated you like crap just because you were born differently. And despite that, and despite a few bumps along the way, you’ve proven you’re capable of deep, gentle love. You prove it to me daily, and you’ve proven patience at your job and with Bonnie, and understanding. You’ve managed to survive despite the circumstances you’ve been given, and all those things are traits I know you would teach a child, because you’d do everything to prevent raising them like your father raised you; to make sure they grow up in a loving environment, like one you should’ve been given. And, you’d teach them how to survive in this coven, because unfortunately, as leader, you’re still tied to them, but you would teach them how to remain strong. And even if we ever happen to have twins and they’d need to merge, you’d still make sure their lives are meaningful before it.”

Kai’s quiet for a while. “If we did that, I wouldn’t want it just for the benefit of the coven. It would be out of my love for you, and if we have a desire to have kids. Not like Jo, where it was an accident, but not like my father, who only needed a leader.”

You kiss his head. “I agree.”

“So you would be okay with that? If we did, at some point?”

“Of course. When the time comes for that, we can talk about it more, but yes.”

“Good, because I’m not ready now.” He relaxes, but then stiffens again. “But wait, Jo… if we’re trying to beat her to this, don’t we need to do it now?”

You choose your next words carefully, unsure if they even hold any meaning. “Well… if I’m understanding it correctly, the leader’s twins would be next in line, regardless if there’s another set in the family. So even if Jo’s are, say, nine or ten, if we have a set, wouldn’t they be next in line?”

“But they don’t want to continue my line because of the siphon gene.”

“Yes, but you’re still the leader, so maybe we can argue that when the time comes. Besides, we can’t do anything about it now. She’s eight months and I’m, obviously, not even in the same playing field.” You rub his arm comfortingly, or at least, hoping it’ll bring him comfort in light of your next few words. “Maybe… okay. First off, I don’t think Jo wants to participate in the merge with her future kids. She’s already tried to escape this family once, I doubt she wants her kids brought back in it. So maybe if we have a set, she’ll just let them take over.”

“But she might merge them just to prevent my line from continuing in leadership.”

“Or, she might welcome kids raised by you and I to lead instead, if we can prove to her we can raise good kids,” you half-joke. He nods. “Because as much animosity as she has towards you, I really don’t think she wants her kids following in coven tradition. Even so, if she does merge hers, we can just follow right up with ours and take it back.” Kai lets out a small chuckle. “But even if hers do take the leadership, I don’t think they’ll try to hurt you. By then, you’ll be settled in, and we’re already far away from your father. Jo trusts me, I think, and we can continue to make peace with her. We’ll be okay. You’ll be safe, I promise. As long as you’re with me-”

“-I’m safe.”

“Exactly.” You kiss him. “And if by somehow there’s a huge falling out and the coven does get violent again,” you shrug, “we’ll just become vampires.”

At first he laughs, but then grows serious as the words hit him. “You’d really do that with me? Transition and live forever just to keep them from killing me?”

“Mhm. I would live a thousand lives as long as I have you with me in all of them.”

#kai parker x reader #malachai parker x reader #kai parker oneshot #tvd fanfiction #tagging this was so hard

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