#actually really liked these(except brian)

[mellohd]

EMH Marble Hornets AU!!

ok i know im not creative when it comes to aus but i thought itd be interesting to tell the story of MH through EMH’s story? IF YOU GUYS HAVE THOUGHTS OR QUESTIONS PLS LEAVE SOME IN MY INBOX!!! :-]( or even questions for the MH!EMH characters heh)1

Basically its just marble hornets told through EMH, for example instead of “tapes i found” story telling theyd open a youtube channel for tips and tricks on making your own movie while they make their own called Marble Hornets! EMH/MLA spoilersish up ahead

Heres the character correspondences:

Alex-> Jeff

Jay-> Vinnie

Tim-> Evan

Brian-> Michael!MLA

Jess-> Alex!EMH

Amy ->Jeffs GF(so sorry i forgot her name 😭)

“Masky”->Habit(which makes sense depending on the theories you go with for either series)

“Hoody”->Patrick (same as the last one)

Characters in cant figure out an association with:

Steph, Jess(Evans bestfriend) Shaun So they might just not have a place in this story idk

Since Mlanderson and EMH are in the same universe i thought id make Brian the Michael/Patrick of this story, except more involved. Instead of their being a shaun i think id like Brian to just go to MH crew, if ykwim. I did this cause the only other character i thought could fit Brian was Alex!EMH and I didnt like that.

My take on Masky is that hes just a more aware Tim, not a separate being (tho i do like to think of it that way for fun sometimes ha ha). Masky in my mind was in a battle against the operators control and was ultimately trying to help Jay. I think Masky would br Habit in this series cause of the theory that Habit is one of the first few iterations of Evan, thats why theyre similar and so compatible etc if you know the theory you know. That does mean that Tim isnt gonna act all ha ity, just more erratic i think, i havent gone tooooooo far into a characterization(or even a name) for Emh!MH Habit yet

“Hoody” I see as just brian and he was just disguising himself. in this au “Hoody” would be patrick. Let me explain,

Frim what i gathetef through my second watch of EMH and, my first of MLA , patrick is just Michael but remembers every single iteration, hes a similar being to Habit, thats why he has powers ig? Look i havent gotten too far into theories fir MLA the fandom is so dead i never see any 😭😭. I dont want to get to far into theories on other series anyways cause rhis is about my AU so ANYYYYWAYS i think brian would fit that its just brians story doesnt fit entirely with Michael, actually Tim would probably fit more now that i think about it. Oh god now im thinking of switching them again uhm wtv

I think the rest of the correspondences make sense if you think about it a bit. Jay as Vinnie makes sense to me because of boths compulsive need for answers even though its destructive to those around them. Jay wouldnt be as much as a villain in this like vinnie is (or maybe i havent decided muahaha). I also thought they fit cause they both do that weird thing where they constatly have to document everything.

I thought tim eould fit Evan just cause of the whole habit arc.

Alex as Jeff was more of a fill a role thing that eventually made sense to me. I did think of making him Evan and Tim Jeff, and im still thinking of doing this, but i thought the whole finding the gf arc would fit alex more. Alex would still be one of the villains i think. Like i said this would be marble hornets told through EMH lol. I might even switch it up and assign a habit type role to Alex instead and there be two patrick characters who knows!

As you can tell im still thinking this through so maybe mext post i make about this will be more solid. if youre interested to talk about this kore with me(obv my inbox) or i have a slenderverse discord i made with my friend heh tik tok smug emoji. come join if youre looking for more slenderverse friends(and if youre interested in darkharvest and mla especially cause i need more people to talk about that to 😭😭)

[unproduciblesmackdown]

speaking of the horrors brian goosebumpsphantomoftheauditorium is still So funny for being like yeah i'm a ghost i know i'm a ghost. & he's befriended the horror fan menace duo who are giggling clutching each other like omg omg okay. we're fine. we're breaking into the school at night to investigate the horrors aaaa what if there's a ghost eek ok ok!!! & brian ghost who knows he's a ghost is like omg guys aaaa stopppp ;;m;; suffering thee Most but he's not putting on an act to conceal his phantomly destiny. he's just like that

[ursamajori]

[id: two images. one is a tweet by “kimmyMonte” that says “football and soccer are like gimme the ball i want the ball but baseball is like fuck this ball get rid of it i hate it”.

the second is of multiple sports balls and equipment, grouped and sectioned off by a black line. on the left is a soccer/football, a basketball, a hockey stick and puck, and an american football. above says “gimme the ball”. on the right is a baseball and bat, a volleyball, a golf ball, and a tennis ball. above says “fuck this ball get rid of it”. end id]

[sergeantsporks]

Actually, I’m going to give MORE nonromantic wolf traits to werewolves

Werewolf bf won’t hold your hand in the winter because he’s obsessively walking in your footprints for snow-walking efficiency and so no one will know how many “wolves” are in the pack

Werewolf bf will eat anything past the expiration date because it hasn’t technically actually gone bad yet, don’t worry about it. He’ll get rid of it if it’s stinking and rotten.

Werewolf bf has really sweaty palms and feet because of wolf musk glands in wolf paws

Werewolf bf has stashes of food all over the house and buried in the snow during the winter (cache behavior), even sometimes with food that HAS TO BE REFRIGERATED, BRIAN, PUT THE GROUND BEEF BACK IN THE FRIDGE

Werewolf bf buys way more food than you need, and does it infrequently because “it’ll feed us for a while.” If you can find his caches. And if they’re still good by the time you find them. He’ll eat it if it’s not though.

Werewolf bf circulates through like 4-5 different grocery stores across a 50 mile radius to approximate a large hunting range. Which is fine, but except grocery shopping could take him anywhere from 30 minutes to three hours, depending on which one he picks.

[thewadapan]

So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

[colleendoran]

I was curious how you manage to keep features consistent when you draw them? Do you use models? Is there a model for Crowley? He is very handsome.

I don't use models per se, but I sometimes keep files of photos or art that resembles the subject.

Crowley is based a bit on the French actor Alain Delon who was once considered the handsomest man in the world. He doesn't look exactly like Delon, but that is in my head when I draw him. I recall reading Neil and Mr. Pratchett once considered Peter Sellers for Crowley.

There is no reference for Aziraphale because he is entirely in my head and I can't really find anyone who looks exactly the way he does. I recall reading that Neil and Mr. Pratchett thought of Brian Dennehy at one point, but my head canon Aziraphale won. I think a Brian Dennehy Aziraphale would have been amazing, though. Anyway, he is actually kind of hard for me to draw because his facial structure is a bit outside my usual style. His face is a bit long and his eyes closer together than I normally do, and if I'm not careful, he slips away. He appears younger and more classically handsome as an angel than he does in his corporeal form, but I think he's quite fetching as a bookseller.

Michael Sheen is so perfect in this role it is really hard not to leak bits of his performance into the graphic novel edition, but I have to resist the impulse. I am not allowed to use any of the show actors as models.

I adore Michael Sheen. Who doesn't?

Adam is also a head canon character. He is a perfect young Greek God, so that's kind of drawing on a day with a Y in it for me.

The inspiration for Newt I'm keeping a secret. I submitted a number of sketches for Newt. The show Newt dug in deep and I had a hard time shaking him off.

The Them are based on kids I knew. They're in my head, I don't need any photos. They don't really look like the kinds in the show. The book version of Pepper, for example, is a freckled red-head.

Anathema is an amalgam of features that don't come from one person, which I think fits the description of the character. She's also unusual for me to draw but she's easier to draw than Aziraphale. I nail her every time.

Hastur is a caricature of the stereotypical English upper class you'd see in broadsheets 200 years ago. I have a file of pictures of Anthony Ashley-Cooper, 7th Earl of Shaftesbury for Hastur. I considered making Hastur more handsome in a Duke of Hell sort of way, but I think Hastur likes to be scary. I keep thinking of Peter O'Toole when I draw Hastur, too.

I feel kind of bad basing Hastur on Lord Ashley because he was a wonderful person and I'm sure he didn't go to Hell.

Ligur is a broad caricature of Danny Devito. I obviously can't use a DeVito portrait. That would be wrong. But I can tweak from there and come up with a general idea of the face I want to use.

Beelzebub and Metatron are head canon, and don't look a thing like they do in the show. I postulate some demons prefer to look like their angelic selves, and at other times prefer to be fearsome. Crowley can look fearsome when he wants, for example. In the book, Beelzebub appears as a young man in red flames.

Shadwell was drawn from reference at the direct suggestion of Neil.

Madame Tracy is based on a certain person, but no one you would have heard of. The original source might not be flattered, but I love Madam Tracy. She's really easy to draw because she's a bit over the top. I'm sketching around her scenes right now because I don't have final approval on some things yet. So she might need some changes later.

War is head canon, very easy to draw. She's a knockout. No reference required.

Famine looks a lot like Famine in the show, actually, but that's what Famine always looked like, pretty much. Except he has the grey eyes he has in the book.

Pollution is initially described as being a forgettable white guy, but later described as looking like a romantic poet, which strikes me as being memorable. Because he's only on one page in his forgettable white guy phase, I chose not to make major changes in his appearance between those panels and later when he appears as his true self, because that's a bit more confusing than it needs to be in the graphic novel edition. He's rather glamorous as the essence of Pollution, though. No reference needed.

Dog is a dog.

While I do give every detail a lot of thought, I am sure other people have other opinions. I understand that, and hope you enjoy what I do anyway.

Thanks for your question.

I'm still a bit under the weather, so may be stepping away from the net for awhile so I can concentrate on work. I have a lot of sick time to make up.

But don't think I don't appreciate your interest in the Good Omens graphic novel adaptation. Your wonderful support is acting on me like a tonic, let me tell you.

[endataraxia]

okay okay. dancing w the pasta hcs. how do they dance?? how shitty are they at it?? or good are they?? whos the best?? who would just spin you both in circles and count that as dancing?? (no nsfw pls!! minor anon here) IVE SEEN YOU SAY THAT YOU WANT REQS BUT IGNORE THIS IF THAT CHANGES!!!!

jeff

- knows NOTHING about dancing

- so you (attempt to) teach him, but he has two left feet and keeps stepping on you.

- he mutters quick but genuine apologies under his breath, and you forgive him.

- arguably the worst of the bunch at dancing.

ej

- surprisingly good at it

- in fact, he’s good enough to instruct you here and there, and understands what sort of dance is suitable for what kind of music

- if you can keep up with him, he’s actually good at the stuff

- but if you need to slow down, he’ll act as an instructor of sorts

slenderman

- the best by far at dancing.

- having been alive for ages, Slender possesses bits of trivia even scientists wouldn’t get their hands on for the next few decades to come.

- at his full potential, he could be mistaken for a professional ballroom dancer…except for the fact that he’s 3 meters tall and definitely could not fit into society.

- he even has his own collection of ballroom music to dance to.

BEN

- “isn’t that just stepping randomly together in the same direction at the same time?”

- he knows the definition of dancing…but cannot dance.

- actually ACTUALLY unironically thinks that whatever he said earlier is correct. you spend about 10 minutes debating over it before he finally agrees to it, albeit reluctantly.

- he ends up just spinning you in circles and counting that as dancing because he’s so against “spamming WASD”. (he means walking in circles together.)

- but a couple days after this, you catch him researching ballroom dancing.

tim

- grumbles a little at the beginning, but takes you in his arms nonetheless.

- takes very careful steps around your feet to make sure he doesn’t step on you. you suppose he at least knows where he can mess up, and takes care not to.

- he gets better at it as you go along, his steps getting a little less clumsy and hesitant.

- and by the end, you swear you catch him enjoying himself a little, a crinkle of his eye and a curl of his lip upwards.

brian

uses common sense through it all.

was never taught to dance, but can guess what it is.

his footsteps are light and surprisingly nimble for someone who claims to not know what he’s doing.

at the end of it, when he pecks you on the lips, you’re left wondering if he really didn’t know what dancing was.

toby

an absolute disaster of two left feet and a palm on the floor. which is what he actually thinks you’re asking him to do—breakdance.

“…Ballroom dancing?” he repeats after you like it’s a foreign phrase.

it’s going to be a long day, you think to yourself, as you take his trembling hands in your own.

by the end, he’s stepped on you about 52 times.

[not-handsome-enough]

FLASH AND GLITCH WARNING it’s not bad by mtl standards but it hurt the hell out of my eyes when I was working on it 😭😭

There more explanation under the cut cause there’s some explaining to do.

t

So this is set Post AOTD and the only parts of Dick that survived are his brain and heart. His parts are discovered by Charles when he went back to Deus Keeps remains to scavenge amongst the og Army for an intact left hand that he would transplant, as well as searching for survivors in general. ( something to note is he doesn’t find a replacement and he ends up having it replaced with a golden prosthetic )

He secretly brings Dick’s remains back to Mordhaus where he begins a project to slowly regenerate Dick’s body. He doesn’t tell anyone outside of a select few klokateers and the scientists ( Brian and Jimmy ) mostly due to how unstable the execution may be. Kind of like a don’t get the boys excited cause if it doesn’t work it will be just another downer/uncertainty that they don’t need right now.

I don’t know if Charles is employed with Dethklok or if he’s there for the sake of normality. Either way the boys want him there and he wants to be with the boys.

William finds the operation by accident. He kinda went back to how he was pre-mtl albeit a bit more open with his emotions. There are periods where Dick is left alone and Willy finds him during one of those periods. By the time he finds Dick it’s been a few months since Charles has brought him back to Mordhaus, so while his body isn’t ‘online’ yet, his brain heart and eyes are.

This is kinda how Willy first finds Knubbler. He recognizes the eyes ( which aren’t meant to be yellow like they are in the image above this was made before I had a concrete timeline set up ) so he talks his way into staying as long possible without being caught. They managed to set up a basic communication system with Dick’s eyes ( like yes no maybe but with eye colour ) and that’s how Willy knows he’s not supposed to know about the project. For the first few visits it’s just Willy apologizing to Dick for killing him and just getting out everything he wanted to say and apologize for. Similar to Nate and Rebecca but Dick can yk. Talk back. To an extent.

Cause while physically Dick is in the tube his soul is free to roam around the room. So while Willy’s talking to his eyes Dick’s walking around and just making faces at him and shit.

( I don’t like the colour I went for the ghost mode for him here but idk how to do ghost so best I got I’m sorry 😭 )

Initially it was just really emotion heavy and Dick wanted to be able to hold a full on conversation with Willy about the events of the Mtl but then Willy started bringing entertainment down to the lab and it spiraled a little.

Eventually Willy mentioned how upset he was that he didn’t finish planet piss and it turned into a month and a half of planet piss production ( nothing was recorded and sessions usually ended in a Willy typical tantrum and a promise of coming back tomorrow )

Despite how much these sessions pissed off Dick, his recovery ended up speeding up quite a bit, much to the delight of Charles The Scientists and the select Klokateers. Who still don’t know about the daily visits. Whether or not it was motivation to actually talk back to Willy and shut down his more destructive ideas or to be able to help him I don’t know.

At some point during the PP production Willy starts bringing board games like scrabble and battleship. Shit that made it easy for both of them to cheat. Which they ended up doing. Every. Single. Time. It’s impressive how neither of them caught on to the other cheating. Actually it’s more impressive Dick never caught Willy cheating since Willy was usually in control of Dick’s moves.

While this is happening Dicks body continues to reconstruct itself and eventually it becomes basically back to normal except in its green gooey goop ness ( the animation is like a sped up version of what happened )

( Again his eyes are not meant to be yellow I made this before I had the timeline set )

Dick, realizing that his body is basically reconstructed, starts trying to make his physical body move / tries to reconnect his soul ghost to his body. Unknown to him by rushing the process he glitches his eyes out.

So while he thinks he’s moving his Body he’s actually moving the Wires around his tube.

He practices while Willy is gone because he wants to be able to surprise him / scare the shit out of him a little bit, but this ends up being a detriment to him because when he finally does move in front of Willy it is not his body that is moving. Most of the time if he’s practicing he’s working with The Scientists and Charles

This is where that rough animatic at the top comes in so we know that Willy freaks the fuck out, runs away, and Dick is upset. Gonna jump a lil more into that tho.

So some things to explain / note in the animatic that I just didn’t explain well.

To show that Dick was glitching while moving his eyes turn yellow. The Scientists and Charles know about this, but before trying to move for Will, they never caught that what Dick was actually moving was the wires around the tube and not his body.

Willy was not scared that Dick was moving. If it was just dicks body or even just the wires he would have freaked out a little but wouldn’t have run away. He ran away because Dicks eyes were yelllow. Like he was possessed.

This is basically what was happening

Dick never punched his way out of the tube or talked to Willy.

That being said the flashing alarm was set off by Willy. He knew that the science gang would come if he sounded the alarm. He didn’t get caught by them but he saw that they weren’t panicking like he was.

Dick had no idea why Will ran away that badly until after the science boys came in and his body was unglitched ( which is why his eyes turn green at the end of the animatic ). He thinks Willy ran away because of the wires, not his glitchy eyes.

Also small note the scientists are there when they run in I just didn’t want to draw them because I watched the liquid album episode and they annoyed me a little bit I’m sorry.

Dick’s in the tube for about another month ( where he can control his body ) but Willy doesn’t come back to see him until a week before he is taken out of the tube. They end up having a repeat of the initial cycle ( apologies planet piss and then board games ) but sped up and a little differently. Apologies only last a day, planet piss lasts an hour because Dick is not about to repeat that whole ordeal again without having his equipment around, and the board games last for the rest of the week until Dick is transferred to a private hospital room. Dick ends up actually making sure Will doesn’t cheat and they get really competitive.

Willy doesn’t know where Dicks transferred to and Dick is once again bored out of his fucking mind.

They reunite again eventually but I’m leaving that up to interpretation cause cycles need to break eventually.

I didn’t go into detail about what their talks were day by day because I cannot write dialogue well which means this can be interpreted as Platonic OR Romantic. This au was written with the intention of being romantic ( doomed in original versions ) angst but it’s vague enough where it could be platonic and either way I’m happy.

[rei-ismyname]

Uncanny X-Men #4 FROM THE ASHES

Just going with raw thoughts here. Spoilers, of course.

Yikes

- We keep flashing back to the whirlwind romance of Sarah and Charles.

- I assume up there is its end.

- Either she's also a psychic or has some power stealing ability. Chuck was shown under Cerebro last issue and she tore off after the Outliers. So either she needed to know how to use it or she borrowed Chuck/Philip's telepathy. More on this.

- The pregnancy. They've been together a month which is not 'too soon' to know, assuming they had sex immediately, at least with 2024 knowledge. We know Chuck fought in the Korean War 1950-53 after Oxford so this is 1949 at the earliest, but who knows with comic book time. Not sure what pregnancy detection was like back then, though there's not much wiggle room to say definitively from a missed period.

- Neither baby trap nor woman scorned are especially great beats to use for a rounded villain, and I feel like they're trying hard to rehabilitate Chuck, so having him run out on a baby mama would not be a positive move.

- I'm getting the impression she's either a mutant or a supernatural being of some kind. 'I knew in that instant' makes the most sense to me if that's true.

When we last left the homeless team Logan had left for the same reason he always does - he feels like he shouldn't be around people. Me too buddy. It's getting a bit old to me he's just dealt with this in his solo which is implied to be a flashback/take place before Uncanny.

- Rogue 'knows' he's in trouble and exactly where he is. They act like it's a mystery but it's pretty obvious Chuck is behind this, or a psychic. Law of narrative economy says Chuck.

She's right.

- Are either of those true? I honestly can't remember early Rogue that well.

- I have to assume we're toning down his healing factor this era. Good good, though he should be acting differently.

Rogue doesn't have final girl instincts, that's for sure. I know comic books need fights but teams also need leaders. Rogue is not looking all that competent. Her leadership kinda needs to be shown to us and new readers.

- Rogue hits harder than Logan but he's a lot more durable and lethal. You have a teleporter. Just leave!

- Going with my earlier mutant/supernatural being theory, she's really got a one track mind. 'Motherhood' is not much of a personality. Bit surprising from Gail Simone tbh.

- Krakoa mention! Pretty sure Kurt is referring to the WHR Krakoa AKA we're not seeing it anytime soon. Kurt and Logan were the two biggest skeptics of Krakoa with Logan never trusting it so I'm just going to say this is straight up out of character. Kurt might say it to someone else but definitely not to Logan. Sigh.

Are these folks actually stressed here? He's survived a lot worse casually.

There she goes sniffing the 'childlessness' on Rogue. It's feeling kinda gross and uncomfortable to me at this point. Even a cisnorm tradwife demon or whatever surely has other interests.

- Same goes for Kurt. We know he likes God, despite coming off a huge crisis of faith on Krakoa. Dude has other interests. After that priest misfire in #1 I'd like something else. Personality. 4 issues feels like enough to say that Gail Simone doesn't know how to write Nightcrawler. This is basic shit and maybe she should have used a new character. She clearly wants the Rogue book but the familial relationship with Kurt is recent and not strong.

She's saying a lot without giving us much here, except the implication of magic.

- 10 has some magical significance, such as association with death and rebirth, the universe, perfection and power, transformation and divinity in humans.

- They're already out from Charles' thumb. Some impressive topographic knowledge there though.

- Okay then.

- Brian is Charles' father's name. It wouldn't surprise me if that was significant here. I don't want it to be, but...

- I might be missing something here but aside from vibes this asks more questions than it answers. Confirms the supernatural being theory, though this looks like a death/trauma rebirth as opposed to 'born that way.' Maybe she was chosen.

- Surprisingly candid though.

Get fucked Jubilee. You're not the last X-Men. Delusional.

- Logan has a healing factor. He doesn't really need Jubilee.

- Uh huh. Eldritch knights? I don't know and Gail doesn't want to tell us right now. That's fine.

-These 'X-men' are planning a raid on Graymalkin but they're looking like they'd struggle raiding a pantry. Cyclops has a point here, and considering the assessment of the kids was 'they don't fight as a team, they just attack' that applies to everyone here.

- I bet the Eye of Agamotto gets used next issue. That's a Chekhov's Gun that needs to go off and Gambit won't pull his weight much otherwise tbh. Seems unlikely Rogue is winning that fight solo and the team pulling together as a team using all resources would be a nice W for them. A sorely needed one.

- I feel like this had pacing issues more than anything. The Rogue fight was a bit repetitive and nobody is using their head. If we get a second wind into a win next issue that's not going to feel earned or satisfying. Characters should make mistakes. They've been punished for them, now we need to see a regroup and display of what makes them a team. What makes Rogue a leader and what makes them X-Men.

- When they fought the Outliers in issue two they were inexplicably losing and then they just won. I don't want that again. Tension has been established and a promise made - several promises even - we need to stop treading water and pay that off.

- A bit meh overall for the flagship book, but I have my biases. What did you think?

[creepy-friday]

Life as a female proxy

Notes: I only included the main 3 minions working under Slenderman and I might write more to include more residents!

Warnings: misogyny mentions,violence,a little suggestive in Brian's part

Masky gives the impression of being "the leader" altough there isn't one,he just likes to estabilish dominance to have the feeling that he's in control and that he's top shit.

He holds a grudge against you from the simple fact that you're a woman who has a high position over the mansion and the other creeps

He can be horribly misogynistic at times,arrogant and bossy,mostly due to the fact that all the women in his life left him(including his momma)

Clockwork would put him in his place really quick,Jane just ignores him and Nina avoids him like the plague.

He likes to show off to you in any way he can,he simply craves your validation and attention and is doing anything to get it one way or another, as long as he gets a reaction out of you it doesn't matter if it's negative or positive to him

He has closeted mommy issues

Tim's other side is different,whenever this soft human side comes out he's way more chill,often even tries to form a better relationship with you and understands if you ignore him. Sometimes he feels like he's losing his mind but it became a normal feeling to him and everyone in the manor at this point.

Tim snapping back to Masky or overlapping with him became the norm,that's why he takes his pills everywhere he goes

Hoodie/Brian differs a lot from his best friend. He respects you and actually listens to your opinions and plans,especially knowing how important your abilities are to the team

His personality can be described as a cold mentor during missions,he's quick and straight to the point,but since your humanity shows more often than his he grows soft on you,he won't admit it out loud tough

He looks out for you when no one else is,and altough he's in the wrong of thinking scenarios that wouldn't happen between the two of you,he's still secretly waiting for an opportunity for the both of you to get lonely,he can help with that

He's observing most of the time,whenever Toby has a panic attack and Masky bullies him for it he won't intervene until it gets bloody or the situation calls for it

Surprisingly Brian has the highest emotional intelligence out of the other proxies

Toby is a mess when it comes to you. At first he wanted to show off by being a big macho stupid boy,knowing you're kinda stuck with his ass so he wanted to profit off of it

Since all women except the ones from his family showed more disgust than interest in him,he became insecure,especially now with the scar on his face and how sickly he can look from time to time

Toby had crushes on girls he found pretty during missions but every chick rejected him whenever he had the balls to come to them

If you show him a grain of warmth and basic human respect his brain will automatically assume he has a chance with you

He already thinks he can have a chance with you tbh,he can be delusional to himself. He would be shooked tough if you ever tell him that you do indeed find him cute/likeable, a nice person like you with a freak like him would make a good joke,or so he thinks.

He snaps more often around you and that makes him even more anxious because of how he views you/his feelings towards you platonic or romantic,it's hard to make the difference

[f1rewalk3r]

what kills me about brian is his costume more then anything else. textually, it’s explained to be motorcycle leathers, plus the helmet with the skull.

now i dont know if any of the eggheads on this tag ride motorcycles. (if you do, dm me. let’s chat.) so i will explain some things to you, since i do. (see below)

1) Wearing motorcycle gear without riding is sort of seen as a dick move in the motorcycle subculture. Helmet especially. There is an entire genre of tiktokers called “helmet influencers” that are known for just having a hemet and talking about riding bur never actually doing it. Bikers HATE them. We never see Brian on a motorcycle or even talk about wanting one. closest we get is Taylor on her scooter.

2) Motorcycle gear is Heavy, man. Heavy and Bulky and really only made to protect you from 1 (one) high speed impact. this makes it a generally inadvisable costume choice. which leads me to my next point:

3) Brian is Doing All This because he wants to appear Strong and Mature and Masculine and Badass and nothing says that like riding around a half-ton death machine at high speeds. Unironically a Many Such Cases moment for most bikers. (I could get into Blake and his Bike at this point but everything about that relationship is pretty explicit in-text. also this is a brian post.)

Except Brian doesn’t have a motorcycle. This is because he is 17 years old. (a child.) But he Will wear the leathers. Because they make him look strong and badass. but more importantly, they Feel strong and badass to wear. and that’s what’s important to him.

[nausicaamusiclover20]

Hi Nausicaa)) I was rewatching Freddie’s memorial concert and had a crazy idea. It’s pretty weird but I hope you will consider making a story? Also it’s super long I’m so sorry 😢

Reader is an Amy Winehouse-style (I love her so much she’s definitely my favorite female singer) singer and her debut album was really liked by Freddie and they even had a collaboration, and after that her career skyrocketed and she’s gotten many Grammy’s etc despite being quite young. So she’s invited to be a part of the line up for the show and has to sing “who wants to live forever” and James is supposed to play rhythm guitar for that. And cause she’s much more mainstream, he initially doesn’t really like her but of course does his part, cause he doesn’t want to cause a scene. At rehearsal, everyone is in awe of her as she’s got a great sense of humor, self irony, etc. - except for James. And when Slash or Joe Elliot joke that they are jealous of him cause he’s gonna perform with her, he just brushes it off saying that she’s just another “overrated singer for sad chicks” and then tells Lars that she probably slept with a producer to get a record deal. Unfortunately, she accidentally overheard all of that but she doesn’t tell anyone cause she’s doesn’t want to ruin such an important day. And she even listened to Metallica’s stuff ( even developed a crush on James) and wanted to talk with him but not anymore.

Next day, at the concert the performance is a total success, everyone is super happy. And when hearing her sing in front of a huge crowd James realizes how great her voice is and what a great performer she is. So he tries to ask her out after the show is over, but since she overheard him saying rather unpleasant things about her a day before she thinks that he’s trying to humiliate or prank her and tells him that she actually liked him. But since he thinks she’s got no talent and slept with people to get where she is now, reader wants nothing to do with James.

And I was thinking - maybe Brian from Queen notices his distress and James doesn’t go into details but tells him he screwed up. So Brian actually goes and asks the reader to hear James out, and she agrees, out of respect for Brian. James, really bad with emotions, apologizes and next day they have breakfast together?

If you don’t like the idea, can you please just post the ask saying that you are not interested? I feel bad throwing such a huge request at you but I’ve read your stories and if anyone can turn my vague idea in a story - that can only be you. Thank you ❤️

First of all, I thank you so much for your trust, it means a lot to me what you’ve said. I hope you like it❤

Behind the appearances

The rehearsal space buzzed with energy. I’d spent the last few days trying to calm my nerves about performing alongside rock legends at the Queen tribute concert. My career had skyrocketed in the past few years, and though I’d won Grammys and collaborated with icons, this felt like a different league entirely. It wasn’t just my admiration for Freddie and the band—this was my chance to stand shoulder-to-shoulder with the greats.

But not everyone seemed thrilled about it.

James Hetfield, the rhythm guitarist for my performance of “Who Wants to Live Forever,” was distant. I’d caught him rolling his eyes a few times during rehearsals, his whole demeanor screaming that he wanted to be anywhere but here.

It stung more than I cared to admit. I’d grown up listening to Metallica, and James was one of the reasons I started writing music in the first place. To share a stage with him was supposed to be a dream come true, but he seemed intent on treating me like I didn’t belong.

Still, I pushed those thoughts aside and threw myself into the music. I wasn’t going to let one grumpy guitarist ruin this experience.

During a break, Slash sauntered over, grinning as he plucked at his guitar. "You know, James, some of us are jealous of you. Not everyone gets to play with her."

Joe Elliot chimed in, slapping James on the back. "Yeah, lucky bastard. She’s got the voice, the charm, and she’s easy on the eyes too."

I laughed awkwardly, feeling my cheeks heat. James, however, just shrugged them off, muttering, "She’s just another singer." His tone was dismissive, and the guys exchanged a look, clearly amused by his gruffness.

“Well, don’t let that stick up your ass ruin your day,” Slash teased, earning a chuckle from Joe.

James rolled his eyes and walked off, leaving me standing there with a mix of embarrassment and irritation. Was he always like this, or had I done something to annoy him without realizing it?

The sinking feeling in my stomach grew worse when I heard him talking to Lars. I’d only gone backstage to grab my water bottle, but their conversation was hard to miss.

Lars nudged him with a knowing smirk. "What do you think of Y/N?"

James scoffed. "She’s just another overrated singer for sad chicks," he said dismissively.

Lars chuckled, though it sounded uncomfortable. “Come on, man. She’s good.”

“Yeah? Bet she slept with some producer to get that record deal,” James replied, his tone dripping with scorn.

I froze. My hands clenched around the bottle as his words settled like lead in my chest. I’d worked so damn hard to get here, poured my heart and soul into my music, and that was what he thought of me?

Part of me wanted to confront him, to demand why he’d say something so cruel, but another part knew it wasn’t worth it. This was one of the biggest nights of my career. I wasn’t about to let James Hetfield ruin it.

The next evening, the concert hall was packed. The energy from the crowd was electric, and I could feel their anticipation as I walked onto the stage. When the opening notes of “Who Wants to Live Forever” echoed through the venue, I poured every ounce of emotion into the song. Freddie deserved nothing less, and neither did the audience.

The lights bathed the stage in a soft glow, and as I sang, I let my voice rise and fall with the haunting melody. The orchestra swelled behind me, their notes blending seamlessly with James’s steady rhythm guitar. For a moment, it felt like the entire world had stopped to listen. The audience’s silence was palpable, a testament to the power of the song.

Out of the corner of my eye, I saw James watching me as he played. His expression was unreadable, but for once, it wasn’t cold or dismissive. Not that it mattered. I’d given up trying to impress him.

The performance ended with thunderous applause, and backstage, everyone was celebrating. Slash gave me a high five, Joe hugged me, and even Brian May told me I’d done Freddie proud. It should’ve been the perfect night.

But then James approached me.

“Hey,” he said, his voice quieter than I expected.

I turned, my smile faltering. “What do you want?”

He scratched the back of his neck, looking uncharacteristically unsure of himself. “I just… I wanted to say you were amazing out there. I didn’t realize how talented you are.”

I blinked, my heart twisting. Was he serious? After everything he’d said?

“You didn’t realize?” I asked, my voice sharper than I intended. “That’s funny, because yesterday you made it pretty clear what you think of me. Or did you forget saying I’m an overrated singer who slept with a producer to get here?”

His face paled. “You heard that?”

“Yeah, I did. And for the record, I never slept with any producer, everything I got it’s only because of my hard work.  I wanted to talk to you, because you’ve always been one of my favorite singers. I also wanted to talk to you,  to get to know you. But now?” I shook my head, swallowing the lump in my throat. “I want nothing to do with you.”

I walked away before he could respond.

I thought that was the end of it, but later that night, Brian May found me sitting alone in one of the dressing rooms. He gave me a kind smile, pulling up a chair.

“You were phenomenal tonight,” he said.

“Thank you,” I replied softly.

He hesitated before continuing. “I spoke to James. He’s… well, he’s realized he made a mess of things. He wouldn’t tell me exactly what happened, but he’s clearly beating himself up over it.”

“Good,” I said flatly, though my heart wasn’t in it.

Brian chuckled. “I don’t blame you for being upset. But James isn’t the best with words, and he’s not used to admitting when he’s wrong. He asked me to see if you’d give him a chance to explain.”

I sighed, running a hand through my hair. “I don’t know, Brian. He really hurt me.”

“I know,” he said gently. “But sometimes, people surprise you. At least hear him out. If you don’t like what he has to say, you never have to speak to him again.”

The next day, I met James in the hotel cafe. He looked nervous, which was oddly comforting. At least I wasn’t the only one feeling awkward.

“Thanks for coming,” he said as I sat down.

“Brian insisted,” I replied, crossing my arms. “So talk.”

He nodded, taking a deep breath. “I’m sorry for what I said. It was unfair and cruel, and you didn’t deserve that. The truth is, I was… jealous. You’ve accomplished so much so quickly, and I let my insecurities get the better of me. Instead of respecting you for your talent, I tried to tear you down. I’m really, really sorry.”

His honesty caught me off guard. I studied him, trying to gauge if he was being sincere. He looked genuinely remorseful, his eyes meeting mine without hesitation.

“Okay,” I said finally. “I’ll accept your apology. But if you ever talk about me like that again, we’re done. Got it?”

He nodded quickly. “Got it.”

We ended up staying for breakfast, and as the conversation shifted to music and life on the road, I saw a different side of James. He was funny, self-deprecating, and surprisingly kind. I couldn’t resist slipping in a bit of my usual humor.

“So, Mr. Hetfield,” I teased, “is that your version of a heartfelt apology? Because I’d give it a solid six out of ten. Room for improvement.”

He smirked, his confidence creeping back. “Six out of ten? I’ll have to work harder next time. But you’ve got to admit, I made you laugh.”

“A little,” I said, holding up my fingers to show a small gap. “Don’t let it go to your head.”

We talked about everything—music, touring, even the weirdest fan encounters we’d had. James opened up about the challenges of staying grounded in the music industry, and I shared my own stories of navigating sudden fame. It felt easy, natural, and for the first time since the rehearsals started, I genuinely enjoyed his company.

As we finished our coffee, I hesitated, then leaned over to give him a quick kiss on the cheek. “Thanks for breakfast,” I said softly.

He blinked, clearly startled, and I couldn’t help but laugh at the faint pink tint rising to his cheeks. “Can we meet again?” he asked, his voice more tentative than I expected. “I really enjoyed spending time with you. You’re… an interesting girl.”

It was my turn to blush. I ducked my head, feeling my cheeks heat. “Sure,” I said, smiling. “I’d love to. I had a great time too.”

As we stood to leave, he held the door open for me, and I couldn’t help but think that maybe—just maybe—this was the start of something new.

[intimidating-fettuccine]

A couple of your posts got me thinking... Do ANY of the pastas actually like children? Like, in a normal way? I feel like most of them just would not enjoy being around little kids. (Definitely not just projecting because I can't stand the little gremlins)

I'm gonna link to a post right here if ya click to me answering who would and wouldn't want kids, just as a general basis

In that post I said Splendor/Toby/Nina 100% plan on having children and won't compromise on that, so obviously they like kids and being around them.

Anyone on the "hesitant about kids/doesn't want them" probably like don't really enjoy being around them, but unless they're LJ/Jason, I don't think they hate kids. They just generally aren't super excited about being around them, and could probably go without. The only exception to that is Sally (except for LJ/Jason still) because all of them love Sally.

As for the "could have kids but doesn't need them" section, I think Tim/Brian/Kate/Jane/Slender like children and are content to be around them.

[ackermommy6]

𑁍Creepypastas and why they won’t date𑁍

𝑾𝒂𝒓𝒏𝒊𝒏𝒈𝒔- mention of sex, abusing relationship, cussing.

𝒄𝒉𝒂𝒓𝒄𝒕𝒆𝒓𝒔 𝒊𝒏𝒄𝒍𝒖𝒅𝒆𝒅-Lui woods, Jeff the killer, Toby Rogers, Eyeless Jack, Jane the killer, Ben Drown, Helen Otis, Laughing Jack, Tim Wright, Brian Thomas, Clockwork.

❦𝐋𝐮𝐢 𝐰𝐨𝐨𝐝𝐬❦

Lui with someone that’s different because he’s sweet and he’s not so fucked in the head, BUT I feel like hes insecure and he doesn’t want Sally to mess everything up for him, so he’ll never be with anyone.

✪𝐉𝐞𝐟𝐟 𝐭𝐡𝐞 𝐤𝐢𝐥𝐥𝐞𝐫✪

Jeff will never no matter how much Nina loves him he hates her he hates everyone and that’s a literal fact. He just has so many grudges if anyone does one thing wrong he gets pissed and if it ever got to the point he got with someone they would leave him.

♤𝐓𝐨𝐛𝐲 𝐑𝐨𝐠𝐞𝐫𝐬♤

Toby I could see him with someone, but he’s scared that he’ll mess up. he doesn’t know how to communicate, so he’ll never be with anyone in his life ever, he’ll just be alone.

ꨄ𝐄𝐲𝐞𝐥𝐞𝐬𝐬 𝐉𝐚𝐜𝐤ꨄ

eyeless Jack just is scared, he’s literally terrified of females. He can’t ever get that one girl out of his mind, ever. He will never forget her, he hates and loves her. That was the first person he fell in love with and he’ll be attached to her forever. He can never get with anyone else because he’s scared of what she did to him, but he’s attached.

𖣔𝐉𝐚𝐧𝐞 𝐭𝐡𝐞 𝐤𝐢𝐥𝐥𝐞𝐫𖣔

I feel like she hates men. Some guy treated her badly once and she started slathering men. She hates them and always will, she will never be with any man, but she could get close to one and fall in love BUT there will most likely never be that chance she’ll get close to a man because she doesn’t ever get a chance to actually fall in love because she kills them before.

༆𝐁𝐞𝐧 𝐃𝐫𝐨𝐰𝐧𝐞𝐝༆

Ben just doesn’t care. He’ll never be with a woman unless he has sex with one but he’ll never get with one, he’s to lazy to.

✯𝐇𝐞𝐥𝐞𝐧 𝐎𝐭𝐢𝐬✯

Helen is shy, he doesn’t really interact with any females in the mansion except Judge Angels, Jane and Clockwork are the only girls he talks to IF he does but he usually stays to himself so he doesn’t talk to them unless he has to.

𖣘𝐋𝐚𝐮𝐠𝐡𝐢𝐧𝐠 𝐉𝐚𝐜𝐤𖣘

laughing Jack he doesn’t really care, that’s the thing he just doesn’t care. He doesn’t see himself in a relationship. He was at least one time in a relationship but she dead and it’s been years, he could move on with another woman but he just doesn’t.

➸𝐓𝐢𝐦 𝐖𝐫𝐢𝐠𝐡𝐭➸

Tim he’s rude, he’s just a rude person. He wouldn’t be abusing in a relationship, he’d just be very mean, plus he just doesn’t want a girlfriend he says he doesn’t have time for a girl.

𝐁𝐫𝐢𝐚𝐧 𝐓𝐡𝐨𝐦𝐚𝐬

Brian would be absolutely amazing in a relationship but he feels insecure. He’s definitely been in a few relationships before but he feels no girl deserves to love a killer like him. He wants love, he wants to love a girl but he just doesn’t feel enough for it.

✰𝐂𝐥𝐨𝐜𝐤𝐰𝐨𝐫𝐤✰

Clockwork is gay. After Toby she realized she’s gay, she liked Toby but she didn’t realize that she was gay until they broke up. She would totally get with someone but she doesn’t know who, she’s not really in love with anyone but Jane but she’ll never tell Jane that.

[thechaoticdruid]

[This Bites] (1)

Pairing: Astarion x F! Chubby! MC

Plot: Through some mysterious and very miraculous events, a young woman finds herself literally stuck with a character from her current video game obsession. You can guess it already. It's an isekai type fanfic. Except in this case Astarion is stuck in our modern world.  I was gonna call the MC Tav, but since the actual game character Tav is mentioned I just named her Winnie. 

Content Warnings: Death….sorta, An asshole of a stepdad, MC uses She/Her pronouns, eventual smut and sexual content in future parts. Characters may be Ooc, grammar/spelling mistakes are possible. MC has very low self esteem. Depressed MC.

Chapter One: You are here!

Chapter Two: Here!

~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~•~

“Argh I knew something would go wrong with this game!” The female huffed, staring down at her computer. Her eyes scanned over the error message titled ‘Character not found.’ She gritted her teeth in frustration. “God forbid I try mods….” 

The young woman groaned, shutting her laptop and falling back onto the bed. Apparently after finally installing a cheat mod onto Baldur's Gate 3 the game decided to retaliate and locked her out of her save files. She couldn't even create a new character either! The same ‘Character not found’ message seemed to pop up no matter what she did. The girl’s name was Winnie, a college student in her early twenties who was still living at home. Not too long ago Winnie had gotten the game upon release. She'd played it several times since then and even yet was still able to find some hidden secrets she didn't notice the first time. Honestly this game had really helped with her current state. Life had just been dull and miserable. All her friends had moved on and had their own lives now and she really wasn't the best at making new ones. 

She had a dull boring job, did online writing classes and also had to put up with the asshole her mother married. This game had been a godsend for her these past few months. It gave her an escape. A way to be someone else, at least for a little while anyway. 

Not to mention live out her somewhat cringey teenage girl fantasy of dating a walking red flag of a vampire. In this game she felt important. Like she was some badass heroine who was ready to take on any foe.  Not the shy, scared, awkward woman who she saw in the mirror.

Her cat Maddie broke Winnie from her thoughts as she hopped up onto the bed and crawled onto the young woman's chest. Winnie ran her hand over the cat's thick fluffy black fur.  Maddie gave a small mew before purring noisily and gently kneading her claws into Winnie’s chest.

Winnie sighed, scratching the sides of Maddie's face as she was soothed by the feline’s pur. 

“WINNIE! GET YOUR ASS IN HERE!!” A gruff male voice shouted from the other room, causing Maddie to jump and scramble off of Winnie and hide under the bed. 

The brunette haired girl sighed and got up, walking out of the room and cautiously stepping down the hall. 

“Yes, Brian?” Winnie spoke up as she entered the kitchen.  She looked over to see her stepfather stumbling about. Brian was a rather large man with short dark hair and beard. He was well….very unpleasant.

“Where are the goddamn car keys?” He growled out. 

“Dunno, I don't drive.” Winnie said calmly as she leaned up against the wall, “mom probably put them somewhere. Check the coffee table by the recliner.” 

Brian stomped off, a tiny tan fluff of a dog following after him.  He grabbed the keys before walking back into the kitchen. 

“I'm going to the store. Keep that stupid cat of yours in your room! It keeps shitting all over the carpet!” 

“I've told you over and over. Maddie only goes in the litter box. It's your dog that keeps making a mess in the house because you don't take him outside when he needs to go.” Winnie rolled her eyes.

“Don't fucking talk back to me! You're lucky your mother lets you stay here, if it was up to me you'd have been kicked out of here a long time ago.”  Brain snapped, making Winnie flinch a little at his tone.  “Now make sure the trash is taken out before I get back.” He said before stomping out the front door and slamming it behind him.  Winnie flinched once again at the loud sound before letting out a sigh and pulling the trash out of the can despite the fact that she distinctly remembered her mother telling Brian to take it out this morning. 

Winnie took out the trash before coming back inside heading back to her room. Her eyes scanned over her laptop as Maddie crawled out from under the bed.  She walked back over and opened the device, logging herself on before attempting to open her game back up.

[Character not found.]

Winnie groaned before filling out a bug report and then putting her computer up. She needed to get ready and go to work anyway. 

~•~•~•~•~•~•~

A few days had passed and nothing seemed to work. Winnie had disabled and deleted all the mods, sent in about a dozen but reports and still nothing. The only thing left she could try now was uninstalling the game and then reinstalling it. 

Winnie sat on the bed waiting patiently for the game to download though she knew it would at least take an hour. She pulled out her cellphone, noticing a text from her mother. The message was informing Winnie that Brian and her mom wouldn't be home until late tonight. At least this meant she'd have plenty of peace and quiet in the meantime. The young woman spread out on her bed, stretching her limbs before slowly closing her eyes, resting lazily.

Time passed as she slowly dozed off…Eventually she was awoken by the sound of beeping? It was some strange noise that she couldn't quite put her finger on. She quickly looked over to her laptop and her eyes widened as she noticed it seemed to be going crazy. Blinking and beeping.

“What the fuck!?” She exclaimed, grasping her computer and frantically clicking the mousepad. 

Then the screen went black before seemingly returning to the home screen. However, everything on the computer was gone save for one shortcut. Baldur's Gate 3.

The game’s shortcut sat in the very center of the computer, practically screaming at Winnie to click on it. She clicked it and the game opened up. 

Everything seemed to go as normal up until the title screen.  Winnie’s eyes widened in shock as she noticed all of the menu options were gone aside from (New Game).  She raised an eyebrow before clicking on the only option available and waiting as the opening cinematic played. Everything continued as it usually did. Winnie created her Tav, a human druid with an urchin background, then proceeded to hop into the game. 

Winnie did a bit of a speed run, moving through the Nautiloid as quickly as she could. She recruited Us, Lae'zel and freed Shadowheart before reaching the helm and crashing the ship.

Upon reaching the ravaged beach was when things began to get strange. 

The game buffered and blinked a bit, skipping the scene where Tav would check themselves out followed by some voiced narration. Tav was kinda just there on the beach. 

“Oh God. The game is glitching….” Winnie whined. She sighed in annoyance before clicking on the ground where she wanted Tav to walk. Winnie REALLY did not feel like uninstalling the game and waiting another hour to try again so she decided she'd play for as long as the game would allow.  Winnie had Tav wander over towards where Shadowheart would normally be laying after crash, only to find an empty space where the half elf should be.  Winnie groaned assuming it was another glitch before continuing on along the beach. While most things were there like the dead bodies and the intellect devourer enemies, Winnie did not see any sign of Shadowheart at all. Not even near the ruins where she'd be if she wasn't rescued by the player.  Winnie decided to quickly go and look for the other characters, sneaking her way past the little brain creatures and moving down the path where Astarion, the elven rogue companion, would be waiting to ambush the player.  He was Winnie’s favorite. She had a soft spot for sassy morally grey characters with tragic backstories. And he was also secretly a vampire to boot which just added to the appeal.  Winnie had her Tav approach the area before she let out a sigh of relief seeing as the vampiric elf was in his starting area shouting for help like normal. At least the game wasn't completely broken.

“Hurry I've got one of those brain things cornered.” Astarion’s dialogue began as soon as Tav got close enough to interact with him.  “There in the grass, you can kill it can't you? Like you killed the others?” 

“Uh….I kinda actually didn't kill any of them…Heheh.” Winnie chuckled before dragging her mouse over the dialogue choices.

1. [Easily, stand back.]

2. Kill it yourself. You seem capable.

3. Leave

Winnie clicked on choice 1 before her Tav walked over to check the tall grass for the intellect devourer that was actually non-existent. 

Instead a wild boar leapt from the grass and made Tav jump in surprise, giving Astarion the perfect opportunity to strike. He pinned the druid to the ground, pressing a dagger to her neck.

“Shhh…Shhh….Not a sound…Not if you want to keep that darling neck of yours.” The vampire practically purred out.  Winnie blushed, a shiver going down her spine. There was a reason she always found herself choosing the elven vampire as her character’s love interest. Initially when she first got the game she felt he came off as a pompous prick (which he is) but damn he was so fucking seductive. It drove Winnie absolutely mad. Not to mention it helped given he had sweet delicious character development later on in his story and actually could be kind of a sweetheart… To the player at least.  

The romance in this game had to be Winnie’s favorite aspect of it. She was very romantically inexperienced to say the least and this just added to what made the game her perfect escape from reality. It made her feel like someone actually liked her. Winnie prepared to select the next dialogue choice when suddenly she noticed they had changed. 

1. [……….]

2. ………..

3. ……….

4. ……….

She looked up and saw a smirk form on Astarion's lips, his eyes appeared as if he was staring back at Winnie from through the screen. Before she could speak Astarion slit Tav's throat and let them drop onto the ground.

“What. The. Fuck.” The brunette haired female went pale as she stared at her computer screen. Astarion sighed in what sounded like relief?

“Finally, we've done that old song and dance so many times! The novelty has completely worn off.” He stretched out his arms, before wiping his dagger on the ground. “It feels so invigorating to try something new, wouldn't you agree?” 

“Uhh…..What's going on?” Winnie asked aloud. She was shaking a bit in both confusion and a little fear.  Her character was kinda just laying on the ground dead…and Astarion was talking….to her!?

“Oh dear, it seems I've gone and frightened you. Ahaha!” Astarion chuckled before appearing to move closer to the screen, even going so far to place his hand on it…

“Hello darling…”

[m1ssunderstanding]

Get Back Rewatch 55 Years On: Day 21: The Concert

Every time they're not on camera I simultaneously feel so relieved for them and so upset that I don't get to watch. Messed up of me, but hey. Remember that slightly disturbing quote where Paul said he actually does believe he's kind of public property and he's fine with that?

He looks so determined. Like the fairy tale prince staring down the dragon or Enjolras about to hijack a funeral (Literally my baby was conceived after I watched this in IMAX so if that tells you anything about my feelings . . . I'm going to be annoying I'm sorry I can't help it)

Her legs look so good in those tights! I love that Mo came not because her boyfriend needs his mommy but because she wants to see them perform! Kissing her on the mouth right now.

Danger boy Paul!

Fun fact, I was this John for Halloween in 2021 to a college party. My hair was already like that, and I had dirty white keds and black jeans, so I just did fake sideburns, fake glasses, and a fake fur coat. I tried to get my best friend to be Paul. She wanted to be a hooker, and I was like “It’s the same thing!”

See, look at him and his whorish ways!

John’s little lip-bit smile. He’s so happy with himself nailing that solo. Cutie. 

Cocky boys. As they should be. I love when they’re proud of their work together. Get Back is 95% just Looks between John and Paul, isn’t it?

John and Paul instantly jump into their little “humble working class entertainers” act. You know what just occurred to me? You know how they talked about the “rattle your jewelry” comment backstage and Paul dared John to say it? I wonder if they talked about the “audition” comment too.

It really is a beautiful thing they’re doing. It’s lovely, watching everyon leave their desk jobs and their shopping and whatever else to sit in their fire escapes and congregate in the street and huddle together on rooftops. It really is just like the happy end in a sixties zeitgeist movie. 

All the girls nervous to be too enthusiastic after years of being made fun of themselves and watching others like them being mocked on TV. Let girls like things, damnit!

Mo jamming! I’m in love.

John mouthing Paul’s lyrics.

“Paul McCartney singing that. What a voice.” Literally me if time travel existed. 

“And if SOMEBODY loved me like she does,” Well, it is good manners to look at the person you’re talking to, I guess. But you do have an audience, John. And a mic and a camera. 

“Absolutely disrupt all the business in this area.” Yes! Get those blue meanies, boys!

“No lay rishi gahd blay bloojaygoo” should replace all the stupid quotes the Lennon estate puts on everything they sell. Then I’d actually want their shit. Paul trying to magic the words from his head into John’s there. Successfully, though.

That “Pleeeeeheeeeease” is one of the prettiest beatles vocal moments. I love it with all my heart. And clearly, so does Paul. Doing that thing he does, inappropriately thrusting into his bass. 

Oh my gosh it’s the song Paul and John do together on tour right now!

That “Yyyyyeeeeeah, yeaaaaaah!” (I mean the whole song, the whole concert, but especially that) does things to me. 

John’s extremely blurry, because he turned his head quick enough to give him whiplash there, sorry everyone. But look! They’re having the time of their lives! They just love performing together so much!

Everyone goes to check on their accumulating audience. (except Paul. Wonder what that’s about.)Ringo’s little pleasantly surprised smile is so so sweet!

It must be so fun for them to be performing One after 909 again after all these years. Bitter sweet with everything that’s changed since then. 

LMAO Kevin thank you for your service!

He’s a silly cutie.

The mic in the street asking that girl if she’d like them to come back every lunchtime. Imagine if they did? How cute would that be? Like back to their cavern lunchtime shows. Maybe that could’ve saved them.

Them playing God Save the Queen reminds me of that story where Brian was like, “This bigger manager wants to buy your contract from me, and I just wanted to be straight with you. They could probably get better deals for you.” and they were like, “If you sell us to him we’re only playing God Save the Queen from that moment on.” It’s probably a fake story, but that’s what it made me think of. 

I always think that quote of Paul’s is so strange, where he was like “I never got the chance to watch John while we were playing.” Like. What are you talking about, baby?

Literally “Uh. Yeah. Uh. Yeah.” Fucking his bass. Staring at John. Okay? And I’m not supposed to take that and run with it? I’m not supposed to assume from that that you want to fuck your songwriting partner?

I think he genuinely wants to get arrested. I really do. I think he wants them all to get arrested so they can finally be alone in a room together. A lovely cell for four. Just shimmying at them. And Billy looking at him like, Bro. What the fuck is wrong with you?

Paul’s “woo” and shimmy :: John’s “woo” and weird little kick move. And Paul looks so fond, of course. 

God bless Mal for stalling those little fucks as long as humanly possible. And Debbie! “Don’t actually go on the roof because it’s overweight.” Gaslight, gatekeep, girlboss!

Absolutely LOVE John and George turning their amps back on. That’s right. You guys are what’s keeping the country going at this point, so if you want to play on your roof they better let you play on your roof and say thank you.

All the times when they just simultaneously turn to each other. Like, yes, this is our que to stare hungrily into each other’s eyes. 

My stomach just dropped at those words across the screen. “This was the Beatles’ last public performance.” We know, Peter Jackson. You don’t have to remind us. Jeez. 

John and Paul’s two very different but equally important leadership roles in the band at work here at the end of the concert. John delivers his iconic line, makes everyone laugh, and seals the band’s last performance with a very tight bow. Meanwhile, Paul’s climbing the gate to bypass the crowd and schmooze the police out of arresting Mal. 

THIS is sooo cute. Heads buried together and John’s very sweet, “‘s’matter? Hmm?” 

George is so cute here in the control room afterward. No wonder they don’t listen to his not wanting to do things, honestly, if he acts like this after. “What’s the law say why you can’t do that? Well how disturbing the peace? Yeah, I’m for taking over London. And every rock group in the world all on different buildings, playing the same tune.” Adorable.

Poor John. It breaks my heart that he doesn’t think his little lyric flub is funny. He’s disappointed in himself. I wish he could see that that’s one of the things everyone loves about him. George was grinning ear to ear about it. For fuck’s sake, that’s one of the reasons Paul fell in love with you in the first place. If only John could see himself the way we see him, you know? 

This little moment cracks me up. John always has to be mommy’s naughty little boy, and Yoko does a very sweet job of playing her part here. 

Linda and Paul are so touchy and clingy and it’s very romantic and I love that Ringo joins in and makes fun of them.   

The whole after-show glow for everyone was just so palpable and fantastic. I wish they could've gone on performing together. Clearly it made all of them very happy.