#and technically it's a little bit of post canon stuff at the end of my au but nobody needs to know that

[limeartichoke]

i spent a lot of time on this (more than i usually do on projects anyway) so i hope you enjoy

[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.

[demigod-shenanigans]

The choiceless hope in grief

Summary: Leo Valdez has lived and died for the gods. Their war has shaped his life since he was a baby. With Gaia defeated, he sort of hopes he can finally rest. He has friends and some semblance of home to return to for the first time since he was eight years old. Just this once, he allows himself to hope the good things might stick.

But the gods aren’t done with them just yet, by the time Leo finds his way back, Jason is gone.

This time, Leo decides he’s done just taking the Fates’ bullshit lying down. If getting his best friend back means striking a deal with the gods and venturing into the Underworld… well, it’s probably not even the most reckless thing he’s ever done.

The caveat of said deal? He has to trust Jason will follow him, or his self-doubt will doom them both.

And after the life he’s lived, Leo is so intricately familiar with self-doubt that he could probably trademark the word.

Or: The only possible way for Orpheus to succeed is if he learns to think of himself as a person worth loving.

Word Count for chapter 1: ~5k

Rating: Teen and Up

So! *claps hands together* I’ve been threatening you guys with my Orpheus Eurydice valgrace fic for a while! Technically I wanted to wait to post this until I’m completely done writing the fic, and I mostly intend to stick to that! I’m only posting this now because I have a minor surgery tomorrow and I’d rather be anxious about fic related things than about the surgery in question. So, take this chapter as a preview of sorts, more to come soon-ish but probably not immediately!

A couple of important notes before we start:

-TW for suicidal ideation. It’s less Leo actually wanting to die and more his canon behavior of “I’m doing something extremely reckless that might succeed but if it doesn’t, my death is an acceptable consequence”, paired with general grief related self-loathing, but if you think you’re not in the right headspace to read about that, come back when you are or at least tread carefully. This fic pics up at the end of The Burning Maze, so especially the beginning is pretty heavy on the grief stuff.

-Since ToA is vaguely canon to this fic, Leo and Calypso are technically dating in the beginning, but they don’t really interact positively as a couple (honestly they don’t interact that much in general) and break up pretty early on. Just be aware in advance that they’re still together for a little bit.

-Fic title is from Talk by Hozier which is maybe a painfully obvious pick but it was too perfect for me not to use it.

Chapter 1: Leo and Piper have an extended sleepover

It wasn’t a discussion between Leo and Piper whether or not to go to Jason’s funeral. They came to the decision that they wouldn’t silently—or as silently as one could come to an agreement when all parties involved were sobbing.

Maybe it should have been a discussion. There was a part of Leo that worried he’d regret this later—his refusal to take this chance to say goodbye and let himself grieve.

But Leo remembered his mother’s funeral. Remembered the way his aunt Rosa had looked at him like she knew his mother’s death had been his fault. Leo couldn’t stand the thought of people looking at him like that again.

He also didn’t remember his mother’s funeral bringing him any sense of closure or comfort. He’d stood at her grave, afterwards, just as desperate and afraid and utterly inconsolable as he’d been before the funeral, except it had suddenly felt sickeningly final. The wound it had torn in his soul had kept bleeding for years, and the scars would stay forever. He didn’t need any of Apollo’s shitty oracles to know Jason’s death would be exactly the same.

At this point, Leo was pretty sure his sanity was being held together by a combination of jokes and a truly questionable amount of duct tape.

Beyond all that, though, Camp Jupiter was a battlefield right now. It would continue to be a battlefield for the foreseeable future.

Leo wasn’t a coward. It wasn’t that he didn’t want to go back and help. But one of his best friends was already in a box, and there was no way in hell he’d risk the other.

With how tightly Piper was clinging to him, maybe she was thinking the same thing. 

For all his big talk about dragon escorts, Festus did most of the actual escorting on his own, occasionally torching what Leo hoped were monsters and not random public monuments. Leo, for his part, spent most of the journey crammed into the backseat of the car next to Piper, sandwiched between her and a bunch of moving boxes that seemed determined to flatten him into a Leo-shaped pancake whenever they took a sharp turn.

He’d spent so long thinking about seeing her and Jason again. 

He’d talked Calypso’s ear off about them the whole journey, to the point where it had clearly started to annoy her. He’d thought about various ridiculous entrances he could make, and the fact that he’d probably get yelled at, but he’d also thought about sitting together by the campfire, sharing nachos. He’d thought about Jason hugging him so fiercely that he couldn’t breathe, and Piper cussing him out while she held him, making him promise never to do anything that reckless again.

Now Piper was actually holding him, and Leo couldn’t feel anything. There was a numbness in his chest. He wasn’t sure he had it in him to ever feel happiness again. Hell, even if he did, what was the fucking point? Every time anything even remotely good happened in his life, it got ripped away from him again.

They didn’t talk a whole lot for most of the drive. They cried until it felt like they couldn’t anymore, clinging to each other like desperate children.

Even if they’d wanted to talk about what had happened, Piper’s dad was right there, and despite the Mist usually working overtime for them, having him overhear seemed like a gamble. Or, well, maybe that was what Leo told himself. Maybe he just wasn't sure he was ready to hear it all. He still felt like he couldn’t think. He was overwhelmed to hell and couldn’t stop fidgeting.

Several hours into the trip, his stomach started grumbling. Piper dug through the bag at her feet and offered him one of her PB&J sandwiches, but Leo couldn’t eat. He hadn’t skipped a meal in forever—he’d been homeless and unsure when he’d even get access to the next meal enough times that it had been all but tattooed into his skull that he couldn’t afford to—but he couldn’t even think about eating without feeling sick. He thought about Jason. He thought about the state he’d left Camp Jupiter in and the fact that they hadn’t even been able to give the dead their proper funeral rites.

Had Leo’s help made any difference at all? Had anything he’d done in his life changed things even slightly?

Leo knew the Fates had intended for it to be fire that fell—for him to burn in a bright, hot blaze and turn himself to charcoal. But he’d refused to stay dead like a good little pawn, and now Jason was gone, and it was all his fault.

He wasn’t sure how Piper could even look at him right now, but he was beyond grateful that she was holding onto him as tightly as she did. It was the only reason he didn’t fall to pieces completely. The cog at the heart of Leo’s machine had broken in a way that made it utterly beyond repair, and now it felt like a matter of time before the whole thing came apart. Piper holding him was the only reason his remaining pieces were still functioning. 

It should have been impossible for Leo to fall asleep under these circumstances, but he’d been traveling for hours and fighting before then and he’d cried out his remaining energy, so eventually, the world started to fade around him, reduced to just the sound of Piper’s breaths, until finally, those went, too.

~~~~

It would have been kinder, maybe, if Leo had dreamed up some shitty visions promising violent death and/or the end of the world. That would have been business as usual. 

Instead, he dreamed of his time on the Argo II—of one of those early nights when the different groups were still getting to know each other, having a brief moment to breathe between their ridiculous tasks and saving the world. 

It had seemed reasonable to catch each other up on what had happened on their end. Percy, Hazel and Frank had talked about rescuing Thanatos, and Piper, Jason and Leo had told them what had happened with Hera in turn. 

This would have been a boring intel conversation at best, seeing as Leo had been there for all of their part, but they’d grabbed snacks and sat on cushions on the floor and made it a whole bonding activity. Jason had been wedged between Piper and Leo, and they’d taken turns storytelling. 

And Jason had bragged. So much. But he hadn’t even had the decency to brag about himself like a normal human being. Instead, he’d talked about how capable Piper and Leo had been, somehow managing to make Leo sound like the coolest person he’d ever met. Which was ridiculous, considering he’d met everyone else on their team.

And sure, Leo made it sound like he thought he was amazing all the time, but he was exaggerating, which everyone, himself included, knew. 

Jason didn’t seem to have gotten the memo, though. He had one arm wrapped around Leo the whole evening, and he got all starry-eyed when he talked. 

“Leo took on three Cyclopes by himself. Three!”

“Dude, stop!” Leo had laughed, shaking his head. “I know I’m incredible and you’re blessed to be friends with me and stuff, but you weren’t even conscious for that part.”

“Still happened, though.” Jason had beamed at him. “You’re amazing, dude. I would have died about fifteen times on that mission if it hadn’t been for you. You guys should’ve seen him.”

It would have been easier if Leo had thought Jason was just trying to talk him up to the others to make them more willing to trust him after how badly he’d messed up in New Rome, but Jason wasn’t the type. He’d looked like he honestly believed every single word he was saying.

So, of course, Leo had refused to seriously deal with any of the things that made him feel.

“Sorry, Pipes, but I’m pretty sure your boyfriend is in love with me. It’s the fire powers, I’m afraid. I’m just too hot to resist,” Leo had joked instead, and Piper had untangled herself from Jason’s other side to throw Doritos at Leo, and everything had been right in the universe.

~~~~

Waking up from that, blearily blinking himself awake in the car full of moving boxes and remembering… that was a worse punch in the gut than waking up from most nightmares had been. And Leo should know. He’d had so many of those over the years that he was basically a certified nightmare expert at this point.

Leo wanted to go back in time and spend forever in that one evening, living it over and over and over again until the Fates or a temporal paradox or something eventually killed him. He wanted to hold on to what they’d been back then—the three of them together and happy and whole,back before they’d realized what the prophecy really meant. 

He wanted to stay wrapped in Jason’s arm and hear him laugh at whatever stupid joke Leo came up with while he and Piper threw snacks at each other like ten year olds. He wanted to believe he could actually be the person Jason was bragging about—this invincible hero that could do just about anything and saved people’s lives.

But Leo had never been that hero. Even his sacrifice had been the selfish decision of a coward who wasn’t ready to die just yet. Jason had been their Superman. The guy who could fly and threw lightning and saved people from falling to their deaths. Jason had been the hero. And ultimately, that had been what killed him.

Leo wasn’t exactly sure what he planned to do once they got to Oklahoma. He should have been heading back to the Waystation, to give Calypso the normal life he’d promised. But he wasn’t thinking about Calypso, or the Waystation, and the thought of a normal life had gone out of the window the second he’d seen the coffin. Besides, the Waystation would mean people asking questions, wanting to know about his mission and asking him to talk about his feelings, and he didn’t want that.

The only thing Leo really wanted to do right now was not think. 

By the time they got to the house, it was so late that cross-country dragon flight seemed inadvisable for visibility reasons alone, so Leo agreed to stay the night. Festus nuzzled him for a bit, got a fuel snack from the canister Leo had brought and then folded down into his million pound suitcase form for the night.

It took a little under two hours to carry all the boxes inside, which was an annoying amount of time to be carrying boxes but seemed like an absurdly short amount to move the contents of an entire life.

They spent some time in search of the necessities that needed to be unpacked, but the house was still furnished and also had running water and electricity as of a few days ago, so it wasn’t that bad.

While Piper went in search of some ancient camping gear so Leo wouldn’t have to sleep on the floor—this seemed silly to him, the floor was far from the worst place he’d ever slept—Leo asked Piper’s dad if he could help with dinner. 

Tristan looked relieved at his offer, actually. He’d been staring at the assorted vegetables with a slightly lost expression, trying to hack at one of the zucchinis with a butter knife. It seemed like he was trying to remember how cooking worked and had just discovered he had absolutely no idea. 

Considering how long he’d been an insanely rich guy with a personal cook, Leo guessed that actually might have been a pretty accurate read on the situation. 

“You might want to try a sharper knife,” Leo suggested, which made Piper’s dad look absolutely mortified. “Try not to chop off any of your fingers, though. I think Piper’s been traumatized enough for one week.”

The words were out of his mouth before Leo could think to stop them. Tristan didn’t laugh, but at least it didn’t seem like he’d be tossing Leo out of the house over this. Maybe he realized people sometimes said stupid shit when they were grieving. Maybe Piper had just warned him in advance that Leo was like this sometimes.

Tristan just went to find a different knife, which would have maybe been concerning if he hadn’t gone back to hacking at the vegetables a moment later.

“Well, at least this one is actually cutting through the zucchinis. That’s already an improvement.”

“Yeah, I’m basically a cooking expert,” Leo said with a grin, only half-joking. He went to peel and chop up the carrots, and was done with those and about half the mushrooms by the time the poor zucchini had been hacked to bits.

“You and Piper went to school together, right?” Tristan asked after a while of them quietly chopping vegetables for the casserole, trying to make sense of things with information he didn’t have and that, judging from past evidence, probably would have made his skull crack. “You and her and Jason.”

“Yeah. We went to Wilderness school together.” Leo winced, trying not to think too hard of Jason while also trying to remember the lies they’d already told Piper’s dad. At this rate, he was pretty worried his own skull would crack, too. “Then all three of us switched to a different school. Then I was gone for a while.”

Tristan nodded like this made perfect sense, though he mostly seemed lost in thought. That was a little rude, in Leo’s opinion. If he went through all that effort to remember their elaborate setup of lies, the least Piper’s dad could do was appreciate it!

“I’m glad you’re here now, with everything that’s happened. Piper was really upset when you left,” Tristan said, still with that faraway look in his eyes. “The last few months were hard for her. Between the move and the breakup, she really could have used a friend.”

Leo promptly lost all rights to make fun of Piper’s dad and his vegetable chopping skills because at the word ‘breakup’, the knife slipped and he nearly sliced off two of his fingers.

“Fuck! Ow!” he said eloquently, trying to avoid bleeding all over the cutting board in his attempt to get to the sink. “Jason and Piper broke up?”

The question sounded absurd even to his own ears. Why would Jason and Piper break up? They’d been happy together.

Surely, Piper’s dad had to be talking about something else.

To Leo’s shock, Tristan nodded.

“A while ago, yes,” he said, but he didn’t go into details—possibly because Leo was bleeding all over the sink. “We should bandage that. Do you think you need stitches?”

“No, the cuts aren’t that deep,” Leo decided, turning on the faucet and holding his bleeding hand under the stream of cold water. Maybe he should have been more concerned about the injury, but his mind was still whirring at the thought of his best friends breaking up. Unfortunately, the cold water stung like hell. He hissed with pain. “Sorry for making your kitchen look like a crime scene right after moving in. Usually, I at least have the decency to wait a day or two.”

Because the house was a small, cozy place and Leo had not had the decency to curse quietly, Piper appeared in the doorway a moment later, an alarmed expression on her face.

“What happened?”

“I’ve been bested by a stupid potato,” Leo cursed, holding up his bleeding hand and wiggling his fingers for emphasis. He figured out immediately that this was a mistake. “Ow.”

“Stop that, dumbass!” Piper cursed, moving to stand beside him. “Sink was the right call, but you need to use soap or the cuts could get infected. Dad, any chance we have gauze lying around somewhere?”

Tristan didn’t seem to question why his daughter had immediately jumped into emergency medical treatment mode. He just abandoned the cutting board and headed for the front door.

“Not exactly sure what box our regular medical supplies are in, but I’ll get the first aid kit from the car. I’ll be right back.”

“Do we have to do the soap?” Leo whined, because fuck, that stung, but Piper nodded with a scary expression on her face, so he complied. “How do you even know this stuff? Are we sure you’re not secretly an Apollo kid?”

“I know this stuff because I’m friends with a bunch of morons who have zero sense of self-preservation,” Piper cursed, gritting her teeth. “You shouldn’t be around knives when you’re this distracted.”

“I can usually cook just fine when I’m distracted. Your dad was the one who told me you and Jason broke up in the middle of this stupid potato,” Leo said defensively. “Is that the Mist messing with him?”

That was the only explanation his mind had supplied so far that made any sense to him.

Piper shook her head. “We really did break up. That was a few months ago.”

Leo felt his jaw hit the floor. 

“What the hell happened? You were together for ages. I thought- you always seemed so happy.”

“I know, but-” Piper broke off abruptly when her dad came back inside with the first aid kit. Demigod stuff, then?

Leo’s mind was racing. The breakup was a completely stupid thing to focus on, considering everything that had happened in the last few days. He knew that.

But it was easier to try and make sense of this than it was to try and make sense of the fact that Jason was gone and he’d never get to see him again.

“Is it alright if we do this somewhere else?” Piper asked her dad, taking the first aid kit from him.

“Of course. It might be easier to patch him up when you’re both sitting down, anyway.” He turned towards Leo. “Thank you for your help, but I think I can take it from here.”

Leo sent a silent prayer to whichever deity was responsible for protecting vegetables—Demeter, probably?—and gave what he hoped was an encouraging thumbs up with his uninjured hand before he followed Piper into the hallway to presumably be reprimanded some more.

~~~~ They ended up sitting on an old bed that looked like it had lived a long, miserable life and was excited for retirement, but the wooden frame thankfully didn’t break down under the weight of the new mattress or the additional weight of them sitting on said mattress. Piper explained that this had been her dad’s room when he’d lived here as a child, and that it would probably become her room now. Then she went very quiet and focused on bandaging his hand, clearly avoiding looking at him.

“It wasn’t because of me, was it?” Leo asked. The thought made him feel ill. “Please tell me it wasn’t something like, I don’t know, you two being unable to stand being around each other after what happened to me. I think I’d actually have to blow myself up again if it was.”

He tried to make it sound like a joke, but it didn’t feel like one at all. The thought that he'd managed to ruin his best friends’ relationship on top of everything else made it hard to breathe.

When Piper shook her head, it felt like a whole boulder was lifted off his shoulders.

“I actually think we would have broken up sooner if you hadn’t gone missing. We leaned on each other a lot after you disappeared. It wasn’t until we realized we wouldn’t find you and things started to settle down a little that I had time to think. And when I did…” Her voice went very quiet, and she still didn’t look up at him. “I realized I wasn’t happy in the relationship. I don’t think I ever was.”

“How did I not know that?” Leo wondered quietly. “I just… you two seemed happy to me. What kind of garbage best friend am I?”

Piper shook her head. “It isn’t your fault. I was telling myself I was happy for a long time. It’s almost- sometimes I wonder if I was charmspeaking myself. That maybe I kept saying I was in love with Jason until I convinced myself I actually was. And with Hera and my mom setting it up… I love-” her voice caught in her throat, and Leo felt like maybe he needed to throw up, “-loved Jason, but not like that.”

“Pipes, I’m really sorry.” Leo squeezed her shoulder. “That sounds like it was super hard for both of you.” Leo felt awful about the fact that he hadn’t even been around to comfort either of them, but it wasn’t like he could fix it now. It was just another item on Leo’s unending list of epic screwups he’d never be able to make up for.

“Jason was… well, he took it exactly like I expected him to. He was surprised, but he didn’t get angry or anything. He mostly seemed okay. Part of me wonders if maybe…” But whatever Piper had been thinking about, she seemed to decide it wasn’t important. “It was hard to get a proper read on him, and as nice as he was about it, things were still super awkward after. I'm terrified he died thinking I didn’t care about him.”

And then she was tearing up again, and Leo thought he would shatter if she cried. 

“He knew you cared,” he said as earnestly as he could manage, pulling Piper to his chest again. “You love way too annoyingly for him not to have known. Hell, even I know you love me, and we both know I’m a fucking nightmare when it comes to this stuff.”

“I missed you so much,” she whispered, wrapping her arms around his back like it was the easiest thing in the world.

“Oh, I’m about to make you regret saying that,” Leo said, forcing himself to smile. “I’ll bring it up each and every time you say you find something I do annoying.”

“You’re annoying as hell, but you’re still my best friend.” He could feel her tears dripping onto his shoulder, and he knew that would make him start up again too. “I don’t know how I’d do this without you.”

And well, passing away from dehydration after crying too much would be a really lame way to die the second time, but everything was just too much right now, so if that was how he went, Leo wasn’t sure anyone could blame him.

~~~~

For the next couple of weeks, Leo stayed.

Helping Piper and her dad unpack was the perfect way to keep himself occupied and not have to think. Usually, a mundane task like this probably would have driven Leo nuts. But right now, it was a bit of a godsend—if not literally, at least figuratively. Being productive was always so much easier when it was done in order to avoid something you wanted to do even less. There was a reason his spaces in the foster homes had only ever been tidy when he had exams coming up.

He helped cook, too, and Piper’s dad became increasingly less garbage at it the longer this went on—like muscle memory was finally kicking in after years of disuse.

It was mostly good—listening to Piper reminisce about trips she’d taken with her dad and where she’d gotten the weird variety of items she kept in her room. When they weren’t unpacking, Leo and Piper played video games or watched movies or explored the area. Twice, during the night, they took Festus on a little flight to a nearby fast food place. Finding a parking spot was a bit of a nightmare, unfortunately. Leo would submit a complaint about their inability to accommodate celestial bronze dragons the first chance he got.

The first time they tried hiking—Leo didn’t even like hiking, he’d spent enough time outside for several lifetimes, why did he do this to himself—they got hopelessly lost in the woods, and of course, due to demigod bullshit, neither of them had brought a phone, so Google Maps wasn’t an option. It was probably for the better. The last thing that situation needed on top of them being lost was a monster attack. 

They were already jokingly planning out their new life in the woods when, thankfully, a girl their age came to their rescue.

“A human being! Thank the gods. The squirrels weren’t talking to us,” Leo greeted her, which had Piper shout “Please ignore Leo!” loudly from the branches of the tree she’d been climbing.

The girl lifted her head, spotted Piper and promptly burst out laughing.

“What in the world are you doing up there?” 

“Trying to get a better vantage point,” Piper sighed, making her way back down the tree. “We’re hopelessly lost.”

“Well, nice to meet you, hopelessly lost. I’m Shel,” the girl said, still grinning. Leo decided immediately that he liked her.

Piper had almost made it back down when she somehow missed a branch and fell the rest of the way. In comedic movie fashion, Shel moved before Leo had the chance to and caught her mid-tumble. “That was a bit of a dramatic way to get my attention, but you’re cute, so I’ll allow it.”

“Oh yeah, Piper’s got a bit of a thing with falling for people that way,” Leo commented, and Piper gave him her most murderous look while she got back on her feet.

“You guys need help getting back?”

“Please, yes,” Piper said immediately. “It turns out we’re both garbage with maps.”

“Maybe you just need a tour guide next time,” Shel suggested, winking at Piper, whose face turned scarlet. Leo wasn’t even mad about being the third wheel for once. He’d give her so much shit about this later.

And he did. And then Piper properly came out to him—no label or anything, mostly as extremely confused but sure she liked girls, which also made a few additional pieces click into place regarding her breakup with Jason. She ended her anxiety-riddled explanation by thanking Leo for being so normal and annoying about all this. 

Which was how Leo realized he’d apparently never told Piper he was bi.

Or maybe he had, and it had gotten lost along with their other memories of Wilderness. Stupid memory-stealing babysitters.

Well, at least they got to hug about it now. 

~~~~

It was strange how normal some days felt when nothing would ever truly be normal again. When in every moment Leo and Piper spent together, the gaping hole that had been ripped into their trio was so blatantly obvious.

The benefit and problem of this friendship was that Leo and Piper were both experts at not talking about things they were struggling with. 

This wasn’t exactly news. From what little Leo did remember of Wilderness School, they’d spent months not talking about his mom, or about the fact that Piper’s dad kept canceling their weekend plans. They’d both known there were things left unsaid, but as long as they’d been able to cheer each other up, that hadn’t really mattered. It made sense, honestly. Put two people who hadn’t had a shoulder to cry on for ages in a room together and see what happens!

Right now, this meant they were expertly ignoring the box of belongings Piper had picked up from Jason’s school. It had been pushed so far under the bed during that first night that it was no longer visible, and neither of them made any effort to move it out of its new home since. They ignored the topic of Jason, period, until it inevitably hit them in the face again. 

It was mostly dumb shit that set them off. Piper automatically reaching for vanilla ice cream at the grocery store because it was Jason’s favorite—seriously, who in their right mind even liked vanilla ice cream?

Sometimes, Leo would make a joke and burst into tears instead of laughing because he knew it would have cracked Jason up. They found old photos unpacking. One time, Piper’s dad suggested they make tacos and they started simultaneously bawling their eyes out.

Leo had spent a long time exactly like this—pretending everything was normal and okay when it wasn’t either of those things until he inevitably broke down. Then he’d started to actually feel sort of okay whenever he was with Jason and Piper. Now, he was sure he would spend the rest of his life pretending.

His appetite was too used to being stuck in survival mode for him to bow to nausea for long, so he went back to eating properly after a few days. He still cried himself to sleep most nights. He kept dreaming about Jason. The memories wrapped themselves around him like a safety blanket that he knew would get ripped away again in the morning. He always woke up feeling empty. Sometimes, he wished he could just go to sleep and never wake up again.

But other than that, it was mostly good.

Then demigod communications went back up, and everything went to hell.

———

Chapter notes:

Fun fact! I originally planned for this chapter (as well as the next few chapters) to just be backstory in my head and for me to maybe do a flashback or two. Unfortunately for me, Piper McLean waltzed into the room and refused to leave.

I do actually think the fic works better this way, but it will take a second to get to the plot! Hopefully you’ll enjoy the whole journey :)

I may not be able to have Leo and Piper go to Jason’s funeral without seriously messing with the plot of Tyrant’s Tomb, but I could at least pick the most evil reason possible for them not to go!

Side note: I sort of forgot that Hedge and Mellie were supposed to be here according to TBM, but by the time I remembered I already had this chapter written out and, as someone who cannot be bothered to figure out how to write them, I decided to just leave it. ToA is vaguely canon to this universe, but only for the most part. Some details are inaccurate, and I think that’s okay.

Anyway, thank you so much for reading! Comments and reblogs super, super appreciated as always!!

List of people that at some point asked to be tagged when I post this: @poppitron360 @ginnyluna @keefessketchbook (feel free to comment if you want to get taken off or be put on the tag list for future chapters!)

[project-sekai-facts]

Hey I'm the anon from this ask (https://www.tumblr.com/project-sekai-facts/764142926583431168/im-curious-why-you-feel-confident-in-saying-that?source=share) just wanted to say thank you so much for the response!! After reading that and more carefully rereading the stuff in the original mizuki trans post I agree with what you're saying about it being pretty much explicitly confirmed in-game Because of the many bad faith interpretations of my ask I wanted to explain where it came from a bit. I had just come out of listening to another friend doompost/get annoyed about the "vagueness" of the event story and how it wasn't settling the trans vs crossdresser "debate" (heavy quotes there) when I saw the new reblog you made to the mizuki trans post with the line of her being explicitly transgender.

I wanted to hear where you got that from because it was also the impression that I got after reading the story but I was struggling with putting it into words when talking with said friend - honestly i probably could have phrased the ask better but oh well that's tumblr for you.

I've always read her as trans but I've weird feelings about what "being canon" means for a long time hence my fears about jumping the gun - I tended to see it as "you need to have complete 100% proof that it's true that can rebuke all bad faith arguments, and if it doesn't you can accept it as a popular headcanon with some canon support but don't go implying that it's canon" but putting it into words like that makes me realize that that's not a good approach. And just seeing you repeatedly say things like mizuki being in-text confirmed to be trans for 4 years has helped me feel more confident in that and reassess my relationship with canonity in general so genuinely, thank you so much for that.

P.S. damn that ended up being much longer than i thought this was going to be lol. if you don't want to post this for whatever reason that's understandable, don't feel obligated to

No problem! And I'm really sorry for the flack people were giving you in the tags you literally said you wanted Mizuki to be trans in your ask. It's probably because of my response being pretty general and not necessarily directed at you for the most part; i had gotten like 4 other asks about "what are the chances mizuki is a crossdresser" so I just picked one to answer.

I mean yeah technically for it to be 100% canon it should be explicitly stated, but I tend to go off the rules that so long as there's enough sub/textual evidence and very little room for doubt, it's good as canon. Like when I said before that An and Kohane have canon romantic feelings - it's never been said outright but the evidence to prove it with little doubt is there. Technically the term canon refers to a series of works that take place in the same universe, but in fandom the term is often used to describe if character traits or ships are official or not. So Mizuki technically isn't officially a trans girl until they change the gender marker on her bio, but this event removed what little room there was for doubt, so I at the very least would consider it to be canon.

[ghoulfuckersincorporated]

I’ve been a lurker for a little bit and I love your stuff, could we pretty please get some Headcanons for Charon or Gob. I’m on my knees over here they have like no fanfic or content 😭

What a coincidence, I literally just posted headcanons for Gob here (NSFW), and our favorite bouncer is next. I also have long-form works for both in the pipe, but the Charon piece already has some serious work done on it.

Charon's writing frustrates me endlessly tbh. He's so intriguing (and fuckable, obviously), but there's so little there in the canon to answer the questions you naturally have about him. So, I may be taking a few liberties here.

Charon (Fallout 3) NSFW Headcanons

I firmly believe he's prewar, and I think he's been enslaved/"under contract" since he became a ghoul. Regardless of how the whole contract thing works, he has the same issue as Gob where he hasn't been allowed to have desires or boundaries, just in a different way (Charon is obviously able to defend himself physically, and even technically has some manner of free will, but he knows that there are often unpleasant consequences for failing to obey his contract holder). The man IS a slave, but a strangely complicated one. If you want meaningless sex, he'll give it to you. Whether or not he actually wants or enjoys it, you'll never know without a real connection or a long, long time of studying his general behavior. He's incredibly hard to read up front, agreeable but not really warm or open.

His contract is supposed to entitle the holder to his labor in combat, so he's not really required to do anything else, as far as I can tell, including have sex with them if they ask, but I think he would use it as a sort of excuse to do so if he was already inclined.

You can't give him the contract or otherwise "free" him from his enslavement in the game, but in my opinion, that's silly. Sure, I think it would take a long time of him getting used to the idea of it, but I also think he'd certainly WANT to no longer be a slave at some point. Eventually, the contract is moreso an excuse. He never takes it from you when you offer it to him; he's following you because he has nowhere else to go, because he wants to. Eventually, he's following you because he's in love with you in his own way. But as long as you physically hold that piece of paper, he has the excuse.

If he does care about you, he will resist your physical advances, at least at first. He believes he's protecting you, as he always does, by sparing you from the social consequences of choosing to be with a ghoul. However, at the end of the day, he wants you, too, and eventually he won't be able to deny himself, especially if he knows you won't deny him. Even then, he'll kind of hate himself for being too weak to not fall in love with you, and he'll feel insanely guilty and selfish for not letting you go like he should. He's a fairly morose man overall, and I think he'd spend a lot of time pondering what the consequences of you two choosing one another this way will inevitably be.

Even with that under consideration, he'd still be happy with you. Keeping you safe and happy is pleasing to him (even if he likes to feign annoyance at your little peculiarities and your choices sometimes), and you'd get to slowly, painstakingly slowly begin to see him sort of begin to become his own man again. Over time, he'll talk more, but it's still almost always to ask about you, to remark about something that isn't himself.

Speaking of which, once he begins to "wake up", so to speak, become more aware of his newly-granted autonomy and his desires, as well as your own, he's gonna be rearing to go all the time. Slowly, he's gonna become fully cognizant of the fact that you really do want him as much as he wants you, so...why shouldn't you be fucking right this second, again? Doesn't really matter where you are. Who's gonna stop him from fucking you? Who's gonna succeed if they try? What I'm saying is this: I hope you're ready to basically be a free-use pocket pussy for this big-ass ghoul.

Some ghouls, like Cooper Howard, were once pretty serious ladies' men who've developed some hard edges over their long lives; despite this, that charisma often remains buried somewhere deep inside them, waiting to jump out at the right person. Charon is not that. This man had zero game before the war and he has less than none now. If you want traditional romantic gestures from him, you are going to have to specifically explain and request them, as unromantic as that may sound on its face. He wants to see you happy, but he's never really had to think romantically, so it doesn't come naturally to him at all. He knows about foreplay as a concept, but lacks patience and finesse when it comes to getting things started. Lots of shoving his hand up your shirt, down your pants sort of awkwardly in the beginning. Roughly groping you to signal he's in the mood to the point where it sort of hurts.

You know what they say about men? The dense ones fuck the hardest. Charon IS that; he's not unintelligent, just a very straightforward thinker. But he's obviously great at following directions, including when you beg him to fuck you until you can't stand.

He's just as quiet during sex as he is normally, save for a few grunts and growls and occasionally asking if you're okay, but you may notice over time that he's more physically affectionate. Likes to stroke your face, pet your hair, pepper you with kisses in a way he usually doesn't. I think he would see you being distracted by him rearranging your guts as an opportunity to be slightly more vulnerable.

Big fan of cockwarming. Already likes to just hold you in his arms while you both do something quiet, but he likes it even more when you're doing whatever you're doing slid down on his cock. His favorite is when you climb up into his lap, naked from the waist down, sink down on him, and immediately take a nap on his chest.

[waywardsalt]

im gonna elaborate on bellum being a friend a lil more bc im thinking abt it and i like it (drawing coming. at some point)

i already go into post-phantom hourglass stuff specifically with the idea that the whole bellumbeck thing, while obviously intensely uncomfortable and traumatic, managed to clear some things up for linebeck and actually ended up being the final nail in the coffin for a lot of things he’d been struggling with. plus i go with the idea that he has some kind of internal confrontation with bellum during the whole thing, so theyre actually a bit familiar with each other by the time that whole thing is over

with post-ph specifically, bellum survives and is sealed away in the phantom sword (i mean. he turned into sand and that sand was absorbed by the phantom sword. i think of it as smth like. he cant really be killed just sealed away) and as punishment for the, uh, *checks notes* murder and kidnapping and abduction and manipulation and likely attempted genocide and very likely war crimes he is sent by oshus into the world of the great sea, extremely weak (as a result of being sealed away) and essentially forced to help link n linebeck (hes basically mega-grounded idk) and begrudgingly has to use his little human form half of the time

he and linebeck kind of understand each other after the whole bellumbeck thing and after an (obviously) rough patch (mostly with linebeck being paranoid around him) they end up trusting each other to the point where they’re just friends. bellum is linebecks pet evil demon squid. hes a member of the crew. one of the boys. not allowed to cook because he prefers live meat over seasonings in general.

i enjoy the idea of bellum having your general sort of… learning to actually appreciate life instead of approaching it with the attitude to either consume it or eradicate it arc. mucking around with stupid little mortals arc. making actual friends and not just being a violent warmonger arc. trying something outside of fulfilling what he assumed he was made to be good at and finding some new kind of purpose arc. hes fun as a chaotic and malicious villain but i like to build off of that and i like this direction. funneling that violent chaos into him letting linebeck throw him like a dodgeball at something he wants to kill

he still gets his usual scrappy and opportunistic moments and all of that but it is a lot of fun to just take a step out of that and just imagine him n linebeck working past the initial hostility and discomfort and being able to enjoy each other enough to the point where bellum can drape himself around linebecks neck like a pet snake

link and bellum probably never become close friends tho. doesnt help that bellum’s human form lets him convincingly pass as a family member of link’s

thinking about linebeck and bellum being friends or smth hang on. small bellum wrapped around linebeck’s neck like hes a snake or smth

[baalzebufo]

HIII. can i just say. absolutely ADORE your gravity falls stuff!! i'd love to hear more of your headcanons (especially abt gideon) (that's my SON)

yes yeeees i was part of the Original Wave of Gideon Enjoyers back when like, episode 4 aired and it was about ten blogs who didnt hate his guts. i mean, i still want to throw him out a window, but I also think he has really interesting character stuff going on that some people just didnt wanna look at bc they hated him! which like, fair, he's a villain, but that freaky little dude will always be one of MY faves, haha

this post got. very long im sorry I had to put a readmore here haha but I haven't had an excuse to infodump about this for ages so here's a couple Things I like Thinking About... also a doodle I did the other night to break up the wall of text below

ok ok to start i LOVE him so much as a foil to dipper (and to an extent ford too) as examples of what the journals/that kind of power and information can do to people. its why im so adamant that he does actually have albinism, even if its not Technically Canon. dipper and ford both have a like, 'physical oddity' about them (birthmark, sixth finger) i think it makes sense for gideons to be his albinism as something that set him apart. all three are 'weirdos', were ostracised to an extent by the world, had that longing for something special or important, and then found it. and its what they DO with that which sets them apart

especially as a foil to dipper like... from time to time in the show, he gets a bit gung-ho about abusing the journals power for his own gain. but he has friends and family to reign him back in. he has more of a moral compass about not wanting to hurt people, generally. dipper never became like gideon did

this is getting into headcanon territory here but, my general summary of gideons childhood is an isolated one. only child, fairly sheltered, had some medical complications early in life which led to a lot of time on his own in hospital, attended school briefly and was subjected to significant bullying. and without a real support network outside of his parents who were very doting to the point of spoiling him because hes their Little Miracle he wasnt exactly well-adjusted even as a kid

but basically, that kid ends up finding this journal and learns about spells and evil artifacts and suddenly he has the power to make people like him. not only that but Fear him. he goes from feeling powerless to an absolute ego-trip. and his only close relatives would never tell their little boy 'no' about something, so they're not disciplining him in any way. its a perfect storm for a disaster to happen

it stems from this childish desire to go 'look at me im important and special and everyone likes me' and hes become so embittered already by people being dicks that he doesnt care if he hurts people on the way

that only really changes when mabel shows up and is the first person in town to approach him from a like... normal level. shes nice to him but not in the overly-saccharine and doting way his fans are, just in the way a girl who wants to be friends is. she treats him normally and is nice and he thinks she's pretty and that ALSO becomes a perfect storm of 'well shes nice to me and i like her so i must be in love with her and she is with me!' and, of course. kid who has never heard the word No before. so the later rejection becomes a HUGE sticking point and grudge to the point of being flat-out murderous

later in life with a little Introspection i think he'd realize it was less love and more just. basically imprinting on the first person to be normal and kind at him in years

UM. I should wrap this up i have so much in my brain. gideon was one of my earliest roleplay muses i'd write and draw with my pals, so I subjected him to a LOT of personal characterization stuff and also making a thousand AUs for fun. (aus always come in two flavours either its 'im going to make you marginally more well-adjusted' or 'im going to make you so, SO much worse')

ive got a soft spot for con-men and fake psychics and generally shitty little weasels and gideon just stormed into the show being a jerk with an aesthetic i adore and i was like ahhh. i want to punt him. hes my favourite.

ok im going to shut up now. last minute headcanon. gideon got into wood carving in prison art therapy because using a knife to stab something in a non-murder way helps soothe his urges. he whittles little people figurines

✨

[hazshit-hotel-hater]

Surprise! I am going to rant about my own redesign and art! I think this is me mentally preparing for the helluva boss episode next week and praying to god it’s actually good. I’ve also been nursing a bit of a hangover today so forgive me if my wording is a bit more jumbled than usual

Im a big fan of my Angel Dust redesign, but in the general aspect of my art, a lot of my poses are a bit flat. That can be from either posing issues on my end, trouble with facial features, or just some secret third thing, but I think so far Ive been enjoying drawing much more cartoonishly as of recent. That vox canon & headcanon drawing was super super fun to do even though it was supposed to be vivzies style, but I used to have a style with more sharp angles and pointy curves that I honestly kind of miss, I also miss playing with cartoonish proportions!!

My art style may end up changing eventually, but my main pieces will stay in my usual style and my more doodle-y ones will probably be in a more cartoony style like the ones above. While theyre definitely closer to canon and meant to be inspired as such, the difference is that I can draw diverse body types in said artstyle! I also cant lie, Angel’s chest fluff is one of my absolute favourite things to draw and it’s so easy in this style…

About my redesigns though! This is mostly about Angel, but I’m gonna slap this here from DMs with a friend: “Im so pleased with this genuinely im so happy he has his little pedipalps, theyre technically also still his fangs but now he can move them and stuff and :33 typically for male spiders the pedipalps are a reproductive organ but that isnt the case for angel or many other arachnid or insect sinners id say so I think personally most of them have developed pedipalps for primarily other reasons like fangs in Angels case or maybe something similar to cat whiskers for other people”

In my original angel dust redesigns I just couldn’t find a way to draw his fangs in a way that made me happy because I want to keeo the same energy in his face as the original. Big clunky fangs that stick out just didn’t work for him and while they made him look like a spider, he lost that sort of angel-ness that I need when drawing him so I instead looks to the pedipalp aspect of spiders to move them off of his mouth and more onto his cheeks. It’s a very small change but it improved the design in my eyes significantly and just really made me a lot happier. I wont be updating his redesign post as of right now and maybe never will, but if I do yknow why now!

I just really really like drawing this guy a bit rubbery, hes supposed to be fluffy so like he should move kinda soft in a way? I dunno how to explain it rn, its 2 AM at the time of writing this so im gonna lay the hell down now!

[intimidating-fettuccine]

idk if this is allowed but maybe laughing jack or candypop x pregnant reader? hope this doesn’t break any rules 😭

I technically have two LJ pregnancy posts, click here for telling LJ you're pregnant, and click here for a couple headcanons of him during pregnancy

As for Candy, I hope both of you enjoy ^^ I just included both the requests since you both asked for it.

ABSOLUTELY over the moon once Candy finds out the news that you're pregnant. Candy has always been a big family man, and he's always felt a bit lonely since the loss of his original family all those years ago. To be able to start a new family with you here and now makes him so indescribably happy, he almost doesn't know what to do with himself, he's basically vibrating and he can't stop (gently) scooping you into his arms because he's so excited. At one point while he's hugging you he begins to cry because he's so overwhelmed, and of course, you get concerned for him, but he assures you it's just because he hasn't felt this excited about something for a long, long time.

Candy keeps his eyes on you a LOT during your pregnancy. He doesn't want you to push yourself or let you get too stressed because he doesn't want any harm to come to you or the little one developing inside of you. He makes sure to go to all of your appointments with you and remember any information they tell you, and he makes sure if they tell you any recommended vitamins you should be taking to pick them up when you guys are heading home, and he makes sure you're eating all the right stuff. He almost gets a bit more into your pregnancy than you are, but he's just so excited for the three of you, yes, including the little one. When it comes to the possibility of knowing the gender before the baby is born, I think Candy would want you guys to be surprised, especially since it's not 100% accurate. Plus, he thinks it's fun to think up names for both possible genders, although I also think he's the type to try to think up a few gender-neutral names, that way you could find a name both of you love that could be used for your baby regardless. He loves just laying down with you at the end of the day and staring at each other as you cuddle up, just saying random names until one of them clicks, it's so domestic and it's a kind of bliss he's wanted with you for so long.

When it comes to decorating a room for your baby, I feel like that's one of the most exciting parts for Candy to be quite honest, as he loves decorating, and knowing it's for your baby just makes him so hyped up. In my canon bedrooms in the mansion adjust to however the person living in it wants it to look accordingly, so an extra door and another little room are soon added inside Candy's bedroom for the two of you to use for the baby. Rather than letting the mansion decorate itself, though, Candy decides to paint and furnish the room with the two of you. He paints the walls himself, and I think he'd paint a beautiful landscape, with clouds and fields, and the far wall at the top is a starry night sky, under which you can put the crib. He loves picking out furniture and toys for the little one with you, although I'm also sure Jason and LJ make a whole metric fuckton of toys for the two of you as Candy's best friends. When it gets into late pregnancy and you have a harder time moving around he's more than happy to carry you himself, especially because it gives him a reason to be closer to you. He's a huge help to you throughout your pregnancy, and he just can't wait for the two of you to meet your baby once they're born, as he knows the two of you are going to love and care for that little guy so much together.

[splitster]

answering asks

you'll have to befriend her first sorry

chocolate was the first sweet that Pom had so it's her favorite!! she won't go nuts or anything but she is very easily manipulated if you promise her a bar of chocolate

↓ more asks under the cut!! ↓

wraithification ideally does preserve peoples memories! part of the process is forming the core that holds said memories, so as long as the process goes somewhat smoothly then the person should wake up very disorientated but with their memories and personality in tact.

naw she's thankfully immune to most elemental hazards. one of the perks of being a wraith!

YEAHH i've been trying to keep up with the comics! this comic is a bit old at this point but i'm so glad bald dingo is canon 💖

i think it'd be funny so yeah sure

there is always an inherent risk to the process. i'd say the absolute ideal circumstances you could have would be if a wraith like pom and a doctor like yonny were working together to increase the likelihood of survival. the process hasn't been studied at all, given the rarity of wraiths as an organism and the added rarity of a wraith becoming so attached to a creature that it wants to convert it.

there is a metaphysical aspect to wraiths as a species that defies understanding, so the person being wraithified or the wraith themselves having a strong will for survival would definitely contribute to the success of it. thankfully, unless there's a VERY specific set of circumstances (that are relevant only with someone like yonny wraith who has two cores), the subject would fall unconscious and not form memories of the wraithification itself (which is fortunate, because that would be kinda horrifying).

if she's saving dingo and this is a last ditch effort, pom absolutely puts her whole being into it. it's very, very hard on her and she has every last bit of energy sapped from her. depending on her reserves, she could end up hurting herself with the amount of energy it requires. but wounds are temporary and death is forever, so pom would persevere through and give it her all to save him

yeah! pom's skin might technically be fake because it's made from goo, but she still feels sensations through her goo. she probably doesn't get itchy that easily. she's probably a little ticklish? but i'm not sure if you want to try that on a wraith that could easily stab you in a heartbeat...

wow when i was looking back for this pic i realized i first posted about the pom wraith au on september 1st, so the au is like 4 months old... time flies

WAHHH THANK YOU....🥺💖 asks like this are never a bother!! my favorite part about posting my content online is the engagement like this, i'm very happy to make stuff that you and your bro can bond over

procreate on an ipad! i use an empty cheezits box and three splatoon manga books to prop up my ipad to draw on, and i've been told its one of the worst drawing arrangements ever documented, so no matter how you draw it's probably gonna be better than my set up

of course! i didn't like... invent wraiths or anything. i just expanded on the little tidbits of what we know about wraiths in the pikmin universe. anyone is free to make their own wraith ocs or their own headcanons on what wraiths are

whuh... have i? i post pretty frequently. i used to post a bunch for a week or two and then disappear for 6+ months repeatedly so this is very good compared to my historical track record lol

AHH thank you!! i'm glad that i can inspire!

thank yall for all the asks, i'll continue getting through them... slowly

[levi-4uckerman]

l.g.i.t.s. timeline explained

hey guys! someone commented on my recent AO3 update asking for a timeline and i realized i have this whole big story planned out in my head, but haven't clarified how i've altered the canon timeline to make it happen >.< allow me to explain!

(note: this is NOT necessary to read before the story unless you're a stickler about canon-- but, if that's the case, why read fanfiction? weirdo)

anyway, i definitely had to play w the canon timeline a little bit to fit us into the story in a way that has the most impact. i wanted certain noncanon events in my story to coincide w/ events and plotpoints in the canon and the only way to really do that is to study the OG timeline and move some stuff around. no major changes have been made... i think. (^▽^)👍

╰┈➤8/2006: Star Plasma Vessel incident occurs. Gojo becomes enlightened.

Gojo/Reader age: 16

╰┈➤9/2007: Suguru Geto betrays Jujutsu Technical Institute.

╰┈➤3/2009: Gojo, Shoko, and reader graduate Jujutsu High.

✨Here is where we start to deviate from canon ✨

╰┈➤Sometime in 2013: Gojo is assigned to the case of cursed spirit, Rika Orimoto.

╰┈➤Sometime in 2014: Nanami returns to Jujutsu sorcery.

╰┈➤12/2014: The Night Parade of 100 Demons occurs. (noncanon) Satoru Gojo kills Suguru Geto. A small ceremony is held in the days following to honor the lives that were lost in Kyoto that night. Gojo and reader enter a tentative friendship (they haven't spoken much high school).

Canonically, the Night Parade of 100 Demons occurs on Dec. 24th, 2017.

Gojo/Reader age: 24

‼️Possible spoilers for chapters 3-4!! Nothing huge, just stuff that hasn't been posted yet :)‼️

╰┈➤1/2015: The Gojo clan starts pressuring Satoru to choose a wife. Simultaneously, he and reader grow closer through phone calls and late night outings. (noncanon)

╰┈➤Mid-2/2015: Haruto is conceived.

╰┈➤3/2015: Reader begins to experience early pregnancy symptoms. The Jujutsu Council is constantly calling her for meetings to abuse her clairvoyance technique. Rumors about Gojo being engaged begin to circulate. Reader confronts Gojo and ends their tryst.

╰┈➤4/2015: Reader discovers that she is pregnant.

╰┈➤5/2015: Reader has her first ultrasound, confirming she is pregnant (See prologue). Reader comes to terms with her pregnancy and begins to hatch a plan to leave Tokyo and head west, pitching her idea as a way to "study cursed energy manifestations in other regions".

╰┈➤Early 6/2015- Reader informs Satoru that she will be leaving Japan soon, but intentionally does not tell him when. Late 6/2015-Satoru discovers that she has left. Satoru finally confronts the rumors of his engagement and threatens the Gojo clan to stay out of his personal life.

╰┈➤11/2015: Reader and Satoru Gojo's son, Haruto Myoji, is born a few days early on the 11th day of November, 2015.

╰┈➤12/2016: Reader meets Aya Takahashi, a former Zenin sorceress hiding in the same small mountain town. Haruto is one year old at the time.

╰┈➤6/2018: Yuji swallows Sukuna's finger, becoming his vessel. His execution is ordered, but Satoru Gojo manages to have it postponed.

╰┈➤7/2018: Yuji dies when Sukuna rips out his heart following the Eishu Detention Center mission. He is revived the following day, in the presence of Gojo and Shoko. Satoru starts to realize that this may be more than he can handle on his own. see Chapter One :)

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The rest of the story follows the canon timeline, as far as season one of the anime goes.

(If you're on the taglist for this story, don't worry! You didn't miss an update! I just want us all to be on the same page as we embark on this journey together. I promise I'm only halfway making it up as I go, teehee.)

[pastafossa]

hi most wonderful pasta!!! i have a question from me and my friend and we are wondering if the red thread is going to be following the born again show plot when it gets there? sorry if this is something you've answered already but thank you sm !!

I don't have a problem answering this at all, no worries!

Ok so

The official end of TRT (aka all the big outlined plans, shit with the Man in the White Coat, Project Beagle, etc), is going to technically end a bit after Season 3, just because if I don't put some sort of ending on that, it'll break the site. I've had that ending planned out for a long time where a bunch of our plot threads are resolved, and there's a nice bookend moment for Matt and Jane's relationship as a symbolic parallel to their first meeting. This does NOT mean, however, that TRT!Verse stuff will end especially because we know when I watch Born Again i will have thoughts

So right now, what I've got planned is:

TRT the fic finishes up, just post S3

Mystery fic that I can't reveal yet because it'll give away some plot things, but it'll be a good, happy fic, est 3 chapters

A Snap fic to give the TRT!Verse a specific 'canon' for the Snap (this is now esp relevant if I want to do anything for Born Again cause no way it won't be referenced). For a long time, because I'd planned this before Born Again was announced, I had a plan to write four variations (Matt is snapped, Jane is snapped, neither is snapped, and both are snapped). Now thanks to Echo we KNOW Matt was not snapped. Which leaves you readers with the mystery of which of the two Unsnapped Matt options I'll be making TRT canon. I CAN'T WAIT.

Smaller fic here dealing with Peter having everyone's memories wiped away, including how that affects the TRT crew.

This is where Born Again would be. I have a vague original plot idea that's slowly coalescing and that I'd be running alongside Born Again's plotline, whatever that is, but I want to see what they do so I can plan that more thoroughly!

And in between of course there will be little one shots. AND I can promise one Born Again comes out, I'll throw out some little itty bitty oneshots to give us samples and tasters of what Married Couple!Matt and Jane are doing cause obviously TRT's gonna take a bit longer to finish. <3

[romanceddawn]

i talk about yandere seto sometimes but in season 0 it is pretty much canon, like he is actively stalking yugi throughout the show and i think its really funny so heres a bunch of evidence of that:

the first time we see it is when he sends that first game master out, he's not only hiding to listen to the duel in the nurses office but its heavily implied that he's been stalking yugi for a little bit before that too

like at the end of the day anzu tells yugi not to go to the arcade and yugi kind of rushes off despite knowing he doesnt have the money, meaning this is a frequent thing he does, but whats more is that he's going specifically that day because someones told him theres a new game being unveiled. when he gets there he cant find it and has to ask about it, which is when we see a disguised kaiba lead him to the back alley to kidnap him (this killed me to watch btw, yugi has no self preservation, but it was cute that kaiba seemed to stutter when talking to him)

but this all means that he was watching yugi long enough to know he always goes to the arcade after school and that yugi wouldnt be able to resist coming, even if he didnt have the money, as long as there was something new to play. it also means he had someone plant the information that thered be a new game OR that kaiba just disguised himself and told yugi this which is what im choosing to believe

of course, then we get to see him actually stalking him in the triplets episode, literally driving by and watching him (which is so funny to think about cuz his driver must be so tired of him lol)

at first i honestly thought he was stalking the triplets but at the end of the episode there is no reveal that he wanted them out of the dueling scene or that he was even worried about them getting the card they wanted at all, he beat them extremely easily. his only reason for doing the duel is because he couldnt stand the thought of someone (that he hadnt sent himself) beating yugi before he could, so i think he was watching yugi, recognized the triplet, and got bothered by them trying to encroach in on his rival

he also apparently records yugi? this recording is just the first game master playing him that he shows to aileen, but who knows how many other times he's recorded him just in case he 'needed' the footage

this moment of him lamenting about being connected by fate is ooc for him and not really stalking but it is very yandere of him so im throwing it in here anyways

and of course i have to add the death t invitation because you know he was watching yugi and his friends that whole day just waiting for the perfect moment to hack into something and invite him as dramatically as possible (however i wont add any of the death t stuff cuz like. we know what happens and how obsessive he is there)

since having this in my drafts, the season 0 movie has been restored and posted to youtube and in it kaiba is technically looking out for rare cards but even then he's managing to get in some time to stalk yugi (also the way his employee says "i know sir" i just know they're so tired of his obsessive ass)

TDLR: yandere seto is canon thank you for your time

[valjeancrazylover2]

So... Who's Gérard?

Thinking about his stupid ass so I'm making a post LOLLL

If you saw my post about Marius' friends, you'll have read about the infamous Gérard Ambroise - hes a bit mysterious, a bit of a dickhead, but sticks around regardless. So.... who is he exactly , you might be asking?

Pre-note.... shoutout to @24601orwhatever as per usual for helping me develop all of this and being the one to suggest gérard be canonised in the first place! he wouldn't be alive without you! most of what you will read below in the byronverse section will probably have been suggested or , like. "yes, and"-ed by him. THANKYOUUUU!

Let's begin ! (this is going to be a bit long, sorry.)

FROM THE META ANGLE:

For those who are not part of the like, 5 people worldwide who are In The Know (or maybe there are actually people who pay attention to my deranged rants on my main blog, i dunno), Gérard is, technically, an actual character in Les Mis. Officially he is an unnamed student, and has some iconic lines such as Our world! and Marius, sit down!. You may also spot him at the start of the ABC café scene seemingly arguing with enjolras centre stage.

The character who runs that track is not called gérard of course, though i call every actor who covers or plays the role in previous productions "Fake Gérard"s. Gérard is ONLY Gérard when played by Jordan Simon Pollard, on the West End. He's even in the programme, twice!

Here's some more pictures, with his iconic glasses. (Didn't have em in the programme for some reason.)

The surname Ambroise is completely invented by me. The name Gérard however, the man himself told me, for which I am eternally grateful Thanku hero

And thats basically all there is to know about the "canon" character, other than funny little details i spot. Keep an eye out for him. His track runs usually further offstage so you might miss some of the drama (or him completely if you're watching a bootleg) but if you're like me you probably prefer to watch whatever the fuck the ensemble are doing instead of the leads (sorry, enjolras).

SO IT'S PROBABLY IMPORTANT TO MENTION that the Gérard in the show and the Gérard in my head are two different guys. The interpretation I have of his character comes from my insane mind flanderising little interactions into oblivion until he became this man with a personality like sandpaper. The interpretation that Jordan Simon Pollard himself has on the character is most definitely entirely different. If he somehow sees this, sorry promise i'm normal.

That brings us to...

THE BYRONVERSE ANGLE:

In the brick, i think its mentioned that 5 students escaped, disguised as national guardsmen? well... regardless...... somehow Gérard survived, a slightly meta inside joke about the fact that the first time i was actually paying attention to him in a show, i lost track of where he was on the barricade and he seemingly just vanished and therefore theoretically could have survived the barricade. However the last time i saw him he did indeed take a bullet to the face (while screaming insults, might i add). My canon doesn't follow brick canon word for word anyway, as i like some details of other adaptations better and they work better with my characterisation - whatever. not important right now ,, kinda ,,,

anyway, gérard was one of les amis d'ABC, obviously. A law student, like marius, but cared more about activism, politics and debate than he did his degree, hence joining the revolution. he locked horns with enjolras a fair bit, but was not all that outspoken or loud, usually preferring to keep his head down and judge the rowdy students from afar, shaking his head in silent disapproval.

During the rebellion, suddenly he was faced with the reality that he may very well die, but was still determined for the cause and fought hard, gaining himself a nasty scar to the jaw and a few injuries here and there , yknow, the normal stuff. (another slightly meta note here, in the show, i dont know whether it's jordan not being able to act firing a musket or what, but i first interpreted his shooting during the Attacks to be him looking away from where he was shooting before he fired. this was probably me misinterpreting a very quick glimpse i saw, but whatever, #adoptingintomybeliefsystem.

He got out alive, laid low for a bit, continued his habit of wall-hugging everywhere he went, returned to his studies as a student. His injuries were not so grave like marius' that he took significant time in bed, plus he's a stubborn bastard so would've been up and about anyway if he didn't have anyone to play dramatics around for sympathy.

Emotional scarring however WAS there, of course, and caused him to become a lot more withdrawn and bitter. He became highly defensive and generally abrasive. If he was not a people person before, he certainly was not now. I suppose that's his way of trying to keep his identity low to avoid, yknow.. getting arrested for being an insurgent. just glower at everybody so they leave you alone.

He met marius completely by coincidence - if you read my last post, and as you'll find out if you read the fic when it releases, he was drawn in kind of against his will by Marius' friend René (another law student who dngaf about the law, just wanted to meet people and get the gossip) who saw his Mysterious Aura and got chatting. Gérard noticed something familiar about Marius and vice versa, and found them strangely drawn to each other.

They find each other utterly annoying. They cannot be left in the same room or marius will feel so awkward he will literally fold up and gérard will burst a blood vessel. Gérard will not shut up about politics, which reminds Marius of Enjolras, which brings back memories, which- its just a whole mess. but they have a warriors bond nobody else understands.

and thats the gist, i guess?

so its time for my favourite part ...

INCONSEQUENTIAL CHARACTER DETAILS THAT I THINK ARE FUNNY

He's an absolute train wreck of a guy, as i'm sure you've already gathered. he's rude, unpleasant, a repressed homosexual and an outspoken radical.

Another little meta joke - there's another ensemble character Jordan Simon Pollard plays in les mis. another unnamed character, but he in fact gets TWO lines, in the intro to Master of the House - "Landlord, over here!" and "God, this place has gone to hell!". He told me this character is called Willy Wonka, so we'll call him wonka for now, because previously i was calling him Tall Jean or Jean 3, and willy wonka i fear is more insane and also the OFFICIAL name from the guy himself so who's to argue.

anyway my point - Gérard has a brother. i'm sure you guessed it's wonka. we did indeed canonise that connection, for a laugh .

Yes the only official photo of him has luke's arm in the way. Oh well! You know it's wonka because of the red coat and brown hat. yknow... like willy wonka...

Anyway. his deal. sometimes in the show he will pull out some perfume and spray himself, so let's assume he's a) gay b) into perfume. He seems to be a much more amiable guy than his brother, chatting with other patrons at thenardier's inn (and even sometimes flirting with other men. saw him sit on a dude's lap once. most recently a guy came up to him while he was stood in the doorway gayly and the guy dragged a finger down wonka's stomach seductively. sometimes he dances with the ladies too, so he's either a gay for the girlies or bisexual, you choose) and even dancing around and joining the festivities, overall having a GREAT time , GOD he is SO fun to watch onstage i can HIGHLY recommend. he's tall, dressed in red, camp, and always smiling, he's hard not to miss.

Him and gérard don't really talk. He won't come up much in future, but he's here and he's queer!

(there has been some discussion of other JSP ensemble characters being relatives of Gérard, such as the wedding guest in Beggars at the Feast - who thenardier flirted with and nearly kissed last time i saw the show - but none of it has been wholly funny enough to be canonised at all. From a byronverse standpoint, Marius did not know Gérard at the time of his wedding, PROBABLY? timeline is still, uh, nonexistent?)

(the timeline issue also struggles with wonka's age in relation to Gérard's, becuase obviously Master of the House is 15ish years before the ABC café, so should wonka be significantly older than his brother....? yes. probably. but i don't think about it too hard. he's just......... older than gérard by a nondescript amount of time.. it's not really important and i can tweak stuff to make it work, WHATEVERR)

AND LASTLY, the funniest shit ever, the Gérard Ambroise situationships.

When jordan was on with milan valjean, they'd talk and interact during drink with me off to the side. I'll let you make your own assumptions there.

As mentioned, he's a repressed homosexual. he is in close quarterd with the aforementioned (some time ago) René Gignac, who is VERY camp, very effeminate, participates in the homosexual underground of Paris, the WORKS. Gérard has very conflicting feelings about this man, because on one hand René just LOVES to rile him up by saying purposefully stupid things whenever Gérard makes a political comment. and he can't just back down.

he assumes the hotness he feels in his body is to do with the anger, surely nothing more.

Anyway they at some point get together, its weird, its uncomfortable and awkward, they break up. and get together. and break up. and get together. and this repeats, like, a thousand times throughout the time they know each other. literally the WORST couple ever, to the point where everyone kind of loses track of whether they're together or not, because it's really hard to discern when they are, becuase Gérard is a bit ashamed and René is purposefully trying to piss him off.

René this whole time also has a crush on one of the other members of the friend group, Albéric, but this is mostly superficial and he just thinks he's hot . Albéric is not interested and René knows and respects this, however this does not stop him from pretending Gérard is Albéric whenever they kiss.

There's not much to it. it's textbook toxic yaoi .

it does get funnier however when René does, one day, meet Gérard's brother WHO you will remember is also effeminate and likes perfume - just like René. Needless to say they get on SWIMMINGLY, wonka probably sells rené a perfume or two, and ultimately get together. René does not tell Gérard this. he does however find out because René is wearing Gérard's older brother's perfumes, and Gérard is furious . you can imagine the kind of argument that'd follow.

Whether rené and wonka end up happy i DON'T know. havent thought that far but it was the funniest outcome to me after the disaster that was rené and gérard's "relationship".

ANYWAY! thats all i have to say on this freak. hope this was at all comprehensible. here's an audio clip of one of his wonderful lines in Red & Black.

[ashenquill]

IT'S SCAR TIME BABAEYYYY HERE COME THE (head)CANONS

He's my favorite which means he suffers the most so this post is a little bit of a downer, not gonna lie. But there's silly stuff in there too I promise!!11!

Scar's full name is Scar Conn Goodtimes. You may be asking yourself: what kind of name is that? How is his middle name con? What kind of parent would do that to their child? WELL, the answer is BECAUSE I SAID SO. Idk I just thought it would be goofy if convex had the middle names "con" and "vex". Soooo yeah lol

As far as origins and backstory are concerned, Scar is half vex and half elf. His mother was a vex hybrid, and had two kids, Cub and Scar (I'll post about Cub tomorrow probably). They're technically half-brothers, but they don't really care enough to talk about the logistics of it. As far as they (and everyone else, atp) are concerned, they're just brothers. Plain and simple.

Scar and Cub grew up without their parents, and were primarily raised by their maternal grandmother, the only human in their family. She taught them anything she knew about their mother, their fathers, and their magic. Thus, Scar and Cub practiced with their vex magic until they were finally able to properly wield it. (Vex magic has many capabilities, especially among family members, but the primary way it manifests is by having a particular trait that it can amplify. Scar, for example, can amplify someone or something's strength.) Scar had a tougher time with it, and it often backfired on him. That, combined with him being incredibly accident-prone, is how he ended up suiting his name so well.

In his late teens, Scar sustained an injury that caused major nerve damage and hindered his ability to walk, but with his magic he was still able to walk with the help of mobility aids (such as canes and crutches, and after a few years, a wheelchair). He refused to believe that it was irreversible, and when Cub made him a set of magic-powered walking braces, he thought his problems were solved. But that is not how chronic pain/illness works, even in a world with magic. So, he still uses a variation of aids, but the braces have to be used sparingly, as they draw from his magic and tire him out more quickly. That's why he mostly uses them when he's HOTGUY YEAH THAT'S RIGHT THIS IS A SUPERHERO AU.

Hotguy was hired by King Ren to head the Royal Guard and protect the city (and the king) from "nefarious evildoers". Of course, he mostly uses it as an excuse to play superhero, to which Cub is unwittingly dragged into. He's Scar's "guy in the chair", and even though he mostly just complains about Scar taking unnecessary risks, they both know he loves it.

More fun facts:

Smells earthy, like grass & pine trees

Hybrid: elf & vex (mixed) ((I’m not projecting you are))

Street smart - Special knowledge of city layout, people-pleasing, manipulation tactics

Likes: coffee (only drinks black coffee on bad days, usually gets something sweet and fun, he's totally a pumpkin spice latte girly), bird-watching, movies, theme parks, cooking/baking

Dislikes: golf (he goes with Cub anyway), reading

Passions: justice/fairness, nature (landscaping, birds), Scarland 

Habits/other details: skin-picks, eats water (with a spoon)

Active in his environment - takes advantage of being overlooked, sort of dejected/resigned to ableism against himself (but never others), not usually aggressive but might try to control situations in other ways, good at finding out information but doesn’t always think to do so

Special, plot-relevant skills: archery, charisma 500, magic = strength

Terrible sleep schedule, somehow a morning person

I love him dearly so I sometimes make bad things happen to him this is just the basic law of author projection <3

[brsb4hls]

Good Omens Spoilers:

I'm off work now and can sort my thoughts a bit.

So far I've seen only positive reactions and some posts complaining about criticism (which I have not seen in itself).

I very much feel there's something missing in the discussion.

I'm not gonna spoil people's fun and I certainly will enjoy fan stuff, but I cannot stop being pissed.

And it's not about wether Aziraphale reciprocates Crowley's feelings and if they are a canon romantic couple or not.

That's not the point. The point also isn't dolphins, it is that I feel that Gaiman perverted the original core of Good Omens.

He might have done it for angst and a dramatic build up and he might resolve it if there will be a third season (which cannot be guaranteed, so THAT ending could be what we have to live with), but whatever the reasons, he did it and it leaves a bad taste.

To me the point of Good Omens always was that heaven and hell as a strict and rigid concept were equally horrible.

The 'good place' so to say was always earth.

And being a human on earth was about being accepted with all one's quirks and also making one's own decisions.

If I remember correctly those points are mostly made by Adam (who actually is the main character of the book, it just has so many colourful supports you wouldn't notice).

So Aziraphale and Crowley fit way better on earth, because they're both too unique for a rigid corporate structure.

They already are their own little team even if Aziraphale sometimes displays a holier-than- thou attitude and needs Crowley to remind him what he would loose, if earth were gone.

So they both defy their respective bosses to keep the niche they carved.

The first season of the show manages to keep that core statement despite changing the characters up a bit.

And it ends like in the book, with Aziraphale and Crowley fighting the system and winning, being free.

And now it's all set back and actually made worse by Aziraphale willingly going back, as long as he's in charge.

In the show, Aziraphale was bullied by his superior and now takes his job. He thinks he can change the oppressive system from the inside instead of abolishing it altogether, or staying clear of it, because it is 'toxic'.

And yes, I did notice that tiny bit of blackmail from Metatron regarding Crowley, but after all that happened THAT should have given Aziraphale a clue about what he is getting into again.

He also doesn't seem to suddenly know his best friend of 6000 years anymore.

Crowley never had a problem with being a demon. He had a problem with how hell treated him.

And a problem with how heaven reacted to asking questions, which is a thing he loves, so why would he want to go back?

On earth, Crowley was completely ok with doing minor mischief and performing demonic magic.

And Aziraphale technically knows that, but he tries to drag Crowley along for purely selfish reasons. And on top he seems to think that as a demon Crowley is not good enough anymore.

And that completely goes against the point.

The point that has been made very clear before and made book and parts of the first season so great.

Gaiman let the system win.

(and pull Aziraphale back in after he successfully got out. That's like someone taking back their horrible job at the factory that pays minimum wages and pollutes the environment as long as they're forman).