#but also when have i ever been wrong about my animation takes

[mayullla]

Title: His Dream Wife

Character(s): Richard (Original character / Original work)

Synopsis: He always wanted a perfect family, but life never gave him what he wanted. Instead, he was blackmailed into marrying a gold digger. But after seeing you for the first time the wife of his friend all he could think of was you. So don't mind him when he was given the option to swap his wife's consciousness with yours he took that chance immediately.

Warnings/tags: Yandere Dilf x meek reader, yandere pov, general yandere themes, body swap between reader and Yandere's wife, cheating (not done by reader), arranged, baby trapping, Yandere wants that traditional wife and lifestyle. Word count: 4.2k (Please tell me if I miss anything!)

Note: I just finished reading the webtoon "Marry My Husband," so you can probably see many small ideas taken from it in this story!

Ever since he was young, Richard had fantasies and dreams of a perfect family. He always loved the idea of someone relying on him just as much as he would on them, and someone who would love him exclusively and trust him completely. Maybe that was why he liked wolves, having been told back then that those animals would mate for life. He liked that. He wanted that. Friends were nice there is nothing wrong with that. But there is something about a family that he wanted. Maybe it was because he was jealous back then of how affectionate his grandparents were between each other, while his parents were far from that.

That was what he wanted and well maybe he started to want a little more the older he got. He wanted what his grandparents had, he wanted what the movies had… he wanted what his fantasies had. He loved the idea of a family, coming back from work to an affectionate housewife with her tummy big inside a second or third child while holding the first. The idea of kisses between each other, while his lover irrupts in giggles, playfully pushing him back telling him that he should not let the food turn cold or let the kids see them.

Someone he could spoil and give everything to while she relied on him and his money. He would work hard every day just for her and the kids, to give them the home they deserve. She would give back by cooking and cleaning the house, anybody knows that those things are hard work and everything takes time. But she would do it for the both of them, for him. 

Yet he wasn't able to attain that dream. He wasn't allowed to have it. He attracted the attention of a viel woman, who had used any and every blackmail to tie him down to her. He was a manager at a big company already quickly climbing up but also came from a rich family, he unwantedly got the attention of a woman who was greedy for money and something handsome. 

And her own manager was ripe for the picking.

She did many things but somehow he was able to avoid many of them however that could only go on for so long. She was cunning, too smart for her own good. He didn't know how she did it, it made him furious at what she did waking up in a hotel with her right beside him. He had no memories of the night yet she did when she told everyone that she had his baby a month later.

Everyone was frantic, his parents especially who cared so much about their appearance and reputation than anything else. While he hated them for the lack of love or care only forcing him to their whims to get a word above their acquaintances and rivals. The idea of him their own son mudding their name with the fact that he got someone pregnant without marriage made them furious. They wanted him to marry her immediately and he had no choice not when they held his job, reputation, and life above him not when that woman too did the same with her connections and people behind the scenes. It was idiotic that he fell into her hands like this, no matter what he did she did not let go and sank her claws deep into his skin.

Richard wanted to know if this child was his, but there was no time when everybody demanded his and that woman didn't give him a chance to check. Only to cry after the marriage that the child from miscarriage due to stress from his selfishness. Many blamed him even though he knew that she was lying this whole time but no matter what he said her crocodile tears worked far better than any explanation.

He was furious, angered by everything that happened but he wasn't allowed to do anything he wasn't allowed to break up with her. His life, everything that he worked for had turned to nothing by this woman. She could care less about love or something genuine and only cared about his money, demanding that he give her money to go shopping to buy expensive brand items and clothing while also going to parties and bars with her friends coming back home late leaving only a mess with how drunk she was.

Some days she would not come home at all and he assumed that she was with another man, as he didn't give in to her sexual demands even if they were husband and wife. At this point, the idea of touching her body even her hand disgusted him.

He thought he lost everything, he felt hopeless when he could not break up with that woman who made sure that he could not have a divorce without destroying his reputation and paying her a huge amount of cash. She was insane.

Rather than be with her he would rather drown in his work in his office. The house smelled like her strong perfume that could only make his head hurt the moment he took one whiff of it even though that woman wasn't even in the house having already left to head to the next new bar that opened up in the city.

That was his life, he genuinely thought that this was his ending, a story that didn't end so well, yet unable to change anything with knives around his neck daring him to move. But in the end, nothing is concrete, sometimes all it takes is helping an old lady who just so happens to be a fortune teller. 

Typing away at his computer late at night in his office as he looked at the time, his thoughts could not help but let his thoughts drift for a moment. Richard closed his eyes slightly burning from looking at the laptop for too long. Leaning his chair, he pulled his tie down a little as he thought about this afternoon when he helped out a poor fortune teller the old woman after picking some stuff up at the market, who looked to be in her 80s stuck outside homeless and struggling to open her shop. As she had dropped something that had rolled towards him he picked it up and gave it to the old lady. He didn't know what moved him to help her. But as a present, he had gotten a small viel.

"Thank you for your help. You are quite the hard worker." The old woman said, sitting on the chair when everything was finally set up. She looked at him with a sly smile on her face. The old woman he later realized had a way of speaking, that wasn't normal. Weird yet at the same time sharp... too sharp. “Too bad you are stuck with such a mean spirit woman. How you handle such a woman for so long now… I am impressed.” Sharp as in she knew too much than he would have liked for a stranger to know.

"Buahahaha, don't worry boy this would be the last you would ever hear from me after this." The old woman laughed at his stiff glare. He didn't know how she did it but she seemed to know a lot about his relationship with his wife and the trouble that he was in yet at the same time she had a knack for poking at his sore spots. 

Before Richard could think about calling the police she suddenly pulled out a vial inside containing a blue liquid, "You help me with my little trouble so I want to give you a little something, that could help you with your own little trouble. Besides, I couldn't resist helping someone in need.” 

“A little swap potion, let your wife and your sweetheart drink it and they will swap at the start of the next day. The lil spell would wear off in a month but if there is nothing to return to… well then that means nothing could even happen. Dont yah think so boy? Haha!” He took the vial from the lady, thinking about throwing it when she was nowhere in sight. The creepy grin didn't match her so-called kind action, but she was not finished with talking.

“You better move fast my boy, that woman will make sure you will be dead before a year. It is very easy to hide evidence with a car crash.”

After that, it was difficult to throw the thin vial. Part of him could not drop the liquid into the bin, so he stored it on his office desk, locked but with a key, along with other important documents and such.

"Richard!! Why did you not show up at the dinner party?! Do you know how much embarrassment you have caused me?" his wife screamed. He couldn't help but groan in annoyance the moment he walked through the entrance. It was too early in the morning for such screaming, but she just continued on and on: "And why are you here now?!! It is the next day!? Explain yourself!"

"I don't need to explain myself to you at all." Walking past his wife who was glaring daggers at him. The more he learned about his wife the more he realized that she was similar to his parents, cared only about reputation, and was selfish putting themselves first before anything else. Hypocrites. "I had to finish up some work so I stayed at my office. I needed to finish all the file work before the meeting." Unlike a certain someone who would come home the next day afternoon after being in someone else's arms. 

Walking into his own home, he could not recognize it... everything was thrown about and trashed everywhere. Expensive decorations on the floor and shattered. Sofa and pillows ripped letting cotton spill from them. Walls wet and dirty with glass cups, and pots of plants shattered on the floor. Looking at everything he kept his anger internally holding everything in as he continued to walk towards his office and bedroom locked with a key.

This wasn't the first time this happened, he had found out that there was no use to teaching someone who saw no reason to change her ways. He just needs to call in some cleaners, replace the things that broke and that was it.

Heading to his home office to place his bag on the table he suddenly received a text on his phone. Pulling out the device to check who it was while the woman continued to scream at him.

"That doesn't explain why you didn't tell me you couldn't join the dinner!" It was because she wouldn't listen, no matter what. If he had told her, she would have either demanded that he come or screamed at him—first on the phone, then again when he got home. "Answer your phone when I call! Are you even listening to me?!"

He knew of the calls and messages. She had been calling non-stop and texting for an hour since he didn't come to her friends' dinner. He just didn't care to answer and left it on mute to let him focus on his work. Looking at the sender he couldn't help but sigh.

"Hey, I am talking to you!" Her shrill screaming was mind-numbing as he got his clothes unable to stand her voice and would rather change elsewhere. "RICHARD!!!"

He quickly left the house and got into his car, ignoring the high-heeled shoe that was thrown at him—missing as it landed. Starting the engine, he drove off, tuning out her shouts.

It was past midnight, and he was alone on the road. No one else was in sight. As he waited at a red light, he pulled out his phone to check a message. It was from a "friend" he had made at university, inviting him to dinner the next day. The guy had always been friendly—or at least tried to be. He had the personality of a know-it-all, and while he didn’t care for him much, it seemed the guy had once considered them friends. That was until money and popularity got to his head.

The guy knew a lot and had multiple connections and friends, he was the one who helped him find a cleaner will to keep silent about everything that happened in the house after the housemaid quit due to his wife assuming that he and the maid had done something sexual in the bedroom. The woman was crying as her hair had been pulled and her face slapped by his wife.

He also had seen the lust in that friend's eyes whenever he looked at her. Even after the guy was married for over a year he still looked at another wife with lust, it was disgusting to Richard that his friend would do such a thing but as the guy had helped him with a few of his troubles he didn't just cut him away.

The message was an invite for a double date. Having just left his house and his furious wife behind (not that he would ever take her anywhere unless absolutely forced), he tried to decline, saying that his wife was a bit "busy."

[Dude, dont worry about it and just come then.]

[Won't it be awkward for your wife?]

[It doesn't matter she would just say that it is fine either way.]

[Don't leave me here with her. You have already talked with her either way it is not a problem anymore. ]

From what he remembered it seemed that it was an arranged marriage between the two. Something that was decided by their parents for the benefit of their companies. The guy absolutely hated the fact that he was pushed into this marriage and had nothing good to say about his wife but that was a goody two shoes and boring. "She lacks the wildness that I am looking for." The guy said he was drinking in a bar one time having called him to express his frustrations after an official meeting with her. "She probably doesn't know anything except how to clean dishes.”

"I would not leave the house with a babe like yours. How do you keep everything in your pants?" The guy asked too drunk from all the alcohol to be careful with his words. "You might like my fiance a lot with your uptight attitude and lack of fun. Maybe we should switch wives later. Hey, wanna wife swap one time? It would be fun~~."

He had ignored the very obvious lust in the guy’s eyes, choosing not to address it and instead steer the conversation elsewhere. In the end, between hiccups, the guy told him he’d introduce him to his future wife and insisted that he should come to the wedding.

A few days later, with the invitation in hand, he attended the wedding. There, he saw the guy’s wife—and he was absolutely floored.

It was just a moment. A fleeting glimpse. He caught sight of her for only a second, walking toward his friend across the hall. Through the open door of the bride's room, he saw her, and he froze.

She was stunning.

He could not believe that a woman like you would become the wife of the guy. He wanted to take a step back to see you again, yet when his wife called him he was forced to start walking again not wanting to cause a scene due to her fickle pride. 

After all, he could see you again on the walkway when the wedding starts.

But he didn't want to leave either way.

Seated on the husband's side as the music stopped hinting to the guest that it was about to start soon. He watched as his friend walked the aisle, knowing but not commenting on the dirty slutish look his wife was giving to the guy looking at him up and down and waiting for you to show up.

You arrived soon after, dressed elegantly and sophisticated holding bouquets of flowers. He noticed how pretty you were, your walk and movements were elegant and soft, a far cry to his wife who walked to call the men's attention dressed a little too revealing for the formal occasion.

Would he have married a woman like you if this wench hadn’t come to destroy his life? Would he have married you if your parents and your friend’s family hadn’t forced the two of you into it? If this wasn’t some kind of mask, and this really was you, he wouldn’t have any complaints about being stuck with you. In fact, he would have demanded it—forced it, if he could. But that wasn’t how life turned out... You were not his.

The wedding soon came to an end and that was it. Legally you were tied to his friend while he was already stuck with his own problems. It wasn't fair. He just couldn't let it go as he stayed in his seat even after the end of the wedding speech as everybody started to leave to eat and dance. While his wife went to meet up with the groom he stayed where he was just thinking.

How surprised he was that he ended up meeting you so soon.

The guy had invited him to dinner a few times and he quickly understood that it was to have someone else in the group after the guy was forced by his parents to take you out a few times. But that didn't matter to him when he was finally able to talk to you, to chat with you.

When he reached the restaurant, the guy stood up after a small conversation, stating that he needed to run to the bathroom, take a call, or use some other excuse he had up his sleeve. He left the table for as long as possible only to come back near the end with maybe a lipstick on his shirt or something. And if Richard’s wife was there, the guy would start subtlety flirting with his wife, uncaring if he or his own wife was there, not that the woman herself cared.

He pitied you, as you kept on your smile even when your eyes swirled with an understanding of your place, yet at the same time, you were still so hurt. You were silent for the most part keeping to yourself.

You and he become rather close but not really, it was a kind of comradery of your situations or that was what he would like to think. Whenever you and him were left alone, rather than keep the awkward air around he would start to talk to you.

You were a little flustered at first but slowly you started to get used to talking with him. Chatting amicably as if enjoying the conversation between you and him. He also did enjoy conversing with you. No heavy topics, it wasn't business or anything to do with work but stuff like traveling, hobbies, and favorite food. The things that you would like to do if you only had the time or chance to do them. 

You weren't loud but you were delicate, gentle, and easy to fluster too. You were polite and careful with your words but also curious asking him many questions when he talks about his own stories. You would keep all your attention on him, even if he noticed you didn't seem maybe that interested in a topic or two.

There was one time he went to your apartment, an invitation from your husband who invited him and his wife. Your place was in a high-end apartment probably paid by the family, with decorations that were chic and modern but there was also a homely feeling to the place, cleaned and cared for with love, unlike his messed up house. The smell of the house was similar to that of a fragrant laundry detergent instead of strong perfume. Just for a moment, he realized that you were the one who did all this when he saw you coming out from the kitchen unwrapping the apron you were wearing.

Just for a moment you gave him an actual vision of a home, a vision of what he wanted so much and could have had yet was taken away from him. You gave him a vision of what it would be like to have a wife who cares so much. 

He could not help but crumble and fall.

He started to crave for you, the more he chatted with you the more he fell every night he fantasized about you in his arms. He wished... he craved for you so much that he thought he started having delusions that you were his. At night, he couldn’t close his eyes without seeing you clearly in the darkness.

But you just had to break everything, you just had to slam a hammer to his dreams and fantasies just like everyone else.

"I'm sorry," you said, a sorrowful smile on your lips. "I know my husband is using you to get out of our date. I apologize for taking up your time when you're so busy. Please, I’ll make sure this doesn't happen again. You don’t have to come every time he asks you to. I’m sure you’re busy too."

Why...? Why did you say that? He thought you knew that he already understood. He thought you knew that it didn’t bother him at all—especially when you both always had such enjoyable conversations. Why did you apologize? Why would you tell him to stop coming? Why were you pushing him away?

Your eyes looked at him in sorry and guilt and it clicked you were scared you were so scared that something wrong might happen. Because in the end, you were loyal, loyal to a man who didn't even love you.

It made him livid. 

Even if you thought you knew more than he did, he was the one who knew more. He knew well what your husband does on nights that he isn't home, where he goes, and what he does there. In Richard’s own house, he could hear the sounds of two people with familiar voices thinking they were alone. 

His wife and your husband.

You didn't know that, while you probably knew that he partied every day you seemed to have hope that he didn't have the audacity to lay in bed with another married woman much less the wife of his own friend. He didn't care who that guy lay with, but it made him irritated that a guy like him had you.

That appointment ended up awkward. Too awkward as both of you waited for your husband to arrive. The guy knew something was up the moment he arrived but seemed to choose not to say anything having enough tack not to right at that moment when he usually didn't.

Looking at the message again he sighed declining the invite again even when the guy tried to put up a fuss. It was just that he could not face you right now, not when you made it clear that all you felt towards him was guilt.

If only it was you... if only he had found you first if that woman didn't chain herself to him using blackmail and connections.

If he could just swap his wife with you he would have been happier... he would have the life he wished he had and he would spoil you with all his love and time. While you would wait oh so lovingly for him while cooking and cleaning while he worked to bring the money to keep you happy materially. He would be a better husband than your own and he already knew that you would be a far more better wife than his own.

But you just had to draw that line. That line of law and morality.

Watching the road as he drove, he could not help but let annoyance fester him at this whole situation till he saw a poster pass by him. Purple with a familiar design that he saw just this morning. Something to do with a certain fortune teller who knew a little too much and who gave him a small vial.

Truthfully he didn't believe in such things, but part of him had become so desperate that he just could not think straight. He was desperate and he knew that the old woman knew that and was laughing at him for it.

"Here yah go. This is a little something that would have cost a shit ton but I am gonna give it to you for free." The old woman cackled, she was having way too much fun knowing his situation. "If you plan to add this to a drink don't worry about the colour at all."

He didn't believe in such things. But there was a whisper in his mind a little spell in his brain that told him that this would work. That there was something different about that mad woman who probably lived only in entertainment.

His hand moved before he could even think about it, accepting the dinner invitation as he finally reached his office. It was supposed to be closed, but a few employees were pulling an all-nighter, so the building wasn't locked. In his mind, all he could think about was the life he once dreamed of—the life that had been taken away from him. All he wanted was a life with you, and that thing—that vial—would be the answer to all his problems.

[jellyfishsthings]

WARNINGS: this is quite angsty...no actual smut happens just a tiny scene. Also I messes around with some scenes so I feel like it doesn't follow the storyline in the series... that's about it... (should a do a part 2?) part 2 here, part 3

He was nursing a long drink of whiskey on ice as he stared at the blank wall. The year was 1963, and he was currently sitting on a lousy couch in Dallas. The apocalypse was going to take place once again mere days away. He felt bone tired, no one around him understood the stakes and the pressure he was under. He got out of his jacket a black and white photo. A young woman in her early twenties had a huge smile plastered on her face, her head was slightly cocked to the side and loose hair from the messy bun that rested at the top of her head framed her beautiful face. She seemed radiant, her eyes were crinkled from her smile and she seemed like a goddess to him. A piece of heaven that he left behind.

“Who's that?” Klaus whispered in his ear and Five jumped from the sudden sound and he glared at his brother. Out of all his siblings, Klaus was the only one who would understand him. “She is beautiful.”

“She is my wife.” Five said quietly. His voice was soft and colored in an emotion that Klaus couldn't recognize.

“Your what?”

“Are you deaf? I said she is my wife, or at least she was.”

“What happened?”

Five had been at the Commission for several years. After a failed experiment he had turned back to his twenty-year-old self. He had heard whispers of the Scarlet Angel all around him, everyone seemed to talk about his rival, especially in his presence. It was supposed to be the deadliest assassin of the Institution besides him. One gray day he was called into the Handlers office. That was when he saw her for the first time. A tall woman was seated on a chair, her beautiful face turned towards him as he entered the room. Five had never been one to find in someone's physical beauty but at the moment their eyes met he could swear that his heart skipped a beat.

Their first assignment together had been such a success, that they were stuck together permanently. Throughout the following years, Five found himself falling for her harder every day, with every word she said, with every laugh she caused from him, the way she always had his back and defended him whether she agreed with his actions or not. Their fights were the best thing that ever happened to him, she always found ways to leave him speechless, with her smart comebacks, the way she was animated when she got angry, her hands flew around her, her face got angry red and her hair bounced with her movements. He had never seen someone look so exquisite when they were yelling at him. She made him feel alive, adrenaline coursed in his veins. She always got the better of him. She was so… infuriating. On one of those occasions he finally had enough.

He grabbed her face and smashed their lips together to silence her. She was breathless when he distanced himself from her. Her eyes were wild and her hand flew to his cheeks, slapping him. Before leaving him frozen on his spot. They were supposed to be undercover as a married couple at the gala of their target. They had been discussing tactics and strategies when things escalated.

With a deep breath, he tried to calm himself down and headed back towards the ballroom, searching for his supposed wife. They stayed together all night, dancing and acting like a couple. It seemed natural to him to be this way with her. Having her in his arms, and showing her off. Finally a few minutes shy of dawn, they tiptoed towards a huge room where their target hid diamonds. Diamonds they were going to steal after killing him, so the crime would seem like a robbery gone wrong. Just at the last corner, they were almost caught. Five quickly hoisted her up before he pinned her to a wall and he placed his face on her neck. Her skin flashed and her heartbeat was rapid beneath his mouth.

“Play along.” He whispered sweetly to her skin but she was shocked by his actions. So he had no choice. He sucked at her pulse point receiving an immediate reaction. Her legs drew back on his hold, her back arched, her eyes closed and her lips released a quiet breathy moan. At that moment he knew he was already addicted to her. He couldn't hold himself back any longer. He bit and sucked on her neck and her hands tangled into his hair as she tugged at the short strands on the back of his head. She was moaning in his arms and her hips rolled against his. He raised his knee and she started riding his leg shamelessly. He wanted to be inside of her or he was going to burst. He wanted to shut her smart mouth so it would no longer fire comebacks at him. He unbuckled his belt and lowered his pants before pushing her underwear to the side and he waited for a confirmation to continue. She could ask him to kneel, to beg and he would gladly do so. Just to steal one moment with her.

A loud bang echoed through the walls and they snapped out of their daze. But the damage had already been done. Their partnership had been blown to proposition forever. And the rest was history.

Several years later, and many happy years together after being married in secret. It happened, their big bang, the thing that embodied the doom of their relationship. Five had always been a pessimist, even in his early childhood. He was a firm believer in Murphy's law, which stated that when something could go wrong in a situation, always expect it to go wrong. They had traveled in Germany during the Second World War. Five posed as one of the ranking officers in Auschwitz as his wife was expected to do the same. Only, she had been compromised and now she was one of the prisoners. The terrible labor that she endured every day was the thing that would plague him for years to come. After completing their mission and several wounds later they managed to get back to the safety of their home.

“Why didn't you listen to me?” Five snap in frustration and terror. His hands shook as he tried to stitch a big guss on her stomach. She looked paper thin, her bones were visible and her veins along with her arteries stood prominent against her pale skin that lost its color.

“I did. I disagreed with your plan either way. And we had to do something drastic. I took a risk and I lost. It happens.”

“And did it have to happen in one of the most terrifying places that ever existed on this Earth?”

“Snap out of it. You would have done the same. And always where we are atrocious things have happened. So you don't get to lecture me. I am my own person. I made a call and it happened to be wrong. But if I hadn't done that we would have eventually failed this mission. And you don't get to lecture me when you have done nothing but be untruthful to me since the moment this started.”

“Wh- what are you talking about?” Five whispered, his voice quivered with unshown emotions. He could see the inevitable impact between them before his eyes, he had just hoped he could have a few more moments with her. A few more minutes, a few more hours, days, or years. Anything really.

Her eyes were hard and full of hatred. She pulled herself to her feet. The pain that consumed her must have been blinding. The open wounds leaked with blood that stained her skin. She moved towards her coat where she retrieved a dark green notebook and she slammed it against their kitchen table, before placing her hands on her hips and firing a challenging look towards him.

“You know I want to get back to my family, sweetheart.”

“Don't sweetheart me. These equations are only for one person. So is there something you want to tell me, dear husband of mine?”

“Please let me explain…”

“Explain what? That this meant nothing to you? You are an egoistic son of a bitch Five. And I am done with you. And you know why? You made the mistake of placing a date when you started. Our wedding date. You have already shown your true colors. You can leave now. And you can take this, I don't need it any longer. Either way, it was fake and it meant nothing to you.” She said before throwing her wedding ring at him. It thudded against his chest and he caught it mid-air, as he watched her walking away from him and slamming the door of their bedroom in her way. He stood frozen in his place. It was done. The one thing that made him feel alive, the one thing that made him happy left him. He lost it under his own hands. The same night, he left a letter behind him before he traveled back in time, back to his family. To them, he seemed a shy seven years older than when he disappeared. But they didn't know about the two things he carried with him from his last life. Her picture in the breast pocket of his smart jacket and her wedding ring on his collarbones as it hung from a golden chain, both hidden from the world.

“Five. That is just … I don't know what to say.”

“Then don't. It is already hard to think about her.”

“How long has it been since -”

“Six years, eight months and twenty days. My early attempts to get back to you weren't really successful.” He whispered as he toying with her ring. It was gold and smooth to touch, his name had been engraved on the inside. It had been a blast to convince the person who made them that his name was actually Five. And he smiled at the fond memory.

“Will you ever see her again?”

“I don't know. The selfish part of me wishes that, but another part of me knows that it is better this way. Because she is free and safe from me. Klaus, if you don't mind … no more talk please.”

Klaus looked at the pained expression on his brother's face. He had never heard him utter the world “please”, at least not to him. So he simply nodded and stayed with him in silence before their peace was disturbed by their reality.

words: 1.781

[lynaferns]

An overanalization of a 3 second clip of the Ruin DCA for drawing references.

The ruin trailer - slowed and brightened clip - my design idea before the trailer came out (<- I'm still sad about this) - Updated analysis

I loved doing the hand page :)

Now do whatever you want with this information I'm throwing at your faces.

If I find something new I'll update the post.

When the DLC comes out I'll probably do a character ref of the whole endo.

UPDATE MAY 28:

I've been reading people theorys and ideas.

I think the eyes simply has a LED ligth that alternates between yellow/white and red.

I don't think they could ever blink, if you take a look to the original pre-ruin design there is no space for eyelids.

I've seen people talk about their mouth moving. I personaly think that if their endo was supossed to have a moving mouth then, those teeth are actually holders for more polished teeth, and the mouth wouldn't open but the teeth would move to make it apear they are moving their mouth.

Those shadows behind the teeth, I toke a better look and I do think they are holes! There are some positions they don't make sense as shadows so it must be some kind of rack or grating, posibly for the voice box.

A few people have comented about the shock absorbers in the legs, I didn't thought about that, it makes so much sense.

UPDATE JULY 26 (after dlc release):

So, I got right that the teeth moved, just wrong with the direction lol, why do they move to the outside and in that wave animation?

Also, there are no holes behind the teeth, they were actual shadows (I still think that it would have been cool if they were holes that faintly illuminated when they talk)

The spring of the broken leg is hanging without the support of the foot, that's why it was so hard for me to figure out the shape in the trailer (I'll put screenshots when I get to the pc)

Moon's hat is missing the bell :(

And the eyes aren't completely broken like I thought, just very dirty.

[thebestsetter]

He has never been afraid of dying.

Death doesn't fright him. He sees it as a natural part of the cycle of life. One must be born, live their life, possibly reproduce so their species can keep on existing and then die. All animals, be it a big magnificient whale or a little insignificant ant, have to do this too. This is what they all have in common (and honestly, it's beautiful how all animals have to experience this. It brings humans and animals closer).

Everyone dies, be it the sinner or the saint, the rich or the poor. Death doesn't discriminate people. It just comes and takes everyone (which is kinda funny, since people think that money or looks make them different from the other. They don't. We're all equal. The bullet that kills the powerful is also capable of killing the weak). And frankly, he's okay with that. He knows it'll happen.

Given his work condition, he knows he's more inclined to die than the average person. Everyday, he has to go out there and risk his life, saving hundreds of people he doesn't even know and sometimes not even getting a "thank you" back. It's frustrating, but it's not like he's giving up. Before he dies, he wants to make this world a little bit better. It probably won't be much, but he still wants to feel useful. He wants to feel like he did something good.

"Oh God! You're okay! You're really okay! I was so worried about you!"

He doesn't fear death. Which is why he doesn't understand why he feels like crying when you visit him at the hospital he was staying at after a mission that went wrong. Death doesn't scare him, so he's not quite sure why his hands tremble when they reach to pat your head. He shouldn't react like this. He's never reacted this way before

"Please, don't ever do that again! Never ever!" Your grip in his waist tightens to the point where his lungs are burning for air, but he still doesn't want you to let go.

"You have no idea how scared I was. When the hospital called me saying you were here, I felt like my mind was going a hundred per hour! Please, don't die..."

How can you ask him this? You both know it's impossible. He's going to die one day, it can't be helped. You can't escape death's claws. No one can escape their funeral. You're torturing him. You know he doesn't like to lie to you. He can't just say "I won't die" cause it's simply not true!

"Please don't die" you repeat, and his hands movement comes to a halt "Because I'll be lonely if you die. Don't leave me alone, please."

And suddenly, it all makes sense.

He still isn't afraid of dying. But suddenly, the mention of death leaves an itching feeling at the back of his throat. It makes him sick thinking about you going on with your life, possibly mourning over his death for a long time (he doesn't ever want you to be sad, especially not because of him. Strangely, a sick, twisted part of him wants you to cry when he dies. To be sad. To not move on fastly. He quickly supresses those thoughts though) and then completely forgetting him and starting a new family (this thought makes him sick to the stomach. He feels like a very bad guy when thinking about how he doesn't want you to find another man to replace him. You always said he was irreplaceable after all).

He will forever be someone who was, not someone who is. He'll be lost in time, a name you'll mention once or twice on a conversation while smiling and thinking about the good times you had together.

He'll never hear your laugh and your voice again, will never take you out on extravagant dates and have movie nights watching silly movies and laughing at the special effects. Leaving you alone in this dangerous world feels almost criminal.

Death doesn't make him feel bad. Having you forget him after he dies makes him feel like absolute shit.

And so, even though he can't promise you that he won't die, he can promise one thing. He grabs one of your hands in his, looking at you as serious as he can be.

"You won't ever be alone." He says, and you feel like crying. He then smiles weakly "I promise. I love you. Our love is too strong to be stopped by death." He kisses your hand and then quotes the same sentence he uttered at your wedding day "Remember? 'And if death do us apart, I promise to find you in every other timeline.'"

And just like he did that day, he props up in the hospital bed and kisses you.

MEGUMI FUSHIGURO, ITADORI YUJI, Gojo Satoru, Inumaki Toge (or maybe I'm just a glazer ☹️), Nanami Kento (idk, I just feel like it fits him), TODOROKI SHOTO, Bakugou Katsuki, Kirishima Ejirou, Izuku Midoriya, Aizawa Shota, HAWKS + any character you think fits this!!

~ A/N: this can be read as a sequel of another fic of mine. It also can be read on it's own though (but please, do check the other one if you're interested!!). Also, you can see some Hamilton songs' references here and there (cause I'm a theater kid 😔) AND this was inspired by a line in "Cowboy Beebop"

Masterlist

[animementrash]

Things that make him blush

Character: Levi Ackerman Tags: Headcannons, implied close relationship with reader, no pronouns used for reader, non proofread, just some self indulgent shit. A/N: The Levi brainrot is going strong, sometimes I wonder why I write most of my stuff about him when theorically he isn't my top #1 anime crush (theorically). I think this has to do more about the fact that I kin him a little and by imagining pampering him somehow means pampering myself. I don't know, there's just something about him that makes me feel calm and warm inside. Anyways, hope you like it! and as always, thank you for reading! ♥

Complimenting his hands and/or hair.

He rarely gets compliments about his appearance, let alone about something so trivial as his hair or hands. When you mention how he’s got the prettiest hands in the scouts or how his hair is always so neat, he’ll just look away embarrassed and mumble a “thanks” while his cheeks turn pink.

Calling him “pretty”.

Never in his life has he been called pretty. He may have heard here and there someone calling him handsome or attractive, but pretty? Not once. His brain freezes when you call him pretty for the first time because, what do you mean he’s pretty? For him something pretty is a flower or maybe a sunset, not him. But when you say that word so tenderly and full of love to describe him it makes his heart swell and his eyes teary.

Noticing small details about his appearance.

Him being so meticulous applies not only to his surroundings but also his persona, so when you mention how his cravat is always sitting so neatly on his neck or how the collar of his shirt is always so crisp and perfectly ironed, he feels seen and it makes his cheeks blush in appreciation. Not that he will ever mention it.

Talking into his ear.

Whether is a silly joke you come up with during a meeting or an important memo that no one should hear besides him, if you get close to him and whisper into his ear all his muscles will tense and a shiver will run down his spine, there’s something about being this close to you that makes his heartbeat run wild and his cheeks blush furiously.

Touching him slightly.

Nothing will melt his heart more than casual touch; the kind of mindless, unintentional touch you may do like when you’re passing by and he’s on your way so you gently place a hand on his shoulder to let him know you’re passing through; Or if he’s too busy reading a document and in order to get his attention you squeeze his bicep softly. This kind of interactions make him a blushing mess and he almost always has to excuse himself before you notice how red his face is.

Look at him without him knowing until there’s eye contact.

Something about him looking your way and noticing you’ve been looking at him for a while make his stomach feel full of butterflies and his ears turn red with embarrassment; it isn’t the kind of was-I-being-weird embarrassment but more of a they’re-looking-at-me kind of embarrassment, he feels seen and it makes him nervous.

Do a random act of service for him.

Tell him you’ve done one of his assigned tasks before he gets the chance to do it and he’ll melt right before your eyes; especially if it’s something he hates, like dealing with the new recruits or sweet-talking a visitor so they can donate to the scouts; Though his reaction is not only reserved for big actions like those, it is more about you taking some of your time to help him, that’s what make his heart flutter and his cheeks burn.

Touching him in areas that may not be too common to do so.

This isn’t related to any kind of erotic or suggestive touch, it is more about you touching his thigh while helping him with his ODM gear, holding his hand when he helps you get up or rubbing his ankle when he complains about landing wrong on his feet; This is about you touching any part of his body that isn’t usually touched by anyone else but him. There’s something about feeling someone else’s hands on those parts of his body that make him stammer a bunch of nonsense before almost running away nervously.

[knifedog-machina]

(Non)Humanity and Species Dysphoria: the Forced Transformation Trope

Written by Gavin on August 25, 2024.

As a nonhuman, do you ever think about why there's so many stories and myths and legends about humans being turned into animals? You ever wonder why it's usually a punishment or a curse, or why the characters try to do whatever it takes to become human again? You ever think, "I don't understand, I would love to be an animal and get rid of my human body, what's the problem?"

As a human myself, one whose system has been in the alterhuman community for years, I hope I can help bridge the gap of understanding here.

The way many humans see being turned into an animal as a curse, the way they'd be incredibly distressed about becoming nonhuman?

That is species dysphoria.

That is a human experiencing species dysphoria, because being perceived as nonhuman or other-than-human causes the exact same feelings of pain and wrongness and disconnection from their body that a nonhuman can experience when perceived as human.

(Particularly, this might be an orthohuman, someone who has a normative relationship with their human cultural and species identity, as opposed to an alterhuman, who experiences alternative/nonnormative humanity or a species identity separate from humanity. Human alterhumans can also experience this sort of species dysphoria - hi, I'm one of them.)

Imagine being your species your entire life, the way you know you're intended to be, living in a body you're comfortable in - and then having that body ripped away from you. Being forced to live in a form that doesn't match who you are, what you know you are, and desperately wanting to find a way to change back because you know you're not meant to be like this.

If this sounds familiar because it's what you experience as a nonhuman - that is how a lot of human beings feel about being transformed into something nonhuman. It's the feeling of being the wrong species! It's the desire to return to the form that you know as yourself!

The fact that orthohumans are born into the species they identify as does not mean that they could never comprehend your nonhuman experience. You can explain your nonhuman species dysphoria to an orthohuman. Given all the examples of unwanted transformation stories throughout human history, I think you're likely to find that they'll understand when you put it in that frame of reference.

"How would you feel about being turned into another species against your will, leaving behind everything that feels good and right and comfortable about your human body? That sounds horrible, right? That's how I feel, being nonhuman in a human body, and it's distressing in the same way you would hate being human and stuck in a nonhuman body."

I know that the gap between humanity and nonhumanity looks enormous. The horror of, say, werewolf mythology looks like a completely alien experience when you are a wolf, so you see being transformed into a wolf as nothing short of a wonderful experience, and you don't understand why anyone would see it as horrifying.

But if you understand that it's not about the species, but the experience of species dysphoria, of being trapped in a body that has never been yours and desperately trying to return to one that feels like you, well - that's a lot more understandable, isn't it?

Humanity and nonhumanity are not two opposite ends of a binary, destined to never understand each other. I know many alterhumans who are both human and nonhuman, and their humanity is an identity in much the same way as their nonhumanity. Humans are just another species on this planet, as bipedal tool-using social primates, and we have our species identities just like many nonhumans. You are not as alone in this world as you might think you are.

There is room for understanding and connection. Your experiences as nonhuman are not purely individual, not wholly unique, not utterly incomprehensible to human beings, and this is a good thing. The gap isn't actually as wide as it seems. You can reach out and cross it if you just remember - you have far more in common than you might think.

[minswriting]

Fear Of Loving You - Spencer Reid x Reader

About: Reader is madly in love with Spencer Reid. But rather than confessing her feelings for him, she gets into a different relationship to try and move on from him. When he finds out, he’s quite mad. Cue the angsty ish love confession

Warnings: Angst, love confessions, emotions, slight nsfw, mdni

Word Count: 1,600 words

Note: don’t get your hopes up with this one pookies. i quite literally pulled this out of my ass because i realized i had no one shots of spencer lol. regardless, enjoy!! i have smuttier one shots being planned at the moment heehee

The word love can be very complex. We all have an instinctual desire to love or be in love with something. Whether it be a person, an animal, or an object. It’s why we can love our families, our pets, that random character on our screens that just makes our hearts beat fast. But love can also be hard. Right person, right time. Wrong person, wrong time. Wrong person, right time. Right person, wrong time. There are multiple different ways a relationship can be. And your relationship with Spencer?

Well, it's the right person, wrong time.

Being co-workers of the same age, it wasn’t hard to get close to one another when you joined the team. The two of you became friends fairly quickly. He had given you a random fact when the two of you met and you had responded with “oh wow! i didn’t know that,” in an enthusiastic manner which had led to you and Spencer having a full-blown conversation on the plane to your first case rather than interacting much with anyone else. After that, things just flowed easily.

Days at the bureau or on the case turned into nights of spending time with one another. The two of you have gone to a Korean Film Festival together, the opening of a new bookstore, you cooked him dinner at your place occasionally, ordered takeout at his. It wasn’t hard for the two of you to grow feelings for one another when you’re constantly spending so much time together. With Spencer, you felt complete in a way you hadn’t felt complete before.

But you knew nothing could come of your feelings for him. How could they? In the end, you’re both co-workers, working a dangerous profession. The thought of ever dating Spencer terrified you due to the fear of losing him on the job or god forbid your relationship ends horribly and how that would turn out for the rest of the team. So your feelings for one another remained unspoken, there but never acknowledged.

Eventually, you tried to move on from your feelings for Spencer. You met a guy that you got along with, someone who made you feel a bit lighter. And eventually, you began dating him. But the moment the BAU found out, Spencer had given you the cold shoulder and you couldn’t figure out as to why.

Which led to where you are now, on a case in Vermont, forced to share a room with Spencer after he had been giving you the silent treatment since you told the team about your relationship earlier on in the day. The room was dead silent as you sat on the bed, going through your bag. The silence from Spencer was frustrating you, to say the least. He was most definitely much more talkative and you couldn’t figure out what was making him act so coldly towards you.

Earlier in the day, after you had told the team, the two of you had gone to a crime scene together and he only spoke to the detective that had gone with you guys, ignoring your statements and words. You glanced over at Spencer who was sitting on a chair, reading over the case file.

“Spencer,” you said his name, breaking the dead silence in the room. He didn’t answer, causing you to take a deep breath in frustration. “Giving me the silent treatment is really low of you right now.”

Spencer simply scoffed, not responding to your words. His eyes were glued to the file, though you could tell he wasn’t actually reading it.

“Listen, if you’re mad that I’m in a relationship then that’s fine. You can feel how you want to feel. But I expected you to have a lot more respect and maturity to say it to my face,” you exclaimed, grabbing your pajamas and placing your bag on the floor.

“What about the respect of telling me yourself privately?” Spencer replied back, breaking his silence. His brown eyes were on you as he bit the inside of his cheek. “I thought we were much closer that we could tell one another anything.” He stood up from the chair, walking over to you. “You want to talk about respect and maturity? You should’ve told me when it happened.”

You looked up at Spencer as he towered over you. You felt the guilt, knowing you should have talked to him about it. Because above all else, he is your best friend. However, how could you tell him when you’re also so madly in love with him? He would’ve known easily that you didn’t actually like your boyfriend as much as you may exclaim you did. “I didn’t know how to tell you,” you said softly.

“You didn’t know how or you just didn’t want to?” Spencer said with indignation, furrowing his eyebrows. He was infuriated, to say the least. Understandably so. “Because from my perspective, Y/N, it just seemed as though I wasn’t important enough for you to tell.”

“Spencer, you’re so important,” you said, standing up from the bed so you were almost at eye level with him. “God, you’re so ridiculously important to me.” You said sincerely, tilting your head as you looked up at Spencer.

“Doesn’t really feel like it,” Spencer replied, pressing his lips into a straight line and shrugging his shoulders. “If I am so important to you, you would’ve said something to me. That’s really the bottom line of it. But no, instead I had to find out alongside the rest of the team. I genuinely thought we were closer than that but clearly we weren’t.”

“But we are!” You raised your voice. “We are very close which is why I got into this relationship in the first place!”

Spencer gave you a look of confusion. “What?” He asked, furrowing his eyebrows once more.

You took a deep breath, realizing that you can’t just hide your true feelings from Spencer forever. The unspoken words between the two of you must get spoken. And there really isn’t any turning back now. Either way, your relationship with him would be screwed. “I got into this relationship because of you,” you said calmly, closing your eyes for just a moment as you gathered your thoughts. You opened them back up to look Spencer in the eye. “Because if I hadn’t, I’d be spending so much of my time pining after you, someone I cannot have.”

“Who says you can’t have me?” Was his only question, causing your heart to flutter in your chest.

“Me,” you said simply. “I am scared that if we ever crossed the line of friendship into something else, that something bad would happen. I don’t want to lose you, Spencer, I really don’t. And in our line of work, it’s more probable that we could lose one another and that thought haunts me everyday.” You took on a vulnerable tone as you spoke. You could see Spencer’s features softening as he looked at you, finally understanding what you’re saying. “So, to move on from you, I got into this relationship. It isn’t a good thing for me to do. The guy is innocent and likes me for me. But all I care about is you, Spencer.” You finished your confession with a deep sigh, closing your eyes as anxiety began to consume you, not knowing how Spencer would react to such a confession.

What you hadn’t expected was to feel Spencer cup your cheeks as he captured your lips with his own, kissing you so deeply. It took you a moment to process what was happening, the action causing you to tense up and open your eyes. But after a few moments, you relaxed into Spencer’s touch and kissed him back, closing your eyes once more.

The kiss said what was unsaid. That Spencer cared about you just as much as you did for him. It was a passionate kiss with many emotions. His lips were hungry for yours, your tongues exploring one another’s mouths. And after a few minutes, Spencer let go of your lips, keeping his forehead pressed against yours. “I care about you too,” he whispered. “All I’ve ever cared about since I met you was you,” Spencer exclaimed, moving a piece of your hair out of your face.

Soft words with soft looks, kisses upon kisses, all in which led to the both of you naked and on the hotel mattress, pawing at one another in the best sex in your lifetime. It was needy and passionate, the type that conveyed everything you guys needed to know. Nothing else mattered except you and Spencer. Spencer held you close to him, lips on yours, as he thrusted into you. He needed to feel all of you. Just as you needed to feel all of him.

And when you guys finished, laying on the bed in each other’s arms, you turned to look at Spencer. “I’m sorry,” you murmured. “I should’ve just told you my feelings rather than jumped into some dumb relationship but I was scared.”

“I’m scared too,” he murmured back, resting his head on top of yours. “But I’ve read that relationships do best when the couple works through issues together. So, any problems that occur, any fears that we have, we need to communicate them and face them together.”

“Are we a couple now?” You couldn’t help but ask.

Spencer moved his head off of yours, glancing at you with a small smile. “After you break up with that random boyfriend of yours, I will properly ask you out.”

“Sounds like a plan to me.”

[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.

[loviestar58]

Sassy Viktor dating HC’s AND MY LIFE IS YOURS

(I need to see how sassy he would be in everyday life pls he’s so entertaining)

🤲

Thank you sm have a lovely day :D

🧡~Dating Sassy Viktor HC's/Scenarios~🧡

My first ever request! I hope it's good I'm not gonna lie I had some difficulty with this idk why shdudbdh

This'll be a mix of Viktor being sassy, sarcastic, teasing, and just being a general playful menace lol

Enjoy‼️💖

🩼~Feins offense at any little thing you do. We've all seen his face, he can make the most offended face imaginable. For example he'd make you something to eat (he can't really cook well and doesn't do it often but he does for you cause he loves you) and he'd serve it to you all smiles, and you'd be all smiles too. Viktor cooking? What a rare treat! Until you bite into it and feel your tongue yell at you "oooo this isn't right..". You try to hide it, chewing slowly, but he sees it immediately, asking if something is wrong.

"Oh it's nothing, just..interesting. The flavor doesn't feel right, I think you put too much salt and herbs-"

His face would scrunch into that offended look, eyes wide and rolling his eyes

"Oh, so you're a food critic now? Judging the food I put my heart and soul into to make for you? I see how it is.."

He'd pout and take his own bite, thinking you were overreacting

You weren't

🩼~It is a common occurrence to whack you with his cane. Usually he does it to get his way in petty arguments, you could be talking about how a certain formula was written wrong in his notes, him being so tired he didn't notice and miscalculated something, but he'd never admit to it. Anytime you tried to show him, he'd lift his cane to your shins and try to grab the book back. You'd recoil and try to dodge each time, laughing at how far he'd go to stay in the right, but he somehow always caught you off guard, and of course he'd never miss a chance to diss you, even if he was completely in the wrong

"You're just mad you're wrong!"

"I'm not wrong, lovely, you just lack the vision to see my genius"

"Well, "Genius", you wrote it wrong!"

"Perhaps you do need your eyes checked.."

🩼~This is Jinx's line in the show, but he totally would pull this classic

"So, Viktor, I've been thinking-"

"Well, thats quite the dangerous endeavor for you"

🩼~Would never let you live it down that you fumbled your attempt at asking him out, having gotten so nervous cause I mean. Look at him. You'd try to tell the story to some friends and make it seem like you were so confident and successful in asking him out, but he'd SO quickly chime in and rat you out

"Wh-"

🩼~Also would probably overuse the line "Suureee lovely, whatever you say" in the most sarcastic tone ever whenever you two have little back and forth banters and you're determined to prove you're right. When you'd call him out on it he'd respond with a knowing smirk and offended face "What? I would never! I do not know what you are talking about!" Hand on his chest, practically clutching his non-existant pearls in a dramatically comedic way

"Hmm that's not quite how I remember it. I remember you shaking like one of those ehh..chihuahuas, that pee all over themselves. And your words sounded more like squeaks of a mouse. I don't know where you got the notion that that is the epitome of confidence, but it must not have been a reliable source"

You'd hit his shoulder blushing profusely as he laughs, saying a playful "I love you" before ruffling your hair, making you role your eyes and pout

🩼~Attempting to get a pet is impossible with Viktor. He'd always say that they both don't have time to take care of an animal, that his work was too dangerous to have one around, no matter how much your beg, he'd just shit you down. That's when he says that he already has you, and that's enough work on its own alongside his inventing

"Are you implying that I'm like a pet?"

"You seem to love jumping to conclusions cause I said no such thing, but if you insist on seeing it that way, then yes. You're like a little rampaging Poro. Energetic, small, and a thorn in my side on occasion"

He'd chuckle as he watched you feign offense, your face pouty but unable to keep the smile from your lips, cause it is kinda funny how you can be compared to such a creature so easily. And you do the same, comparing him to a sassy cat. Which he doesn't deny and swiftly confirms by swatting at you with his cane in retaliation for the comment

I am so sorry this is short, I genuinely couldn't think of too much cause I felt I was just repeating the same things over and over again and not being creative..and I think I made him more teasing than sassy, but I tried😭

I hope this is what you were hoping for, even a little! If not, I'm sorry😖🙏🏼

[flamingpudding]

I had a crack idea that I was thinking of so you know in Dan is Klarion au I was imagining a au based off of that one where all of Danny's children are Klarion is like the robin thing for Batman it started off with Danielle when nabu insulted Danny as the Ghost King and Balance

Ever since Ellie decided that she needed to get back in blood so she made the chaotic antihero Klarion and and her suppose it familiar 'cat' Teekl the way to help out her mother and mess with Dr Fate/Nabu Teekl is actually a bear with an illusion on that makes him look like a cat in the human's eyes

Whatever since the anti-hero Klarion in The Phantom family has been passed down each of them giving their own flair to the persona of Klarion with a different animal every time that they had pretending to be a cat

Tell her to finally passed on to Dan it is an honorary sibling thing each of them has their own antihero name once they passed down the title of Klarion

Diana's query and takes after his father's style of dressing and his tickle is a phoenix

First of Thanks for the Ask! Inspirational as always! Helps with my writers block [insert awkward laugh]

Either way because this is split in two asks... you get two version! One focused on how it started and the other on the reveal! Though the might be some little Shorts... Also there is something really funny to me about a giant bear letting Illusionen into a cat... So Enjoy!

(BTW still thinking over the other ask... and working on it don't worry!)

------------------

Ellie huffed as Danny reprimanded her for her actions. She just huffed crossing her arms. She was just helping Danny. Her mom got a lot on his shoulders and she as the sort of oldest saw that the best. Sure technically Dan was older then her but, he shrunk down to kid level again and now she was the oldest.

Well if she ignored her other brothers but they were only saved recently and still in treatment with Frostbite. So she was the oldest. End of story.

"Ellie you can't just go off like that you know that messing with an Ancient is not-"

"Mom, That Nabu-Guy was being a pain in the a- " - "Ellie!" - "A PAIN, babbling on to much about Order here Order there. How keeping Balance means keeping Order and bla bla bla!" She cut in stopping her mom before he could go on another rant about the Ancients, she needed to treat with respect.

"He doesn't respect you, the Ancient of Balance! You are the literal Symbol of Balance between Life and Death! Aside from being the Ghost King. So of course I had to mess with the one HE mentors!" Ellie added huffing as she crossed her arms.

Danny pinched the bridge of his nose. "Ellie, you created an entire alternate persona!"

"Yea so?"

"You used an illusion spell on Fluffels!"

"And? Any good Anit-Hero needs a Mascot." Ellie shrugged once more looking up at her mom before looking over to Fluffels, her pet ghost grizzly that was pretty much double maybe even tripple her size and the fluffiest ghost grizzly you could find in the entire Ghost Zone, and the cutest.

Danny on the other hand groaned, wondering if he had done anything wrong while raising Danielle. Sure he had been a teen himself but good damit why the hell did Ellie decided messing with the Ancient of Order or rather his mentee was a good idea. "I am calling Jazz! You can explain to her what you were thinking!"

He was definitely to overworked and stressed to deal with Ellies mischievousness right now. Well she did call her alternate persona Klarion, Lord of Chaos. Nope! He was not dealing with this right now, so Danny did the sanest thing he could think of. Turning on his heel and walking away. Where to? Who cares maybe he would check in with his old man Clockwork and see what Ellie had actually been up to, instead of just reading through Nabu's complains.

Ellie on the other hand blinked watching her mom leave before calling after him. "Does that mean I have to stop, being Klarion?"

"Mom?!"

"MOM!"

------------------

"Well hello my lovely Amadillos! Long time not seen!"

Ellie shouted cheerfully as she twirled into appearing hair styled into a horn like form, black suit and she might have over done it a little with the black eyeliner but hey it was an iconic look wasn't it. She smirked as Fluffles growled which translated into a meow for the mortals before her thank to the illusion spell.

The mortal teen looked up at her surprised as she floated down her hand glowing with red ectoplasm (a color change from her usual green ectoplasm that had taken a while to learn from Pandora). Young Justice was currently transporting something of interest to her. Well of Interest for the Justice League, really but Doctor Fate was involved which meant Nabu was involved, which naturally meant she would get involved. It didn't hurt that she would also get to try to try some new tricks.

"You got something interesting there... and I want that." She grinned. Ellie didn't give them long before she acted using the new tricks she had learned.

"Woah! Hey there, watch the pointy and sharp thowies!" She laughed making a quick shield as she blocked some batarangs and arrows before blinking.

"Hey they look different. Robin, did you change equipment? Did you get a new haircut too?" She asked curious but didn't really receive an answer as they ignored her questions and shouted something about distracting her while the others continue the transportation. Still she bend down to pick one of them up twirling it between her fingers. "What gives didn't they have a different design before?"

In hindsight it was probably not a good idea to just abandon her original goal but Robin was making her curious. And she could always find a different way to mess with Nabu. Her mom had given her an indirect okay years ago anyway.

"Teekl!" She called out and only her eyes could see how Fluffles jumped at the call growling in response as he swatted away some of the more annoying Young Justice kids. To the mortals it probably looked like Teekl was using ectoplasm, or well magic, in their eyes.

She used that change to go up into Robins face smirking widely as she looked at the other more closely, trying to get a read on him. "You are different! You aren't the same Robin I meet before!"

She ducked in time avoid Superboy as she hopped back excited with a new idea for her family.

But first she would have to deal with the little chaos and mischief she was creating.

------------------

".....and that is how I learned that the Robin title is getting passed down. So I was thinking of doing the same!" Ellie broadly stated looking at all her younger siblings before her. "We all get pretty annoyed with the way Nabu treats Mom so there always has to be a Lord of Chaos to 'balance' Nabu out!"

She grinned at her siblings expecting the same kind of excitement she had and they didn't disappoint. Danny had been there for all of them, even going so far as in to find a way with Clockwork to save some of their lives. So of course they all would jump at the change to mess with the one Ancient that was badmouthing their Mother just because Balance didn't entitle Order the way they wanted.

After all Chaos was needed to Balance Order out.

This was going to be fun...

[Follow up part Linked here]

[thetriumphantpanda]

Baby Love | Joel Miller

A Trial & Error One Shot

Summary | It's coming to the end of lambing season, but there's one sheep left to give birth. Noticing she's struggling, you spend the night trying to soothe her, reflecting on your own experiences in her position.

Pairing | Joel Miller x F!Reader

Word Count | 2.7k

Warnings | Joel & Pretty Girl are still as horny as ever for each other so this is explicit. Mentions of ranching, sheep and animals giving birth. Mentions of human childbirth and pregnancy (I have never had my own children so please go easy on me), also mentions of how dirty it is when a sheep gives birth (blood/guts ect). Explicit smut including oral sex (f receiving), unprotected PiV smut IN THE BARN, creampie, Joel being a menace, PRETTY GIRL ALSO BEING A MENACE. No use of Y/N, no-outbreak AU.

Authors Note | It has been such a joy to write Pretty Girl again, I've missed her something terrible, and I'm so happy that the dynamic between her and Joel is still going strong, even if I have abandoned them for a while. I really hope you enjoy this as much as I have enjoyed writing it, and if there are any aspects of this families lives that you'd like to see, feel free to request it in my ask box!

Series Masterlist | Main Masterlist | Ko-Fi

Lambing season is coming to an end - something you’re eternally grateful for. It’s been a busy few weeks - early mornings and late nights for both Joel and Tommy, leaving you with the twins, Joshua and Ellie to keep entertained. Not that you’d have it any other way - your dysfunctional little family makes you happy every day.

With Joshua at school and the twins with Joel as he took Ellie into town for an appointment, you’re out in the fields with Tommy, making sure the remaining sheep yet to give birth are doing alright. You don’t profess to being an expert, but you’d like to think that your motherly instincts can go beyond humans, knowing when certain sheep are due and when some of them are starting to struggle.

It’s been an easy lambing season this year - most of the girls are seasoned professionals by now, needing only a light touch and a refill of their water more than anything, but there’s one sheep you are worried about. She was from lambing season a few years ago and this will be her first time. When you head into the barn, she’s stood in the corner of one of the pens, moving very little but bleating every once in a while. You know it’ll happen soon, but you’re worried about her.

“Don’t worry your head, sugar,” Tommy soothes, running a hand down the back of your head when it’s time to leave, “It’s nature, she’ll know what to do.”

But, led in bed that night, there’s something that you can’t push from the back of your mind. This worry that takes over you. She’ll be on her own in there, being one of the very last to give birth, and what if she’s scared? What if something goes wrong? You remember how scared you’d been when it came to having Joshua.

So you sigh, push back the sheets, and get dressed. You leave Tommy a note in case he wakes in the night and worries about where you are. You can’t say the horses in the small stable next to the house are enthused about having a torched shined at them in the middle of the night, but thankfully yours doesn’t put up much fuss when you saddle it and make the journey through the dark fields to the barn.

Flicking on the lights, you’re immediately glad you came. The sheep in question is led on her side, breathing laboured and fast. As you walk towards her, she kicks her legs a little and lets out a pained bleat.

“I know baby,” You coo, making sure the gate is shut behind you, “Hurts, doesn’t it?”

You fall to your knees in the soft hay a little way from her, hoping not to spook her, but she doesn’t seem all that bothered by your presence. She’s led down near the wall, so you crawl over a little and lean your back against it, stretching your legs out, just to be near her if she needs you.

The sheep lets out another pained bleat but she moves a little, up from her side and onto her feet. She walks closer to you, leaning down to prod your hand with her nose. You let out a little chuckle, letting your hand run down her head. The ranch dog likes when you scratch behind his ears, so you do the same here, which has her settling back down onto her side with her head on your thigh.

“It’s one of the most wonderful things,” You speak to her softly, continuing to pet at her head, “Having babies, but they always forget to mention how much it fucking hurts.”

She lets out another soft bleat, moving her body a little to get comfortable, or as comfortable as is possible when you’re in labour.

Watching her, you can’t help but let your mind wander back to your experience in her position. The first twinges of pain, low in your back that turned into pain everywhere. There wasn't a single position that was comfortable, no way to sit or lie or stand that could take the pain away. Then there was the exhaustion - after hours of waiting and more time pushing and pushing, there were moments when you didn’t think you could do it anymore, that you’d just close your eyes, drift off and wake up with a lovely, healthy baby perched in your arms.

But then, there’s that moment of relief, when the midwife had told you it’s okay honey, one more push and it’ll be done and it was and you could hear him crying and then he was on your chest and you were crying and so was Tommy. No-one ever mentions that bit either - how within seconds you could look down at a baby, your baby, and be completely and utterly in love with him. That’s what made it all worth it. That’s what made you want to do it again. It’s what makes you think you’d do it for the rest of your life if you could, just to have that one moment where that baby is in your arms for the first time.

“It’s worth it though,” You speak down to the sheep, “All this pain will be worth it in the end when we’ve got your beautiful little lamb with us.”

And it is. It’s all a bit dramatic in the end. The lamb gets stuck and you need to offer a helping hand to get it out, but almost immediately the mother sheep is doing exactly what she should, cleaning it off as you do the thing you’ve seen Joel do to help clear it’s airways, sticking a little bit of hay up one of it’s nostrils.

“Look mama,” You coo at the older sheep, a hand on her head as she works to get her little lamb clean, “Look what you did, you clever girl.”

Joel doesn’t know what he was expecting when he walked into the barn that morning, but it certainly wasn’t to see you on your knees in the hay, rubbing a newborn lamb with straw. He can see from this angle that your clothes are filthy, covered in blood and God knows what else. Did you…? Have you….?

“Pretty girl,” He speaks softly, not sure you know he’s there, “What are you doing?”

You turn to him and it’s clear to see you’ve done exactly what he thinks you have and helped this sheep give birth, the gunk all over your clothes is also wiped across your cheek and forehead.

“She-” You trail off, “The sheep, she was struggling and I didn’t want her to be on her own.”

He opens the gate to the pen, walking in to fall beside you on his knees, “Have you been here all night?” He asks, letting his hands give the small lamb the once over.

“Pretty much,” You nod, “We had a lovely talk, didn’t we?” You ask to the mother sheep who is standing a few steps away, carefully observing Joel as he looks at her lamb.

“Did she do okay?”

“I had to get in there at the end,” You explain to him, “I think it was stuck, so I just gave her a little helping hand.”

Once he’s satisfied that the lamb is okay he shuffles back a little, watching as you do the same, letting the mother sheep have some time with her baby, “You did a good job,” He praises, letting his hand run down the back of you head, “Proud of you, pretty girl.”

He helps you to you feet, bends a little to brush as much stray hay from your jeans as he can before he steps back and really takes you in. It’s unconventional, but there’s something about the fact that you’ve got your hands dirty, spent your night here on your own to help one of his sheep, and the fact that you’re covered in dirt and hay, something about it all makes his jeans go a little tighter, something that he’s not quick enough to hide.

“Are you hard, cowboy?” He hears you tease before you’re stepping forward, “Does the sight of me covered in blood and guts turn you on?”

He rolls his eyes and turns his back on you, leaving the pen now he’s satisfied the sheep will be okay, but he can hear your feet following him and then your hand on his arm to get him to stop.

“You’ve not gone all shy on me, have you?” You speak softly, gently moving him so he turns a little.

“Have I ever been shy, pretty girl?”

“Then tell me,” You shrug, smirk plastered across your face, “Does this,” He watches as you drag a hand over the mess that is your clothes, “Turn you on?”

“You wanna know the truth?” He asks, voice low, “I wanna bend you over and get you to shut the hell up.”

Joel can’t help but let his own smirk show when your eyebrows raise, but it’s a fleeting later in your guise, because you’re turning around, showing him your back as you walk towards the stacked bales of hay in the corner. He can hear the clinking of your belt buckle and the telltale sound of you unzipping your jeans.

He’s stuck to the ground as he watches you pull down your jeans and your underwear, baring your backside to him. You pull them all the way down, letting them pool at your ankles as you spread your legs a little wider, bending yourself over the hay in the exact position he had in his head.

“Come on then cowboy,” You say, head turned over your shoulder to speak to him, “Come and shut me the hell up.”

It’s been an automatic response of his for years now, that when you present yourself to him, in any way, he falls to his knees like someone praying to an altar, and today is no different. He’s on his knees behind you, at just the right height to grip his palms to your ass, spread you open wide for him.

He wastes no time, he rarely does anymore, letting his mouth close over the hole of your pussy, somehow already weeping for him. He lets his tongue dip inside, lapping at your slick. It’s been years and he still doesn’t think he’ll get over how good you taste, how it lingers on his tongue for hours whilst he goes about his day.

Whilst he’s lapping up your slick, he lets one of his hands reach around, thumb searching out your clit, little circles rubbed across the little bud. He listens, feeling his cock throb in his jeans when you let out a gasp and a little moan.

“Not so talkative now, are we, pretty girl?” He mumbles, barely pulling off your pussy to speak, before he’s switching his hand and his mouth, leaning just enough so his tongue can flick against your clit, one of his fingers slipping inside you easily.

He chuckles against you when you moan at the curling of his fingers inside you - he loves when he can reduce you to a whimpering mess in seconds. It doesn’t take him long to feel the telltale signs that he’s going to make you come either. He can feel you start to fluttering around the two fingers he now has buried inside you, can feel the way you try and tighten your thighs around his face, so he carries on exactly how he is - suckling at your clit and moving his fingers in and out of your cunt until you’re coming for him, a high-pitched moan of his name from your mouth.

Joel doesn’t wait, he can’t wait. He stands, making quick work of pushing his own jeans and underwear from his body, finally freeing his aching cock from the tight confines of his trousers. He spits obscenely into his palm, running a tight fist up and down his length a few times before he’s dipping his knees, rubbing the head of his cock against the slick hole of your cunt, listening as he pushes himself inside you, giving you every inch of him as slowly as he possibly can, until he’s sheathed inside your tight heat.

He leans forward, covering your body with his own, his forehead pressed against your shoulder as he gets used to the feeling of you clenching and fluttering around him. He can feel you wiggling a little under him, trying to get him to move, so he brings one of his hands to the nape of your neck, squeezing a little, stopping your movements altogether.

“Keep still,” He warns, “You need to keep still a minute, baby.”

There’s never going to be a time where he doesn’t need to do this. The soft, wet heat of your cunt and those first movements inside you that make him feel like he’s eighteen again, ready to come with a few thrusts.

He gives himself another minute before he starts pulling his cock out of you, slowly dragging through your slick until just the tip is left inside you, then he’s slamming himself back into you, setting a bruising pace.

The sound is obscene - there’s the wet squelch he can hear whenever he pushes his cock back into you, the slapping of his skin against yours and the way you both sound when you’re moaning each others names. He’s not going to last long, he knows it. All of this combined with the fact that anyone could wander in and see you has a thrill settling across his spine.

Joel leans forward again, letting his teeth bite down gently on the skin of your neck. He can feel the way your cunt is clenching, if he can just hold on, just a little longer, he can get another one from you, he knows it.

“Tell me,” He chokes out into your ear, “Tell me how to get you there.”

You let out a loud moan, turning your face to his, kissing him, all teeth and tongue and clumsy, “Bite me again.”

So he does, he lets his teeth sink into the delicate skin of your neck, sucking gently, sure to leave a mark, his hand slinking underneath your belly and down to your pussy, soaked bud of nerves exposed just right for him to use his fingers to swirl across it a few times.

“Oh my God-” He can hear you moaning, “Joel, fuck, please, don’t stop, just like that.”

Within seconds, he can feel you coming on his cock - cunt pulled tight, sucking him in. He feels the gush of slick from your pussy too, cock angled just right to have you squirting for him, something he doesn’t think he’ll ever get tired of. It’s the tightening of your walls around him that sets his own orgasm off - that flush of pleasure across his body that blooms even more as he empties himself inside you. He can feel everything, the way your pussy clenches every time he gives you more, sucking his spend in as deep as possible.

He pushes himself up off you a little, hands on your hips, frantically sucking in air. He groans a little as he pulls himself from your cunt, standing back to admire how his cum drips from you. He doesn’t linger long, bending down to pull your clothes back up, gentle kiss pressed to the swell of your bottom as he does. He lets you zip yourself up whilst he puts himself right.

“Well, that was a great start to the morning.” You muse, pressing up on your tiptoes, gripping at his flannel shirt.

He’s about to speak when there’s a bleating from the sheep in the pen behind you, you both laugh, “Someone else agrees.”

He dips down, kisses your mouth slowly, gently, “Go and get clean,” He speaks against your lips, turning you around and giving you a tap on your ass as he does, “You’re filthy.”

“Still turns you on though.”

“Go on, get outta here.”

[thebibliosphere]

Hey! I know that this isn't something you struggle with but since a lot of your other followers are disabled as well, it would mean a lot to me if you could publish this ask since I'd like to see if anyone else experiences anything similar to what I'm going through. I'm not asking for anyone to armchair diagnose me, I'd just appreciate not feeling so alone and scared and confused. My general physician is claiming that my anxiety is causing the issues I'll describe but I call bullshit on that:

About two years ago, cca 4 months after my top surgery, my body stopped being able to process oil. Whenever I'd eat anything that was made with oil of any kind, I'd get cramps in the abdomen after a while and I'd get diarrhea. Caffeine started to do this also but in a smaller intensity. I had a hysterectomy a bit after that and they checked my kidneys and liver so I know that those are both ok and not the cause. I also got checked for Celiac since it runs in the family. Because the issue wasn't getting worse and my then general physician was always dismissive, I let it be. When I wasn't having diarrhea, I was constipated, though I did have a bowel movement like once or twice a week. Fast forward to now. In August, it suddenly got a lot worse. At first, even a single drop of oil would make me feel ill. Then, the time period got longer - currently the cramps and the pain last for 48 hours afterwards. I also became unable to digest animal fats, the only meat I can eat is lean chicken and fish. Afterwards, gluten became an issue (Celiac is still negative), and then nuts as well.

My new GP, even though she believes it to be anxiety, gave me Itopride, and it worked for about 3 weeks - I had no cramps, pain, exhaustion, gas or bloating after eating, and I had a bowel movement once a day. But it stopped working two days ago, again without a reason, and the effects started being less effective about a week ago. Even when taking the meds, I have a movement only once in about 8 days, and laxatives make me gassy but nothing happens. I'm also not sure about this, but it seems that chicken is no longer safe either.

I think it's important that if I don't take Itopride, I never even feel the urge to go, so when I say that I've always been constipated, I mean that I don't even feel the need to have a movement. Lately, when I take Itopride, I do get the urge that I do always get when taking it, but it's like I can't go, so I always feel full.

I just feel super scared and I have no idea what's going on. I admit that I have a history of eating disorders (in recovery since May) and I did abuse laxatives about a year ago, but I don't think it was enough to cause such serious issues? I used to take them like once a week and for about 3-4 months.

I'd really appreciate knowing if anyone has ever experienced anything similar or knows about anything like this because I feel like my life is in shambles - can't go outside for long because I might need the toilet suddenly, or I'm in too much pain to walk, I'm afraid to eat, I often feel repulsive, I don't know what might happen in a month, I am becoming incapable of taking care of myself and my flat because I'm just so goddamn tired.

Ooft, I’m sorry. It sounds like you’ll need a colonoscopy to figure this one out, so if you haven’t had one yet, really push for a referral.

Fwiw, I do experience something like this, but it’s from mast cell inflammation in my GI tract. The doc prescribed me bentyl for when things flare up but I’m also on a fiber supplement (citrucel. It’s a lot gentler than other types) to try and keep that from happening. Also if you’re low on b vitamins, your stomach sometimes stops digesting food, so maybe also ask about getting your levels checked. Taking an additional b2 supplement means I can process fats and oils again which I couldn’t before.

I’m not saying this to be like “this is what you have” just throwing them out there as suggestions that might help you piece together what might be wrong.

I hope you get more helpful comments in the notes 💖

[thankskenpenders]

Amy's fortune cards

The Sonic fandom has long been the kind of fandom that takes minor details very seriously, for better or worse. On the one hand, this means fans will really dig for the diamonds in the rough, latching onto fun character interactions, animations, bits of background worldbuilding, and more in pieces of Sonic media that many would write off as "the bad ones." But it also feels like every week another needlessly hostile debate over Sonic minutia erupts on Twitter, whether it's over individual lines of dialogue, fanart that makes Tails' shoes blue, or the ideal length and volume for Sonic's quills.

So it was probably inevitable that a fandom-wide debate would erupt upon seeing Amy's new gameplay style in the DLC for Sonic Frontiers, which takes the once-obscure fact that she enjoys reading tarot and shines a spotlight on it like never before.

I mean:

The thing is, while I basically always try to tune out Sonic fandom bickering... for once, I kind of sympathize with the detractors? Don't get me wrong, I like Amy's tarot stuff, and people on all sides of the discussion are being overly nasty about their opinions, as usual. (Sonic Twitter remains my personal hell.) But when I set aside the hyperbole and zoom out, I do think I understand why some fans are put off by the sudden shift in focus for the character, even if I think it's cool.

It's complicated. Let me attempt to present the cases for and against Amy's fortune cards

For years, I was always one of those fans who thought it could be fun if they played with Amy's tarot reading, or even leaned into some kind of magic with her. Part of that is my own biases showing, but there's just something that makes sense there, especially when you look at Sonic, Tails, and Amy as a trio. (I would argue that's the real "Team Sonic" these days, especially in the comics where Knuckles is more likely to be stuck on Angel Island or otherwise doing his own thing.)

You could argue that Tails is all about logic, relying on science and technology and deductive reasoning to solve problems. But Amy is all about emotion. She wears her heart on her sleeve, is extremely empathetic, and is very prone to magical thinking - both figuratively and sometimes literally. Her origin story has always been that her tarot cards told her it was her destiny to meet Sonic on Little Planet. She's claimed to be able to "sense" peoples' presences - particularly Sonic's. She's the type to believe that The Power of Love is a literal magical force. So, on some level, it makes sense to mirror Tails's science by having Sonic's other best friend believe in magic. And then Sonic is somewhere in the middle, primarily following his own gut instincts but taking advice from both of them as needed. This isn't totally accurate to how their dynamics actually function in canon stories, but I think it's a mode that could work for them.

Going off of that, it's fun to lean all the way into Amy being a magical girl, or even a witch, using her fortune telling as a foundation. Take, for example, this version of Amy from Diana Skelly's old Sonic cast redesigns from before she freelanced for Archie and IDW. This is one of MANY such redesigns for Amy.

Fast forward to the 2020s, and Amy's tarot cards are, in fact, finally getting brought up again in canon. Which is fun! I like seeing that. I like all of the individual stories involving Amy's fortune cards. This is a fun character trait for Amy, a fun nod to old lore, AND a fun storytelling device, all in one. It's really cool that the Sonic universe has its own thematically appropriate arcana, and that the cards are getting made as physical merch. And sure enough, the official card backs and borders were designed by none other than Diana Skelly, in yet another cool example of an ascendant fan leaving their mark on the series.

BUT... when you step back and look at the big picture, I get why some fans find this shift in focus jarring. At the moment, it's starting to feel like every new story about Amy involves her fortune cards to some degree.

The most recent mainline comic arc to feature Amy as the lead character, 2021's Trial by Fire arc, prominently features a sequence where she reads fortunes while camping with the girls. The Origins version of Sonic CD now bookends the game with scenes of Amy and her tarot cards. Sonic randomly mentioned it in a scene in Frontiers. And now, just this week, we got the (very cute, gorgeously illustrated) Amy's 30th Anniversary comic with a story revolving around Amy's tarot cards, followed the very next day by the Frontiers DLC in which she gets a brand new tarot-based moveset. Even her base melee attack now has her throwing tarot cards instead of swinging her hammer. Again, I like all of these individual things, but after years of it almost never coming up at all, it's VERY noticeable that Amy's tarot cards are suddenly everywhere.

To be fair, I'm looking at this from the perspective of a superfan who's actively following ALL Sonic media. Casual fans - especially kids - aren't necessarily going to be reading the comics every month, buying the thousandth rerelease of the Genesis games, or playing the ultra-hard new alternate ending DLC for a game that came out last year. Each of these stories is going to be someone's introduction to the idea that Amy can read tarot, and that's probably part of the idea behind this unified push.

But to play devil's advocate, for my fellow superfans, I understand why it feels like a very minor footnote of Amy's character is suddenly becoming the entire focus of her personality. While Amy has always been said to enjoy fortune telling, that wasn't really a character trait in and of itself, but rather an example of her being a typical girl who hopes she'll be able to find true love one day. It's less that Amy can literally predict the future and more like her using a cootie catcher or going "he loves me, he loves me not" while picking the petals off of a flower. So I get not vibing with this stuff, or feeling like it's being pushed very hard out of nowhere.

What I don't agree with are comparisons like "it's like if they made Knuckles' moveset revolve around him liking grapes." Like, I get it. Ian Flynn loves shoehorning in his little winking references for us nerds, and mentions of Amy's tarot cards were previously on the same level as other random bullet points from old Japanese manuals. But a multifaceted hobby like fortune telling that opens up so many narrative and aesthetic possibilities is obviously very different from having a favorite food. It's ALWAYS been a part of her story, not just a random fact, and there's no reason why the fortune telling can't be elevated to something more.

And, hell, even if it wasn't an established character trait, there's nothing inherently wrong with injecting new ideas into a character. One of the best Amy stories in recent years, the Free Comic Book Day special "Amy's New Hobby" written by Gale Galligan, came up with the idea that Amy's secretly been drawing little comics about her and her friends. Is this based on Lore? No. But it's cute, and helps tell the story of a younger Amy who's still coming out of her shell as both a hero and a friend.

Certain fans are also looking at Amy's Frontiers moveset and using it as evidence that once again the Vile American Contributors like Ian are CORRUPTING Sonic Team's perfect vision of Sonic with their misinterpretations. And like. Come on. Ian does not control the gameplay. He's a freelance writer. The tarot stuff is clearly something that Sonic Team likes if they made it the basis of Amy's new moveset - and, you know, if they keep approving comics and animations about Amy's fortune telling. None of this gets made without their blessing, and lord knows how much they can micromanage shit and shoot down ideas over the most minor of details.

Like, yeah, Amy's fortune telling was probably conceived less as a sign that she Knows Magic and more as a pretty mundane hobby for a lovesick young Japanese girl to have. But you're gonna sit there and tell me that using Amy's tarot cards for more than that could only be the result of a cultural misunderstanding? That nobody in Japan uses tarot card theming and aesthetics (or the general idea of magical cards) for the cool factor? Stardust Crusaders? Persona? The Astrologian class in FFXIV? Cardcaptor Sakura?? Hello??? Do you think Capcom put Gambit in Marvel vs. Capcom ironically because they thought using magic to throw cards at people was stupid? There's tons of precedent for this! It's nothing like Knuckles throwing grapes at people, be for real.

Giving Amy a very magical girl-esque moveset also just makes a lot of sense. For decades her hammer attacks have literally made sparkly heart shapes appear around her. Leaning into both that and her tarot cards in her new moveset makes a lot of sense to me.

But, admittedly... I do think it's very odd that her hammer is treated as a secondary element here, rather than having her primarily use her hammer and adding the cards for extra flair. If hitting the attack button made her swing her hammer instead of throwing cards, I'm not sure we'd even be having this discussion right now.

But the tarot-cycle and Amy riding her hammer like a witch's broom are fucking SICK and I will not concede on this point

The thing is, this whole fortune card discourse is but a small piece of a bigger problem. Amy's been a character who needed some work for ages, but there's basically nothing you can do with her without pissing SOMEONE off.

Years of stories where Amy's crush was her primary motivator and Sonic went "Ew, cooties!" have lead many casual fans to believe that being Sonic's obsessive fangirl is Amy's entire personality. At best people might call her Sonic's Minnie Mouse. This isn't just a matter of Amy having haters within the fandom - venture outside of that bubble and you'll realize that this is how MOST video game playing people seem to see her to this day. I don't feel like this is a fair assessment of the character, but this idea didn't come from nowhere. No matter how much good deeply entrenched Sonic fans may see in their old dynamic where Amy perpetually chases Sonic, this is a very real problem that Sonic Team has to contend with for their leading girl. Of course all those games where the way-past-cool protagonist thought Amy was annoyingly clingy and tried to get away from her made people think less of her.

If new stories were to go back to emphasizing Amy's crush on Sonic a little more, they'd probably be taken as confirmation that Amy's just the girl with a crush on Sonic and that this is her entire personality. Conversely, when the crush is played down, you piss off the hardcore SonAmy fans who don't seem to understand that they're Charlie Brown and Sega is Lucy holding the football. You can't win.

And so here we are. In the absence of what was once her defining trait, now reduced to an occasional blush or wink in Sonic's direction, new stories are trying to mine Amy's past for additional material to work with. Having been a thing fans wanted to see for years, right now we're getting a lot of tarot, but we're also getting reminders of her compassionate nature and her desire to go out of her way to help the little guy. This is an ongoing process. I continue to hope that her bubbly, exuberant demeanor can shine more in future stories. Now, I also hope that the tarot stuff gets balanced out a little better with other traits of hers. But I don't want it to go away. I think it's fun.

This course correcting is far from exclusive to Amy. Knuckles is getting stories that remind us that he's a competent fighter, an experienced treasure hunter, and even a self-taught archaeologist after years of him being perceived as either the dumb one or just the guy who stands in front of the Master Emerald all day. And Tails has been getting some stories reminding folks that he's a capable hero in his own right and not just Sonic's timid kid sidekick.

But no supporting character will ever compete with the sheer number of new ideas Sega has tried with Sonic himself. Like Amy, his Frontiers moveset has also given him half a dozen new superpowers that he never had before, from the Cyloop to air-slicing projectile attacks to his own take on Shadow Clone Jutsu and beyond. He's also been a hoverboarder, a swordsman, a time traveler, an Olympic athlete, a racecar driver, cursed with a Flame of Judgment, imbued with alien power, a fucking Werehog with stretchy powers, and on and on and on.

If Sonic can do all that, Amy can try out using a tarot-cycle.

Anyway TL;DR the REAL problem with Amy's current characterization... is where the FUCK is Amy's bestie, Honey the Cat???????

[jambalaya-enthusiast]

Pleaseeeee I crave Jimmy x Curly's wife!reader let that envious bastard take what he believes he rightfully deserves, maybe even right in front of Curly as some kind of fucked up power play :)

Tainted.

WARNING: DEAD DOVE DO NOT EAT/DARK CONTENT/RAPE/JIMMY BEING A MONSTER.

Please read at your own discretion,i might've went overboard,but this was my first attempt.

ever since the day that he laid his eyes upon you,he knew that he just had to make you his,no questions asked.

on that fateful day,when Curly decided to introduce you to his bestfriend,you immediately picked up an odd vibe from him...you didn't like how intensely he maintained eye contact with you whenever you were talking.. nothing wrong with being attentive,but it just felt as though he was staring right into your soul with those piercing brown eyes of his.

you didn't like how it started off as little thing,just the slight touch of hand,which you ruled off as accidents,because he was quick to apologise.

but then,the incessant attention started...it started off small...minor things,such as following you on every social media platform that you had. him being the first person to like all of your posts, commenting innocent little things...you still decided to think nothing of it as you thought that jimmy was simply just some guy without a social filter.

Oh how fucking wrong you were.

It didn't make sense how he wanted to move into you and your boyfriend's apartment because he got kicked out of his,it didn't make sense how curly...just let him...

You tried your best to explain to your innocent boyfriend that you didn't like this sudden turn of events,and the lack of privacy,since jimmy practically didn't let you have any alone time with curly. It's almost as if he just didn't know when to stop lurking.

Despite all,you still decided to trust your boyfriend's judgement.

Then,it finally happened. You awoke one night to sudden movements in your bedroom,you tossed to the side to find the bed empty...your boyfriend was missing, groggily you reached for your phone on the nightstand next to your bed, twitching your eyes you turned your phone on,with the silent humming of the AC in the background,accompanied by the sound of you breathing.

2:47 AM

Curly Bear 🐻❤️ : babe,sorry I didn't want to wake you up. y'know how pretty you look when you sleep haha, didn't wanna ruin it. The company called,they said there were some urgent paperwork that needed to be dealt with at the earliest. I had no choice but to leave sweet pea, don't worry I'll be back in no time. Love you.

You smiled at your phone,you were about to doze right off when you realised something......something felt..off. it was almost like a primal instinct kicking in,you felt the classic feeling that they talk about in horror stories ... You felt as if you were being watched. the feeling was so intense that you could practically feel the bile raising against your throat.

You gathered every ounce of courage that you had in you,and turned on your phone's flashlight.

there it was. there he was.

you felt as if you were gonna die.

there was jimmy,standing at the foot of your bed like a goddamn statue.

"Jimmy....?".

you wanted to yell out,but what came out was only a faint whisper.

Then suddenly as if the world had just stopped he pounced onto you like a fucking animal,you attempted to scream,but we was quick to place his hand on your mouth, conveniently stopping any noise from coming out.

'I had been waiting for this for so...so fucking long'.

you could practically see the craze in his eyes,those weren't the eyes of a human being..no no no...those eyes could only be compared to those of a deranged wild beast.

then out of no where,your clothes were suddenly ripped off of you,you could feel the cold air of the room pierce your skin painfully as you struggled to move or even breathe,his hand was also covering your nose. You whined,did everything in your power to stop him from doing what he was going to. But it was already too late.

without a single warning,you felt him push into you so hard, without any protection,no nothing. It hurt so fucking bad,you wanted to scream,to yell,to cry,but you could only just helplessly watch what that man whom your partner considered his 'best friend' was doing to you,he thrusted in and out of you as you were a ragdoll.

Jimmy then temporarily removed his hand from your mouth only to replace it with his own,he roughly smashed his lips onto yours,you could taste cigarettes, liquor and a hint of those mint jellies which he for some reason had a weird obsession with. his tongue travelled every corner of your mouth,while tears flowed through your eyes like a goddamn waterfall.

with his final thrusts,you could feel that he was coming to his peak,and with a final thrust,you felt the inside of your stomach get filled with something warm..you felt fuzzy, almost dumb,your face was covered with drool and your hair all scattered.

with all of it over and one,he suddenly placed a kiss on your forehead,and whispered,

"if you tell curly any of this,I'll make sure to do this in front of him the next time".

and with that he returned to his own room,as if nothing had happened,as if your entire life wasn't just turned upside down. as if he didn't just shatter a person into something they would never recover from.

[heartfullofleeches]

OOOO moth darling? I wanna throw my idea in too. Maybe a super kind and caring goth moth darling? Especially when they look super menacing (bcus they wear hardcore goth fashion) but their favorite game is smthn like animal crossing or they like super relaxing hobbies. (Also adonis could literally suffocate in the big tittie from his goth partner.) I hope you see my vision. PLEASE.

[Yan Butterfly + Goth Moth Darling]

Adonis is so weak for Darling.... He probably sneaks invites them into the buildings/homes he cleans for his job especially if there's been a murder or the home owners had some decor he knew they'd like. Adonis makes a fair amount of money from his cleaning gig, even moreso on contacts that are more "under the table" ergo shady folks looking to clean up any evidence left behind - but he's always spending his cash on gifts he knows Darling will like because he knows their preferred style of dress ain't always cheap.

Darling tells him they don't need it, but how can he stop when they're so kind to him? Making sure he eats, takes breaks, sleep. Butterfly boy may have worked himself to death by now if it wasn't for them. The long, grueling hours are worth it so long as he gets to come home and rest on their soft, warm ti- pillows...

-

"Brought you some sandwiches. Nothin' special, grabbed them from that gas station around the corner, but I knew you had to have something since you've been here all morning. Promise I'll grab something more filling next time"

An angel....An absolute angel gifted from the heavens above. Here you were bringing him food and checking up on him, yet you had the gull to believe it wasn't enough.

"...thanks...." Adonis shyly takes the bag from you, tensing as your fingers brush against his. You gaze around the living room as he clumsily works to untie its strings. The couch, TV stand, and coffee table had all been pushed towards the far walls - dark stains embedded into the carpet close to where the legs of the table once stood. You crouch to get a better look.

"Is this...." Your voice grows quiet - barely a whisper as you extend your hand. "Where it happened?"

"M....Mhm..." Adonis mouths through bitefuls of bread and cheese. The sandwich wasn't the best, or worst thing he'd ever eaten, but knowing it came from you made every bite heaven. He had given you some details of the incident that had taken place. A burglary gone wrong resulting in the death of an innocent man. Nobody even knew he was gone until bills began piling up. Never had many friends or close family.... Adonis wasn't close with his parents either... If something happened to him... you'd probably be the first and only to notice...

"Adonis?..."

"Y...Yeah?"

The butterfly freezes as your arms fall around him, pulling him towards your chest.

"Promise me that no matter what you'll text me at the end of every shift you have. It doesn't matter how late it is...All I care about is that you're safe."

You actually care.... Adonis has always know that, but hearing you say it out loud even if muffled by his face smothered by your chest...He knew it was an inappropriate time, but it was hard not to obsess over the contact with every beat of your heart playing like a melody in his ear. An angel, his angel. His saving grace he'll never let go.

"I will... Every night... I promise to I'll let you know whenever I get home.. I promise."

"Thank you....."

Adonis looks down at his half eaten sandwich. "...My bosses said I could take anything I wanted. I think there's still some clothes in the closet still that you might like if you're interested?"

"Raiding a dead guy's closet wasn't on my list of plans today...but I think I have enough space in my schedule."

[seobover]

DAY 10: mirror sex/orgasm denial/amnesia with haku shota

a/n: first time participating in kinktober !! so thankful for @sxfterhearts and @kisseobie for hosting this! make sure to check the prompt list where all days and writers are listed <3 also this is my first longer smut fic, i hope you enjoy!!

warnings: fem!reader, memory loss (reader), orgasm denial for both (yet oddly sweet n soft sex), mirror sex, praising, kissing with tongue, slight overstimulation (reader), slightly perv! shota, shota and reader are both switches, kinda (very) fluffy, aftercare

wc: 2.4k words

nsfw under the cut

shota knew it was wrong – he knew he should wait patiently for your memory to come back. he knew it was wrong to do anything, but he couldn’t take it anymore: he needed his sweet girl..

he missed all of you: your touch, your gentle fingers and the way you'd run them through his hair and draw soft patterns on his face when he was stressed. he missed your hugs, the way you'd squeeze him tight before letting go. he missed your soft lips on his, and your loving, gentle kisses.

most of all, he missed your pussy. he missed the warmth of you around him, the way your cunt sucked him inside – so welcoming and needy.

he had to do something about it.

☾⋆｡𖦹 °✩

you walk through the empty dorm, scanning each room you pass as you follow him to his room.

”the others are out, so we have the whole dorm all to ourselves." shota says as he notices your gaze traveling.

”perfect,” you respond with a soft grin.

upon entering his room, you feel a strange sense of belonging. it looks so unfamiliar, but you feel as if you’ve been there a thousand times.

the reason you’re in his room right now is simple — shota called you to come over, telling you he had something important to talk about with you.

-

you sit on the edge of his bed, deep in thought. he sits down next to you, but leaves a noticeable gap between your bodies.

“we were dating?” you ask, raising an eyebrow.

“we were,” shota confirms. “i mean, we are. we never broke up.”

“oh.. i’m sorry, i wish i could remember..” you frown slightly, but shota shakes his head.

“it’s not your fault,” he reassures gently. ”i promised i’d wait for you.”

you study his expression for a moment before speaking up. ”do you have any pictures of us?”

shota quickly pulls his phone out. ”yeah, i do, i have many. so many.”

you notice his hands trembling as he tries to open an album on his phone. he passes his phone to you.

you scroll through the album. countless of pictures of you and him, of your dates, hang outs, celebrations.. you see a life you don’t recognize as your own.

then, a picture pops up on the screen; he’s laying on a bed, possibly the one you’re sitting on at the moment, and he’s shirtless. his chest has a few hickeys and kiss marks, and you’re nestled on his side.

it looks very suggestive, it’s like an ’after sex’ picture, but... you’re not sure if you had ever had sex with him.

you lift your gaze to see him already looking at you. his eyes flicker between the photo and you. he's fiddling with his fingers nervously, waiting for your reaction.

you study his expression for a moment, unsure how to proceed. then, as if a light bulb went on in your head, you get an idea and decide to say it out loud.

“if we were dating, i’m sure we would have had sex." you say. “i mean, the oldest pictures of us in that album are a few years old, and that's plenty of time to get familiar with each other, so…” you trail off.

“oh, did we have sex…” shota grins, suddenly getting a surge of confidence. “we were going at it like animals, babe.”

you let out a soft chuckle. “sure, that’s where i’m going with this. what if we have sex? like, right now. the body remembers, right? even if the mind doesn’t.”

shota doesn’t feel like a huge pervert anymore.

he stays silent for a moment. “are you sure?”

”yeah, i’m sure,” you respond immediately. shota nods.

”okay. let me undress you.”

he moves closer to you on the bed, reaching out to fiddle with the hem of your shirt.

shota’s movements are slow, soft… gentle: he’s being so careful, so considerate — and he’s only removing your clothes.

he slides your pants off with your now soaked panties.

”beautiful. you’re just as beautiful as i remembered,” shota whispers, gently massaging your inner thighs with his fingers.

you lie down, propping yourself up on your elbows. you spread your legs to accommodate him, urging him to touch you where you need him most.

shota twitches in his pants, his desire burning hot as you spread your legs for him. he can't wait any longer. not when he finally has you close again.

shota leans down to capture your lips in a hungry, yet sweet, kiss. he licks along your bottom lip, deepening the kiss by slipping his tongue inside your welcoming mouth. his hands explore your body, gently traveling over your soft waist and stomach.

he moves his hands down to his pants, palming himself through the fabric before zipping his fly down. he has to break the kiss so he can slide his jeans and boxers off at once.

you gasp softly at the sight of him bare in front of you. "you're gorgeous, shota.."

"thank you, angel," he smiles. he wraps his fingers around the base of his length, giving it a few strokes before reaching for a condom. "just to be safe," he says, quickly rolling it on.

he guides himself to your entrance, pushing his tip past your folds without missing a beat.

he listens to your soft moans, pushing himself deeper inside you. "i'm so sensitive, it.. feels so good," he gasps. you try to push your hips against him more, needing him deeper.

he leans down, pressing his lips on yours again. the kiss gets desperate fast, your tongues pressing against each other in a dance of desire and need.

"missed this.. missed you,” shota sighs against your lips as he bottoms out fully. "my perfect girl..." he starts moving with a slow pace, his thrusts reaching deep inside you.

“shota,” you moan, and it's like a switch is flipped inside of him.

he picks up the pace of his thrusts and looks down, smirking at the sight of his cock bullying its way deeper in your cunt. ”look at you, so fucked out for me already..." he smirks, yet his voice stays gentle.

"can't see me, don't know about that." you breathe out in response.

"oh, babe, i'll just have to show you, then." he grins and pulls out. he sits down on the bed, and signs for you to get up. "sit on my lap, back against my chest," he instructs.

you do as he tells you, moving closer to him. you look up, and notice a full body mirror in front of you. how did you miss that?

you settle on his lap, slowly inching yourself down on his dick. the sight is too hot to handle, and you quickly avert your gaze from the mirror, away from where you're connected with him.

“don’t be shy now, sweetheart,” shota coos at you, gently lifting your chin to make you look at yourself in the mirror.

"so, so beautiful," he whispers, his warm breath tickling your ear. shota reaches his hand between your thighs, and spreads your folds with two fingers. "look at that, baby, you look so perfect around me... taking me so well."

shota moves his hands to rest on your waist as he thrusts up into you. "watch, sweetie," he commands softly, making sure you keep your eyes on the mirror.

he moves one of his hands between your bodies. he begins rubbing circles on your clit. he gently flicks the sensitive bud, making you clench around him.

“see? this pussy remembers me, baby. you’re taking my dick so well,” he hums, and you moan at his words.

shota smiles proudly as he hears your moans. "it's good, yeah? you're doing great, angel. i'll make sure it feels good..."

you feel something bubbling up in your lower stomach, your muscles tensing slightly. you grind your hips against him needily, trying to take him deeper.

"oh? is my sweet girl getting close?" shota hums.

"i think so," you breathe out.

you feel the pleasure building up and you rut your hips up, chasing the feeling of his fingers on your clit.

shota feels mean. he wants to let you cum, wants to let you feel the pleasure and know how good he makes you feel but... he can't help that he's feeling mean. he removes his fingers from your clit, removing the stimulation that helps you get closer to the edge.

you let out a desperate whine, rolling your hips up again, as if it'd make him return his previous movements.

shota shakes his head, looking at you through the mirror. "not yet, pretty girl. i want you to feel every ounce of the pleasure i'm giving you."

"please, sho, don't be mean," you whine, trying to grind yourself against him in a desperate attempt to feel the pleasure he was giving you.

"mean? sweetie, i'm trying to make it feel better for you." shota blinks, feigning innocence.

you watch him through the mirror, your eyes focused on the way his hands travel on his thighs as he tries not to touch you. he's trying to stop himself, though his control is cracking as he looks at you.

"you look so pretty for me like this," he sighs. unable to control himself any longer, he brings his hand back to your clit, returning to his earlier ministrations.

he rolls his hips, making his cock hit all the sweet spots inside you. you let out a louder moan, feeling the bubble inside you build up again.

yet again, for the second time, shota has to ruin it. and this time it feels even more frustrating.

"not yet, baby, gotta wait," shota hums, so sweet you almost forget the reason he's saying it.

"please, shota, can't wait any longer," you whine, rubbing your cunt against him in a weak attempt to get some friction.

"hmm, i don't know."

"sho, i want it so bad," you cry out, almost desperately. his eyes soften. he can't bring himself to be mean to you anymore.

"okay, baby. cum for me, let go," he whispers directly in your ear. his fingers are back on your clit in seconds, the pace of his rubbing just the way you like it.

your pussy clenches around him as you let go, releasing your pleasure over him. shota continues rubbing your clit through the waves of pleasure you feel, trying to prolong your orgasm.

"doing so well for me, sweetie. my pretty girl," he murmurs, pressing soft kisses along your neck.

"shota, 't's too much," you whine as the intense pleasure wears off, and he gently removes his fingers from your pretty cunt. you stay still for a moment, grounding yourself as the slight overstimulation from his movements still lingers.

he starts to lift you off of him but you quickly shake your head. "no, sho, i want to make you cum like this too. i can take it."

"you sure?" shota asks with a soft breath.

"i'm so sure. let me make you feel good," you reassure him. shota nods.

you roll your hips softly, moaning as you feel the aftermath of your own orgasm. shota twitches inside you, his hands gripping the bed sheets.

you look at the sight in the mirror — both of you all sweaty and sticky, bodies pressed against each other.. it's all so intimate, so loving. shota lies his head on your shoulder, and lets out soft moans. "i'm close already, so so close," he whimpers.

you roll your hips, more controlled this time. his moans become high pitched and needy, his hips thrusting up uncontrollably.

”i'm so close,” he whimpers again, to which you respond by completely lifting yourself off him. he whines desperately, lifting his hips to chase your cunt.

you gently push his hips back down. ”be patient, sho'," you hum.

”wanna cum..” he says with a slight whine.

"uh-huh, baby? you do?" you coo and he nods frantically.

"you didn't let me cum so easily, what makes you think i'll let you?" you say, almost too mean.

he lets out a soft whimper. "i'm sorry, baby, please let me cum, i need it," he begs.

"do you think you deserve it?" you question.

"yes, yes, i do, i'll... i'll be so good, please," he whines. "i'm sorry for not letting you release, please.."

you can't help but soften and let go of your plan at his whines. you sink back on him, and his hips strut upwards as the intense pleasure courses through his body again.

"i- i'm going to cum, please, can i?" he moans as you roll your hips faster this time.

"yes, baby, you can cum. been good for me, let go," you breathe out.

shota buries his face in your shoulder, his hot breath fanning your skin as his orgasm gets closer. he bucks his hips upwards and lets out soft whimpers, his whole body shaking as he cums. he doesn't stop the thrusts of his hips, riding out his orgasm with you.

"fuck, i missed this pretty pussy so much," he sighs, his breathing heavy. "always making me feel so good... can't wait for your memory to come back.. though you better know i'll make the most out of this. i love you, my sweet angel. don't say it back until you remember, mkay?"

-

shota gently lifts you off him, holding your hand as he helps you to the bathroom. he prepares a bath for you both and helps you in.

"i hope i didn't make you uncomfortable," shota says softly as he steps in the bath with you. "i mean, considering that this was kind of our first time having sex. for you. since you forgot. i'm sorry, you know what i mean, i'm just.. i'm rambling because i'm nervous. you mean a lot to me. sorry, i'll be quiet.."

"sho, you didn't make me uncomfortable, i'm the one who suggested this," you reassure, gently placing your hand on his arm. "don't be nervous, okay? i honestly.. i remember liking you. a lot. from when we were friends."

"you do?" he asks, lifting his gaze to look into your eyes.

you nod, holding his gaze. "i do. and... you'll be the first to know when my memory comes back."

shota smiles widely. "i... i'd do it all for you again. if your memory doesn't come back, i'll... take you out on these cute dates and buy you flowers. i'll make you feel as loved as you deserve. though i'll do that even if your memory does come back."

"pfft, you're so cheesy," you grin. shota chuckles at your statement.

"maybe. maybe that's what i've always been like. or maybe that's how you were, before you forgot it all.

you'll just have to wait and find out."

☾⋆｡𖦹 °✩

a/n: AAAAAA!!!!!! i'm so so excited to share this with you all!! i’m also writing day 20 with shota, stay tuned!! possibly more of sub!shota coming up..

extra thanks to @kissoulie for beta reading this for me, love you !! <3