#but he really happy that now he has people with whom he does not need to pretend

[cxffecoupx]

cheol as a boy dad

boy dad! seungcheol fluff, requested warnings: reader has a womb, cheol being down bad for his baby boy word count: 705 author's notes: requested by anon (thank you so much!!) I hope you like it. i never really thought about boy dad cause cheol's definitely a girl dad for me but I loved writing this so much! Lemme know what you think :) check out 'cheol as a girl dad' here.

boy dad! cheol who starts crying in the hospital seeing a junior version of him. his big boba eyes are yours, no doubt, but the little pout that finds home on his baby's lips are unmistakably his — even he can't deny it. his eyes start watering when his baby boy holds his index finger with his whole palm.

boy dad! cheol who litters gentle kisses on your sweaty face, murmuring the sweetest of praises on how you did so well and how your baby is a sweet healthy boy who looks like the best of them both. your tears melt into his as you both happily sob over this moment of joy.

boy dad! cheol who you always find around your baby, smiling and cooing at him, playing with him and his toys and always bringing a wide grin to your baby's face. the child's laughter fills your little home and you can't help but sigh in content.

boy dad! cheol who always traces the baby's features delicately: the eyes that reflect the same shine that yours hold, the lips that pout the same way he does, the little button nose and the cheeks that seungcheol withholds the urge to bite because they're so chubby and so.... biteable (the cuteness aggression is so real right now!!)

boy dad! cheol who loves to dress your child in matching clothes as his. you search for seungcheol as you browse through the women's section, only to find him approaching you with two same shirts in different sizes. everytime you all go out you stand out because you're walking around with two same people, just different fonts.

boy dad! cheol who wraps his hands around your waist and kisses your neck, surprising you as you make dinner. who always takes time to appreciate you about all the struggles you had to deal with during the pregnancy, and how you've made him more happy than any man in this world.

you turn around and start kissing him, but just as things were about to dive deeper, your little trouble-maker stumbles up to you both and starts tugging on your pants. seungcheol grabs the child and tucking him in between you both, gives you and your child a bone-crushing hug that ends up making your son giggle endlessly. cheol gently whispers how he's holding his world in his arms right now, and your cheeks hurt from smiling so hard.

boy dad! cheol who pouts and whines everytime your son ignores him and runs to you. you don't realise how, but your son takes more liking to you, running to you first whenever you return home from somewhere, or whenever he needs something. although seungcheol loves to see it, he lowkey hates how he's just left there, hands outstretched for a hug hanging in the air. he dramatically falls to the floor, kicking his feet and whining which makes your son run from your arms to fall onto his dad's chest, giggling with how cheol tickles him.

boy dad! cheol who gets so excited to take your son to the first day of his school. although having to leave him makes his sad, he's excited for his son's new step in his life and will be all ears to hear him talk all about whatever happened at school. he sneakily gives his son a sweet treat without you knowing (it's their little secret now) as he tells everything he learnt in class that day.

boy dad! cheol who always teaches his son to respect everyone he meets in his life. he hopes that his son learns from watching the way he treats you, his wife, with all the love and respect he could give. he hopes that one day, when his son grows up, he treats his wife the same way seungcheol treats you now.

boy dad! cheol who, even though secretly wished for a baby girl, becomes extremely elated with his precious little baby boy, in whom he sees both you and him. hes feels like the luckiest man on earth — with a wife he loves with every inch of him and a lovely son who he wants to keep happy for the rest of his life. his little, happy family.

[sttoru]

‘toji doesn’t know how to properly give aftercare — nor did he care to do so before. but, meeting you changed his ways of thinking.’

☀︎｜toji fushiguro x female reader. suggestive; fluff, comfort, angst. established relationship. hint of an age gap between toji and reader. mention of virgin!reader. mention of toji’s previous / past wife. grumpy sad dilf toji who learns how to love again t_t. reader gets called ‘doll, little girl’. self indulgent? yessir.

toji grunts and his exhausted body collapses to the side, careful not to crush you underneath his burly figure. he drapes one arm over his eyes with the other resting near his side. his eyelids felt heavy — clearly needing some rest after hours of continuous bodily satisfaction.

he had gone a bit overboard this once. even toji himself was feeling the aftermath since his muscles were aching and his brain was telling him to go to sleep. the assassin was about to, however his ears picked up on a little muffled whimper sounding from beside him.

“mmph,” you sniff. your face was still buried in the pillow below you — your tears and drool staining the material. your limbs were trembling and you were completely and utterly spent. you couldn’t even turn around to lay on your back; it was all just too much.

toji watches you with an unchanging expression for a second. normally for him this would be the part where he’d get the money, dress himself back up and leave through the front door with a small ‘thanks for your time’ comment.

but, that was his past. that was after the death of his wife and before he had met you — that was a dark time where he sought money in any kind of way to ease the hidden guilt and pain in his body. he’d sleep with women for a pay check. and maybe also to simply forget about his miserable life.

toji thought that he wouldn’t ever love himself nor another person again after his life went downhill. though, that thought was proven wrong by you.

you were a girl whom he had met on numerous occasions by accident to the point you decided to exchange phone numbers. you had also eventually started to help toji with his son - megumi - during tough times.

a sweet young woman: that’s what you were and still are in his eyes. maybe you were the change toji needed. the miracle to heal from his past and get himself together.

“hey,” the dark-haired man speaks up in a gruff tone after taking in your weak state. he felt a faint twinge of guilt deep within him since he was the reason you ended up like that. perhaps he took it too far.

you looked up at toji through half-closed and watery eyes. all you could do was tiredly hum in response, “mhm?”

silence follows. it’s not really awkward, but there was a barely noticeable sense of insecurity radiating from the assassin. for the first time in a good while.

toji’s eyes dart around the room in hopes of finding or seeing something that would remind him of what to do in such a situation. aftercare; he knew how important that is after sex, but had forgotten how to properly execute it. he hadn’t done so in a good few years.

that could also be an excuse. maybe he was simply afraid to show any kind of affection to someone again. maybe.

despite all of it — despite all those complex thoughts and feelings — his body moved on its own command. toji shifted closer to your side, rough hand slowly reaching out to give you some head pats. that’s the best he could do for now.

“heh.” you chuckle, yet felt extremely happy that toji had shown any type of affection toward you in such a vulnerable moment. his fingers massaging your scalp gently, over and over, was enough of a sign for you. a sign that he cares.

you knew all about his hard life; past and present. you accepted toji for who he was and what he has done and does. one of the only people who’d stay by his side throughout it all.

“thanks, toji.” the words that left your lips made the older man silently nod. his touch grew a bit more confident after your positive reaction. his hand traveled down to the nape of your neck and over to your shoulder, turning you around so you could lay comfortably on your back.

toji couldn’t help but let his eyes wander across your gorgeous skin. even if it was sweaty and covered in other bodily fluids, it still was one of the most beautiful sights he had seen in his entire life.

“you okay?” he asks to which you give a weary nod. she’s far from okay judging by the looks of it, toji thought to himself.

he hesitantly leans his head down to plant a quick kiss on your shoulder. that did feel a bit awkward, though it turned loving the more you positively reinforced him with your verbal reactions.

toji sighs as he tries his best to keep you as comfortable as possible around him. his hands grab you by your sides and he hoists you up onto his lap, gently pushing your head against his chest; “c’mere my little girl.”

you happily accept the affection toji gives you. it wasn’t often that he’d do this after sex and you understand why. it takes a lot to heal from his previous wounds and you were there to support him throughout that journey. the fact that he was trying was enough.

“you’re nice ‘n warm,” you murmur, eyes droopy as you snuggle against toji’s bare chest. the older man chuckles at your comment and his big hands come to rest on your back to hold you in place — to give you a sense of security.

you didn’t have any regrets about tonight nor about any other night spent in bed with him. toji was the only man whom you were content with showing your body to. he’d never judge nor hurt you in any way, unlike the other more immature men in your indirect environment.

plus, you remember how unexpectedly gentle the big and scary looking man was with you during your first time a few days back. he was the perfect man for you in your eyes—in his own way.

“y’r real pretty. like a doll.”

the sudden compliment forces you awake. you blink thrice, trying to make sense of what you had heard. was it your imagination? no, it definitely sounded like toji. that deep and now almost groggy voice.

you lift your head up and lock eyes with the assassin. he was looking right back at you whilst the pad of his thumb delicately wipes some drool off your right cheek. you quietly stared at him for a good while which makes toji raise an eyebrow in confusion.

“pfft.” you let out a short laugh. you were both embarrassed and amused at the loving words that the older man had told you out of the blue. it made you feel tingly all over in a good way.

“what? did i say somethin’ weird?” toji questions as his hands slowly roam all over your body like they usually would, squeezing and rubbing longer in some spots, “i jus’ said what i observed.”

there was no hiding that lopsided grin on toji’s lips. the soft sound of your laughter was enough to make his entire body relax and give in to the warmth of the moment and the love that radiates between you two. you really were meant to be with him.

“no, no.” you shake your head after giggling. your lips find a spot on his chest to place a kiss upon in response, “it was cute.”

toji huffs at being called cute. no one had ever called him that. it didn’t really hurt his pride or ego — you could call him anything you wanted to and he wouldn’t mind. his rough hand does however give you a light smack on the ass after that.

“y’re lucky i love you, doll.” he grumbles and nuzzles his nose into your hair. the words left his lips before his brain had processed them. it was probably said subconsciously since toji doesn’t realise that he uttered the three words. the three words he usually hesitates on saying now flowing off the tongue so naturally.

you weren’t going to ruin the moment by teasing him about it. you were just happy that toji didn’t think twice before telling you that he loved you this time. it was a huge step forward in your relationship.

you simply giggle some more before placing a kiss on his lips that he instantly reciprocates.

“i love you too, toji.”

[burnttongueontea]

So, what is the deal with the world’s most conspicuously uneaten Eccles cakes? (A meta)

Well, I wouldn’t say it’s bad writing, not even the on-purpose-as-a-secret-message kind. I agree there is a visual ‘loose thread’ here that the creators wanted us to notice, but I don’t think the meaning has anything to do with Metatron or the eventual plan for S3. I think the eccles cakes are all about what’s going on in this episode with Crowley and Aziraphale, and they’re unsettling in exactly the way they’re meant to be, even if we might not register the full implications consciously on first watch.

On the most straightforward level, this shot is the punchline to a joke set up by Aziraphale and Nina in the coffee shop. Crowley orders six shots of espresso, bound to get him all worked up and stressy. Aziraphale, who desperately wants Crowley to be thinking clearly when he learns about the Gabriel situation, says to Nina: ‘What do you sell that calms people down?’ And she replies: ‘Eccles cakes.’ From this moment on the cakes are a visual symbol of what Aziraphale needs from Crowley right now.

That’s why they get so much screentime as we cross the road and go into the shop. Aziraphale won't leave those eccles cakes behind because he’s still hoping that Crowley will respond to the request they represent: Please stay calm, please be patient and listen to me with empathy.

But Crowley never does respond, and as he storms out we get that close-focus shot of the abandoned plate to make sure the subtext hits home. The cakes are framed sitting in front of the horse statue, brilliantly dressed up in Crowley's sunglasses, to remind us that they were brought there for him and he's dismissing them. (Crowley is the frantic horse who can't be managed!)

There’s another level to it, though, which doesn’t fully become clear until episode 6. The episode 1 meeting in Nina’s café is the first time that Aziraphale and Crowley share a scene in the present-day in S2, which means that the last time we saw them together was when they were dining at the Ritz. As viewers, we quickly recognise the visual language of their partnership: a table for two, a drink, a dessert. It feels familiar. But the food gets delivered and then nobody eats it. On that level, it is a set-up without a pay-off and it really niggles as you watch. S1 closed out their relationship with a happy toast after a resplendent dinner; S2 opens it with a snack that gets ignored. The dynamics of who offers food to whom are also off, atypical. It’s a sign of how things are going to go later on, hinting at the fact their dynamic is dysfunctional right now, even though it might seem OK on the surface.

Which brings me, finally, on to the other thing I’ve wanted to point out…

The punchline is that Crowley doesn’t eat the eccles cakes, but the really subconsciously disconcerting thing is that Aziraphale doesn’t. That he seemingly never planned to, and never orders anything for himself. In fact, we don’t see Aziraphale eat anything substantial in any of the present-day scenes in S2. The only things he consumes onscreen are sherry, tea, and a travel sweet. (Oh, and Manipulation Coffee, which is definitely a callback to Crowley’s disastrous sextuple-espresso.) We see him with food, yes, but primarily he wants to give it to other people.

For me this little detail of S2 – not something you even fully notice until you think about it – is a very telling understated cue in terms of Aziraphale’s post-Heaven state of mind. It's about what amuseoffyre puts so well in another meta: 'the whole series looks like he’s having so much fun doing silly human things, but there’s this brittleness to it.' At first glance, we see Aziraphale interacting with food and assume he is now living the happy Earthly life we wanted for him, but on closer inspection he's not engaging much in the pleasure of eating for his own sake. He gets a quick sweet pick-me-up on his way somewhere else in the Bentley - all alone - and that's it. He's too anxious, too busy, he doesn't have time. Crowley doesn't have time to invite him for lunch.

I find it fascinating that Gabriel gets a squillion cups of cocoa in this season, waxing all lyrical about them, and Aziraphale gets none. Aziraphale's mug becomes Jim's mug, even. And he mostly makes the tea to show Muriel how to blend in. In short, S2 Aziraphale is terribly preoccupied with looking after/managing others, and not taking the time to look after himself. Like the Maggie and Nina match-making, all that kindly treat-offering is displacement, displacement, displacement.

No wonder it all goes wrong.

[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.

[inbarfink]

Okay, so here’s the thing….

We are still at a very early point in the narrative of ‘Fionna and Cake’ and therefore at a very early point in Simon’s character arc. It’s pretty clear that “I need to become Ice King again” is not the end point by any meaning of the word. But I am wondering where we’re going to go with this, cause… The series has yet to really tackle how miserable Ice King himself was a lot of the time. And how often he hurt people. 

Like, yes, I was an advent advocates for 'trying to bring back Simon Petrikov was a really really Bad Idea on Betty's part, it was more healthy to focus on making sure Ice King was as happy and healthy and harmless as he could be', but I am also fully aware that he started the show being both extremely lonely and extremely sad and also a serial kidnapper who was very much a danger to those around him. And as much progress as he made during the show, getting Ice King to that point was a very serious struggle with a lot of backslidings and problems.

'Friends Forever' is, for example, an episode that stuck with me for a long time as a really heart-wrenching demonstration how even in that late stage, when he has buddies and people trying to seriously take care of him - Ice King was still very capable of seriously sabotaging his own relationships and hurting others and himself.

And it does make sense narratively that, like, characters like Astrid and Fionna and Cake, all of whom lack the full context of what Ice King's life was like (Fionna and Cake really just saw Simon at his worst and only got snippets of clips of Ice King and since Astrid was born after Humans came to Ooo that means she was also born after the events of ‘Come Along With Me’) all see Simon as a downgrade. Because they really don’t understand how bad Ice King was beforehand. 

And thus is does make sense that with Simon's current mental state, and how he is surrounded lately with these kinda people who never really knew Ice King and don’t really understand how terrible and miserable he could be, and now hearing that his ‘sanity’ just took away magic and whimsy from some else’s whole universe, and how it feels like the actual gods of the multiverse are telling him that he should be Ice King, that he's supposed to be Ice King....

It makes sense that he might start kinda... romanticizing that time in his life again. 

You know, the big thing about the outlook that Betty should’ve accepted Ice King as who he is rather than basically destroy herself to bring Simon back wasn't about whatever Ice King or Simon Petrikov were better or 'cooler' than the other. It was about, like, embracing change. Not obsessing about a past where things were ‘Better’ but seeing what is the best you can do with things as they are. Moving forwards.

And we all know how Simon feels about moving forwards right now…

And obviously that's a pretty bad mindset, even if it's understandable how he got there...

And honestly, if we do explicitly acknowledge that, hey! Ice King’s life was often just as much of a depressive spiral as Simon's is right now! There might be an element of… resignation in Simon’s decision. 

Because Simon's downward spiral since getting cured is not a demonstration that he was better off under the Ice Crown's curse.... But, to him, more a demonstration that he doesn't need the Crown to screw up his own life anymore.

‘Cause as both as Ice King and as good ol’ ‘sane’ Simon Petrikov he is just as capable of being lonely and depressed.

And just as capable of losing his own identity.

And just as capable of pushing his loved ones away and ruining his own life.

And just as capable of becoming a weirdo obsessive.

And just as capable of making little girls cry.

He even started kidnapping people again! That’s the Ice King Classic!

So on some level, maybe Simon is resigned to the fact he’s always going to be SOME sort of screwed up lonely sadman who hurts others. And if that is his fate, he might as well be the screwed up lonely sadman who is mostly oblivious to how sad he really is and can shoot ice from his fingertips. And his arc is going to be about realizing that, whether he is Ice King or Simon Petrikov, healing and change ARE always possible for him.

But we’re gonna have to see where it goes…

[ganxiously]

So, it turns out what I needed to get out of my writer's block was soul-wrenching grief and heart-crushing disappointment. And while I am happy about that (to an extent), I also wish my muse wasn't angst because I think I am hurting myself writing this fic and I need to now make it everyone else's problem.

Sitting there in the dark, on Eddie’s sofa, curled in on himself like it’s supposed to do anything to hold him together, one thought pops into his head, bright, neon red and in bold among the constant litany of boorish, black ‘This is all my fault’ — All of this is because I didn’t know what a Kinsey six is. The thought is unexpected enough that Buck unfurls a little, wondering where it came from and then he remembers their anniversary date. The memory leaves him breathless but he is curious enough to push past the newly burgeoning hurt and take out his phone. A quick Google reveals it to be the rating for ‘exclusively homosexual’ on the Kinsey scale so he looks that up next and as he’s debating whether to start from Wikipedia first or dive right into the Kinsey Institute website, his eyes land on the conspicuous ‘test online’ button right below the search bar. A part of him doesn’t want to find out, doesn’t want anyone else telling him what he is but the taunt is too much. If you had known, if you had just taken a moment to figure yourself out, maybe you could have said something. Maybe you could have stopped him before he walked away. He clicks on the first test that pops up, looks at the first question, goes to select option 1 and then stops and stares. ‘To whom are you attracted?’ should be an easy question to answer but the confidence to not think much has left him. He could easily choose ‘Both men and women’ but would that even be correct? He’s been so sure that he has felt attraction towards men a few times in the past but what if that was a mild interest at best? After all, no one had really pinged his radar the way Tommy had. He looks at the next question and that’s when the panic really starts to set in because he doesn’t know. He doesn’t know if he prefers men over women or if he just prefers Tommy over women, over everyone else. What if Tommy is the outlier and he prefers women over men after all? The pressure in his chest becomes more and more painful the longer he stares at it so he closes the test and opens the next one on the list. That one starts off mild. The way the first question is framed makes it easy to answer that yes, while he mostly notices women, the occasional man does turn his eyes. The next one asks what he would be comfortable in calling himself and he thinks he could get away with calling himself bisexual but then there’s an option saying ‘could be bisexual but not sure if that’s correct‘. And again the thought hits, What if it’s just Tommy? He debates it briefly and then gives in and chooses the latter option. He breezes through the next couple of questions because he is at least sure that he would find it desirable to kiss people from both genders but then they hit him with the sexual preference question again. He backs out so fast his phone nearly slips out of his hand and with a sigh of frustration, he clicks on the next test. That turns out worse because the very first question stalls him and so it continues again and again and again until tears start prickling at the corner of his eyes and his breath starts coming in sharp, short bursts pulling his throat tight but not taking any air to his lungs. He keeps at it until there’s one more nameless person behind one more useless test clamouring at him, Tell us, tell us, tell us. Tell us you know what you want. He hurls the phone across the room, thankful when instead of landing on the floor, it silently hits the backrest of Eddie’s armchair and slides down into the crease with a swoosh. He should get up and retrieve it, he should go home really but what he does instead is let his head fall forward onto his raised knees and give in to the caricatured voice of his mind telling him, Of course, he thought you would break his heart. Look at yourself, you idiot.

This is basically just the set-up for the fic but rest assured I am dragging Buck down to the trenches before I let him swim up to Tommy again.

[anythingforstories]

Currently reading Lord of the Rings for the first time. Never seen the movies (I want to read the book first) and the majority of my LOTR knowledge comes through memes and spoilers on Tumblr analysis posts. I've made it through Fellowship of the Ring and am now in The Two Towers, specifically the chapter where Merry and Pippin meet Treebeard.

Thoughts and predictions at this point (contains spoilers, but it's been out since 1954, so deal with it):

-So I guess "They're taking the hobbits to Isengard" was Merry and Pippin? In which case, they did not end up taking the hobbits to Isengard. Pity.

-(No but really, I had thought that referred to Frodo and Sam because I think they're slaves at some point? IDK. Maybe they're slaves in Mordor. I shall have to wait and see.)

-I am happy that Merry and Pippin have had more page time and got to have a clever escape. I was beginning to wonder why they were there in the story. I do like them, though.

-I wonder if Treebeard is important?

-During the entire second half of Fellowship of the Ring, I was thinking, "Surely Legolas has a bigger role, based upon the number of fangirls?" I now see that he does have more page time, though still at this point, I feel his fangirls may have overinflated his role within the story. Perhaps he shall do more later, though. Still a cool dude, in any case, sleeping while walking and all that.

-Gandalf's defeat was less dramatic than I'd always imagined. Pretty sure he's not gone forever, based mostly upon memes and fanart. And also the fact that he seems to be rather too important to be gone this soon.

-I'd honestly anticipated a long redemption arc for Boromir. Based upon all the analysis I've seen about him, I had vaguely known he sacrificed himself for the hobbits, but didn't expect it to be this soon. Not sure how I feel about this. (I did cry, and then I cried again when Aragorn didn't reveal what he'd been up to to Legolas and Gimli. I didn't actually expect to cry while reading LOTR. But the tragedy hit hard.)

-I know there's gonna be a romance between an elf-lady and a man, but I'm not sure who with whom. I don't think there's been a single hint of that yet. Maybe I'm wrong.

-Pretty sure they're going to see the ocean?

-"I am no man!" (Or something along those lines. I hope that wasn't movie-original; I think I've seen pictures of that text in the books? But it sounds very epic.)

-Gollum is a persistent chap. I rather like him. I do, unfortunately, know his fate. My sisters watched the movies when they were little and that's one of the only things they can remember.

-It's definitely picked up compared to the first book! Unlike many people, though, I did read through all those pages of pure worldbuilding lore at the beginning. It was boring and yet delightful.

-I need a map. I'm borrowing a friend's version where there's all the books in one cover with lots of illustrations and such. There was a map of the Shire but not of everything. I could easily look it up online, but I'm stubborn and want to see if the book will have one at some point.

-Can't wait for Aragorn to come back as king. I assume this shall happen in Return of the King. It would make sense. He seems a good fit for the job.

-I would DEVOUR an anime of this series. Specifically, a book-accurate one.

-Sam is excellent.

-Lots of fantasy seems so much less original after reading LOTR :P

[maple-the-awesome]

He Becomes a Dad! || Part 1/2

PART 2

Pairing: Time, Four, Legend, Hyrule x Reader

Overview: Congratulations, you're new parents 🎉 Some of the Links are prepared. Others...might need a moment to gather themselves. But rest assured! At the end of the day, they're all going to get a handle on this whole dad thing. I'm a sucker for family tropes and there simply aren't enough out there for the Chain to quench my thirst, so here it is, I'm adding my contribution👍 Btw, there will be only two parts for this prompt since Wind will be excluded for obvious reasons. Baby making isn't a platonic activity🤷‍♀️

Zelda Masterlist 🩵Fandom Masterlist

You only brought the topic of children up to your husband once. It was at some point during the early half of your marriage and after a particularly lengthy day of enduring Malon’s well-meant pestering. Time, beside being caught slightly off guard, delivered a straightforward answer:

“It wouldn’t feel right bringing kids into this world, especially when I would hardly be home to help you rear them.”

Now, you can’t lie and say you weren’t at all disappointed by this answer, although you wouldn’t say you had the rug completely pulled from beneath you. You understood the true implications behind Time’s statement right away. It’s the same reason he took so long to let himself marry you. It’s not you nor a disgust towards children, but rather an unspoken fear of building a life where he’s too happy - one that could be ripped away from him at a moment’s notice as has seemed to be the case for his younger years.

Although his worries are needless, you never pushed against his boundaries because you could at least see the sense in his argument. Sure, the idea of having children did always appeal to you deep down, however between Time’s constant traveling and your hard work helping at Lon Lon Ranch, it would be difficult to squeeze a family into the schedule. There was no sense in forcing him into a commitment he wasn’t ready for nor one you weren’t in a  position to properly foster.

Twelve years of blissful marriage passed before your plans changed. The blame lies with those other heroes, too. One would think traveling alongside a group of unruly young boys would’ve made someone more certain of their decision to never again subject themselves to such a headache, yet it apparently had the opposite effect on your dear husband.

Discovering first hand how much pride he could feel towards a descendant was life-altering, to put it light. Twilight was living proof that somewhere along the line, Time does something right. Whatever kids he might have will grow up to have children of their own and so on…Not to mention Twilight isn’t a terrible outcome by any means. To raise someone with the possibility of them turning out like him and to do so with you of all people? Well, needless to say, it was settled rather quickly after that: Time wanted kids.

Call it baby-fever if you will, but he was suddenly rather eager about the concept he had once avoided like the plague. He brought it up through not-so-subtly hints at first, then when you outright asked him if he was being serious, he went on a slightly nervous spew about your home being too quiet and how he could officially retire from traveling to be home more and it’s really a shame that you have an extra bedroom just sitting around - You just had to kiss him to shut him up which eventually led to…other things. Let’s just say you both got started right away.

It took you twelve years to realize you did indeed want kids yet less than a year to actually be holding them for the first time. It turns out even the universe was impatiently waiting for you both to come to your senses, so once you finally had, it decided to award you with not one, but two beautiful girls whom you affectionately named Saria after Time’s old friend and Mallory, a mix between melody and Malon, their ever-so-excited godmother.  

It’s safe to say that the twins are pretty spoiled. Malon has been over almost everyday, bringing you plenty of baked goods as a bribe to let her spend more time with her favorite goddaughters and you have practically every baby related item that you could need, courtesy of the Queen of Hyrule herself, but of course, it’s their parents who love them the most.

Never in his wildest dreams did Time think it would be possible to feel so at peace with the life he’s built. For so many years, he feared true happiness was impossible - that every turn would result in the same cruel fate he had been subjected to during most of his existence - and yet for the last couple of nights, he’s held it in his arms. He’s watched the moon rise outside his window while playing soft lullabies on his ocarina, you cuddled by his side with your daughters shared between you both. You wear a small smile even in sleep and he swears the girls match it, too; he definitely does himself…This is a priceless treasure he’ll give his life to protect.

Four and you had already been married for a few years by the time you found out you’re pregnant. It’s not to say you were actively planning for it, although you also weren’t actively trying not to either. 

It had been agreed upon early in your relationship that kids would be nice should they come your way, therefore you were both equally excited that your wishes were finally being granted, so much so that the nursery was finished within the first month (courtesy of your handy husband). It’s painted in beautiful pastels that are easy on the eyes and decorated with many toys Four had hand-carved himself; a useful craft he’s now very appreciative towards Sky for teaching him.

Seeing as this was already a somewhat anticipated next step in your lives, Four’s pretty relaxed throughout the process despite its many challenges. For starters, pregnancy itself unfortunately isn't as much of a 'blessing' for you as some have made it sound. You’re rather sick from beginning to end. If it isn't your inability to keep food down (especially in the early stages) or your fluctuating blood pressure, then it’s the aching you constantly feel thanks to both your very heavy bump and extremely active baby who just loves to make sure you never forgot about their existence by kicking you as hard as possible day and night. 

Worry not. Four has made your struggles more bearable by being a darling husband through and through. He’s by your side during each doctor’s visit, does his own personal research on all things baby-related, and helps with every chore he can to give you at least some rest even if just for a quick nap, however most spectacularly, he does all of this without ever being too overbearing. 

Although certainly concerned for your health, Four can recognize your strength any day of the week, especially when you've been rolling with the punches like a warrior queen during such a draining pregnancy. Anxious, sure, but not afraid. Why would he be? He’s confident that you’re both prepared to face anything together! …That is, until you actually went into labor…

Yeah, remember that previously mentioned, relaxed and darling husband? Forget about him. Your water broke and so did Four's calm demeanor, but can he really be blamed? You went into labor early - and not just by a couple of days either. Oh no, we're talking a couple of weeks early. 

Regardless of his newfound fear, Four does his utmost best to still present himself as calm and collected in front of you, not wanting to freak you out any more than you’re already freaking out yourself. He first helped you lay down with plenty of pillows and cushions before running to get help. After that, he doesn’t leave your side, encouraging you throughout the process with a smile on his face, however don’t be fooled: the second you turn your head to the midwife’s voice or close your eyes to scream, your poor husband’s face reflects his inner thoughts as the situation fully begins to sink in. 'Scared shitless' - that's a good word to describe it; eyes wide in terror with a mouth that’s hung agape and slightly twisted in pain as your nails clawed into his hand.

As said, he never leaves your side - not even for a millisecond. You don’t have to worry about him being the type of guy to get grossed out by natural fluids or complain about your expressions of pain; none of that is remotely a concern of his. He’s just grateful to see you okay and even more so to hear his baby crying as they should.

A girl; small like her daddy, but healthy all things considered. Four couldn't wait to hold her, knowing damn well he was going to cry the second her soft skin touched his, but he isn’t ashamed of it in the slightest. Who wouldn’t cry holding something so precious?

Then you scream again. He thinks something must be wrong until the midwife announces that it isn’t over - that there are more squeezed in there waiting.

At the end of the day, you're just relieved to finally breathe easy without going through agonizing pain while Four, on the other hand, is left in shock staring at not one, not two, but three little babies, all healthy girls who wiggle and whimper in their parents' arms, but oh well. The nursery may have to be expanded, although there's plenty of love to go around. At least he can thank Hylia that it wasn’t quads (he's had enough of those).

Legend and you have been in a relationship for several years, although you had mutually agreed earlier on that neither of you were big fans of the whole 'marriage' thing. What difference would a ceremony and piece of paper make, anyway? You already act as any officially married couple would. You live together, go on dates, occasionally argue, and even share a bed which is exactly what resulted in a recent, unplanned detour in your lives: a baby.

When you first told Legend the news, he panicked, asking himself all those stupid questions like ‘what now’ and ‘how could this have happened’ even though he knew damn well how. Then he left. Giving some half-assed excuse about needing fresh air, he turned his back to you despite your pleas and didn’t return for hours. 

Now, rest assured, he did immediately regret having that reaction and apologized for it as soon as he came home. He didn’t mean to scare you with the thought of abandonment, but as he would quietly confess during his apology, the thought of being a parent had just been too overwhelming in the moment. Neither of you had ever talked about having kids, and while he could at least have some peace of mind knowing you’ll obviously be a great mom, he fears that the same won’t be applied to him.

You have always been the light in a dim room, as Legend would put it. You’re fun, sweet, and amazing with kids. Any child of yours, planned or not, will love you with all of their heart exactly as he does. Meanwhile he’s stubborn, cranky, and the last kid to cross his path literally started sobbing. Maybe it had to do with him being covered in monster blood after just having crawled out of a dungeon but he’s pretty sure he traumatized a kid nonetheless…The thought of being just as bad around any kid you share together scares the crap out of him.

Deep, deep down, Legend’s actually somewhat excited to be a father. Although he’s too stubborn to admit it to anyone other than you, he’ll sometimes daydream about how nice it would be to tell a little replica of you both about all his adventures or to teach them how to use some of the items he’s collected over the years like his trusty boomerang. Seeing the excitement in their eyes would definitely be worth listening to you scold him afterwards. If that’s all there was to being a father, Legend wouldn’t have a single concern, yet it’s his insecurities that always have a habit of souring things. Would his kid actually find his stories cool or would they just be tempted to throw the boomerang right at his head?

You’ve done your best to reassure him, often falling back on the argument that the baby will be a part of him. Like father, like son, right? Legend was almost ready to believe you, too, especially upon laying eyes on his child for the first time. As you passed the tiny bundle over to him, he thought that maybe being a dad wasn’t going to be that scary after all, and it might not be so bad to even have more someday either…However, his worries were quick to return when the baby started screaming two seconds after being set into his arms…

Baby screams if he holds him. Baby whimpers if he looks at him for too long. Sometimes, Legend swears the thing starts crying simply by hearing his voice in another room. It doesn’t happen with anyone else, though. The baby just adores you as predicted, but what Legend can’t stand is the fact that the baby seems to like Ravio, of all annoyances, over his own dad.

He’s forced to watch as the little brat happily lets Ravio cradle him, the sight filling him with bitter jealousy and sorrow. You’re convinced that he’s just overthinking everything - that he should give himself time to adjust to his new position as a father instead of holding himself to unrealistic standards, but how long is he exactly supposed to wait until it clicks? It’s been a whole month already and he still feels as confused as day one! Will he ever get the hang of this whole dad-thing or is he a lost cause…?

If there’s any comfort Legend can have, it’s that even Ravio doesn’t know what to do with the baby once he starts crying, so at least he’s not alone in that aspect. The only problem is you’re busy making lunch and stubbornly refuse to pause your efforts. Instead, you shove a bottle over to Legend, insisting that he be the one to feed his son since it should be a ‘good bonding exercise’ for them. You won’t take ‘no’ for an answer and judging on your glare when he tries to protest, you probably wouldn’t be happy if he tries passing the task onto Ravio either.

Thus, Legend is left to awkwardly sit down and take the baby into his arms. He already knows it’s obvious he has no idea what he’s doing, Ravio doesn’t have to point it out, but luckily after some swift around, he manages to hold his son more securely against his chest before shoving the bottle in his face. The baby continues to fuss while turning his head away from the bottle, and Legend’s almost tempted to call for you in defeat until at last, the room falls silent.

Looking down, he watches in quiet awe as his son accepts his meal eagerly. His little hands quickly rise up, gripping onto Legend’s which holds the bottle in place. They’re so tiny; barely able to wrap around a single finger - Oh, and his eyes as well! They’re wide as he stares up at his dad with unbroken eye contact. It’s like a wordless conversation - one more valuable than any he’s heard before.

You return, offering to take your son now that your work is done, but Legend is quick to shake his head. Why don’t you take a well-deserved break while he handles this little troublemaker? It would be a shame to bother him when he looks so comfortable in daddy’s arms.

You've been dating Hyrule for longer than either of you can really remember, however you aren’t in any big rush to get married, figuring that it would make no real difference in your commitment to each other. You love Hyrule and he loves you. What more is there to say? For a while there, you were both perfectly satisfied with simply taking things slow and letting fate decide your course, although more recently you’ve had to switch up that method to something more stable for the baby. Yes, a baby.

You wouldn’t necessarily call it a surprise, but you also can’t truthfully say it was planned either. You had agreed that kids might be nice if the goddesses ever blessed you with any in the future, however you weren’t exactly trying for them…You just weren’t being very careful…

Hyrule must admit he was rather nervous at the start. The only prior experience he really had around kids was with Wind, but there’s a pretty big difference between a young teen and newborn. Pair that with his not so ‘kid-friendly’ world and there’s plenty to worry over. Anything could happen, but Hyrule’s determined to be the best dad and partner he can.

First thing was first, of course: you needed a place to stay. Traveling is fun and you both enjoy being on the move, but that’s no life for a baby. Hyrule and you had actually already considered the idea of settling down someplace before, so you didn’t think of it as a massive loss to take off your adventure boots for a while. If anything, it was a welcomed change once you remembered how lovely it is to be able to kick your feet up for a rest or be surrounded by warmth during a terrible rainstorm.

Again, Hyrule takes his job as your partner very seriously which wasn’t ever a surprise to you. He found a small house for you both to rent in one of the safer villages around; a perfect place for raising a child. While he might not have a talent for decorating or making a place feel ‘homey’, he does thrive when it comes to making sure you’re comfortable, his spare rupees definitely going to fluffy wool blankets and a rickety rocking chair that he saw at a market.

Early on in the pregnancy, you noticed that your boyfriend also began showing a new found determination for cooking which did scare you a bit at first - Okay, so maybe a lot. Hyrule began taking cooking lessons from some kind elderly ladies in town who must have an endless pool of patience because while you can’t say every dish is a masterpiece (or even editable for that matter), you are happy to say Hyrule can now make things like toast and tomato soup successfully. It’s progress.

There aren’t a ton of doctors in your time and none in your village, so you have to take a lot of notes from local women regarding the process. Hearing all their stories and the possible ‘what if’s for what could go wrong made you anxious, especially once you finally go into labor, but it doesn’t faze Hyrule - not on the outside, anyway. He does an excellent job of swallowing his own fears for your peace of mind, talking you through each painful contraction and doing his best to distract you from it all until it comes time to start pushing.

Some people may get squeamish at the thought of childbirth, however Hyrule isn’t one of them. He’s fought through some terrifying dungeons and has bore witness to more than a few gory injuries over the years, so bodily fluids don’t bother him one bit. He’s kneeled down right in front of you without a second’s hesitation, multitasking between mentally reviewing what he’s been told to do and reassuring you even though he’s sure you don’t hear a word of it over your own screams.

One minute Hyrule’s encouraging you to keep pushing, the next he’s holding a small, crying baby in his arms. His movements after that feel almost automatic as he carefully cleans her off and just admires the fact that this baby - this tiny, precious gift of life is his. She’s yours and his and she’s beautiful despite having come into existence within such a broken world filled with more hardships than he could count…

Your tired voice brings him back to reality - asking if the baby you hear crying is okay. You clearly feel the same thing Hyrule does upon seeing your daughter for the first time, the two of you sitting side-by-side as you soak in this wonderful emotion. Hope...That’s what she represents. Hope for a brighter future...

[theoneeyedgoldenwolf]

Thoughts about Linked Universe's update (Central Room pt.3)

I've read some posts and realized that there has been lot of debate about the latest update on Linked Universe and the teams Time created. Yet, I think Time really has thought these through.

First of all, in Central Room pt.2 we can actually see Time listening and thinking things through. I mean, just look at Time’s expression in the first panel of fifth page. Not happy but he’s certainly thinking. He let Wild say his thing and he listened to Warriors too. Sure, he’s not happy of what either of them said but he didn’t stop either or say they were wrong or anything of else. He DID listen and let that affect his choices.

In Central Room pt.3, where Time establishes the groups, he took in what Wild said about being overprotective. Warriors suggested that he and Hyrule, a Knight and a Healer, will be with Twilight since Time’s that worried. Yet, Time didn’t put Twi with either. He chose SKY to pair with him. Sky whom is calm, gentle and caring but also very fierce fighter. I think that’s a good choice.

Considering being overprotective, Wild reminded of himself and the others being such towards Wind. And, as we’ve seen before, Time doesn’t exactly do such towards Wind. If we think about Time’s past, he’s been in Wind’s place. A kid with skills but people not recognizing that skill even when its shoved at their faces (at least in manga). In Divine Dark Reflections pt3 Time and Wind faced monsters together. They fought well and in unison and Time even said “Do not forget your discipline with the sword.” and later on even complimented him in the next part (Divine Dark Reflections pt4) by “In every battle, you have a little more of the look of a hero.”

So, yes, Time took in Wild’s comment and made sure Twilight and Wind wouldn’t be paired with ones whom would be overprotective on them. Himself included. He listened to Warriors and took in four groups, one of three and three of two persons.

Now, I’ve seen people being worried of Warriors and Wild being a team. Sure, it’s two inexperienced Temple goers but Wild does have Shrine experience. We also, in one of the post below “The works that became Linked Universe” called “doodlespt 6: knights, ladyfriends, face of displeasure” we have Wild and Warriors telling out their ranks and Wild salutes him while Warriors tells “No formalities”. They are Captain and a Knight with Wild also being Princess’ Personal Guard. There’s bit of contradiction of which of them is in higher rank. And yet, that might be what’s needed. They’re trying NOT to go by the ranks but they also can have sway over each other by the said ranks. And, considering Wild’s past, he’s not the Knight anymore either. So, yeah, this is interesting pairing and I think Warriors will be keeping good care of Wild while Wild might bring some experience with Shrines into going through a Temple.

Legend and Hyrule’s an unique pairing too. Time knows the two of them can work well together but considering how the other groups are formed, it’s bit hard to properly get the duo into with others. With Wild we have Disaster Duo by him and Hyrule (in the list “The works that became Linked Universe” part “lost”). So, yeah, not that duo. We already saw Legend and Wild not getting too well along as one’s an expert and another’s inexperienced (Entrance pt.2). So, all things considered Legend and Hyrule have no other choice than to be together. YET, telling them to fetch their items…. Yeah, how do you do that when you don’t have a map or know which of the roads ACTUALLY lead to the right place? O.o I mean that one of the other groups might find the Boomerangs since the duo’s way won’t lead to there. *shrugs*

Also the tag of “what could go wrong” clearly tells that there’s going to be some serious trouble ahead of the boys. Yet, this is a Temple. There’s always traps, monsters and puzzles to solve. It’ll be really cool to see how things go.

All this and the fact that the two of the shortest members are with the tallest member. He makes sure that if there’s height needed areas or things, he’ll be able to aid the duo. He didn’t say a word but it’s just an observation. Sure, they all have their own items and ways to clear this kind of situations but just something to think about.

Also, Time did give good words there too:

To Warriors: “Captain, I’d value your input on the remainder.” Means he thought what Warriors said and he did think things through. He’s grateful of his help and strategic mind.

To Legend: “Veteran, your experience is beyond question.” A CLEAR compliment there. “But it’s wasted on petty disputes.” A reprimanding and reminding of what’s at stake. Telling his knowledge is valued but he needs to think too before he acts.

To Legend AND Hyrule: “…overqualified…” He gives them the full notion of the duo having the most knowledge and experience out of all of them.

To Wind: “Hope you don’t mind this old man slowing you down” Playing a joke on himself and bit smiling! He’s letting Wind know he’s actions are fast and he has seen his skills.

Plus, what we seem to forget is the fact that we only know what’s been given to us. The meeting of the Heroes and overcoming the language barrier has NOT been shown to us. This means they’ve been working to get things workable for a while BEFORE we get the story or the short little things in the other posts. And this means that Time knows far more about the boys and the boys know about each other far more than what WE’RE aware of. Not to mention the very fact of Time calling Wind as “Hero of the Wind” in “heroes legacy” which means that the Chain has shared a lot about themselves already. Stuff that has not been show to us as of yet. Of course, though, THIS might be given behind the scenes during the Divine Dark Reflections as Wind asked stuff about Time’s first quest but we weren’t given info of WHAT they talked about.

OH! And I like that Warriors is like slowly and unnoticeably moving closer to Twilight when Time’s starting off by pairing Twi first. Just look at the swirly black line and where Warriors is at the next page. He was so ready to be paired with Twilight there. XD

Also, considering both Central Room pt.2 and pt.3, the boys are honestly listening and really showing the fact that Time’s the leader. They gathered around him when he called them together. None of them argued back when Time made the teams. I really love how much they show the fact of Time’s words and mood affecting them. Even in part Likelike, they took in Time’s reprimanding. They really care about what he says or does.

And now, as last thing, all the teams need to do is to choose who goes to what road. XD

So, um, yeah…. Just trying to defend Time a bit. ^^;;

Links to the given notions of specific pages / posts of Linked Universe:

The heroes legacy:

The Entrance pt.2:

The lost:

The talk about ranks and formalities:

The Divine Dark Reflections pt3:

The Likelike:

[luigra]

Why the nuke ending was good and important for the story, and why it was NOT retconned: an important essay

So, I& assume that most people here have only really watched DSMP through Tommy's POV. Maybe a few other of the most popular POVs. Even more people have just... straight up never watched the actual streams and got all their info off of social media. I& get it, I& can't blame you. But because of that you all have missed out on the absolutely crucial reasoning for why the nuke ending needed to be Like That.

I& will try to sum up Jack Manifold's lore here real quick, but I& can't ever do it justice in a text post, so I& implore you all to watch at least one or two of his lore streams, preferably the one in which he exploded the hotel and his POV of the finale, those are the two best ones lore-wise, and he re-explains his motivations quite frequently.

The biggest thing with his character is that he has always been forgotten about. Treated as a side character to the "main protagonist". He was never noticed, his three deaths were completely ignored, and no matter what he would do, people would always look past him to focus on whatever the big plot was. In his own words, he tried to kill Tommy and he didn't even care.

As the result of this mistreatment, literally having everything taken away from him - his home, his friends, his lives - he tries to find the root of it all, and comes to the conclusion that Tommy is to blame for it all, because he was his friend once but is now the cause of the server fighting all the time.

All of this is to say, he is an important narrative foil to Tommy - where Tommy struggles with just wanting to move past Exile and his trauma, Jack instead clings to everything that hurt him and just wishes to be noticed. He wants his pain to be acknowledged, and in doing so he spirals further and further into self destruction. He burns down Manifoldland. He blows up the hotel.

And finally, he blows up the world.

It was his desperate cry to be seen, a natural conclusion to his mental issues that everybody just ignored. But now, they couldn't ignore him anymore. They physically COULDN'T. And THAT, is why the ending is so brilliant. Because throughout all the trials and tribulations, Jack finally gets what he always wanted. He finally gets to kill Tommy the way he wanted to kill him, and at last, nobody can ignore him, this forgotten and abandoned kid that just tries to make things right, Jack Manifold.

BUT HE ISN'T ACTUALLY HAPPY ABOUT TOMMY DYING. IN HIS LAST MINUTE, HE REALIZES THAT HE'S BEEN MISGUIDED ALL ALONG AND WITH TUBBO'S HELP HE REALIZES THAT ALL HE REALLY WANTED WAS FOR HIS FRIENDS TO ACTUALLY CARE ABOUT HIM AGAIN.

SO HE TRIES TO SAVE HIS FRIEND AND LITERALLY GOES INTO LAVA TO TRY AND REACH HIM (THE SAME LAVA THAT TOMMY THREW HIM IN AND KILLED HIM WITH)

BUT IT'S TOO LATE.

IT'S PURE FUCKING CINEMA.

IT'S THE MOST TRAGIC ENDING EVER. IT'S THE BEST POSSIBLE WAY TO HAVE ENDED THE SERIES, WITH AN UNDERDOG WHOM EVERYBODY IGNORED UNTIL IT WAS TOO LATE, FINALLY GETTING HIS LAST SPOTLIGHT. FINALLY HAVING A SMIDGE OF HOPE THAT SOMEONE OUT THERE MIGHT CARE ABOUT HIM IF HE JUST TRIES AGAIN.

So what does that mean for the latest new stream? It means that Jack finally got his closure and got to talk to Tommy. And he learnt how to move on. He doesn't center his life around him anymore.

But he does wish for Tommy to be happy. Even if he himself can't, even if he's still stuck gambling and addicted and all alone with no one by his side, he finally moved on from Tommy. He finally planted Manishroom in the ruins of his burnt down house.

And the fact of the matter is, this has been streamed from Jack's POV. And now, this is his story. Let him have this. The fact that his actions left an impact is important.

Let us, the manifolders, have this. Please. The nuke ending was never about Tommy or Dream or whatever. It was always about Jack.

[willthespy]

The Nico is extroverted and Will is introverted argument is both right and wrong depending on what your definition of both terms is and I have to talk about it. I agree mostly with the original post that claimed this, so just listen and bear with me.

Most people categorize extroverts as ‘social’ and introverts as less so, but in reality (depending on what theory) that is not really true. Because I do agree Nico was a social kid who still has the social skills, but has dampened it down because of his own insecurities and the insecurities he’s been fed due to his parentage. Then for Will, he’s got some solitude and gloominess in him for sure (another introvert stereotype), but shows himself as the (I don’t know what word I want to use for it, but I’ll go with) happy head counselor, because he ‘had to be.’

As for the definition I prefer to use, it’s in fact a bit different. Note that it isn’t a black or white thing, and that you can’t be 100% introverted or 100% extroverted. That’s the same as saying you’re 100% autistic, because all of these terms are all created and used to categorize, and you can’t perfectly fit a category. There’s no such thing as ‘perfection.’

Now, it’s been a while since I’ve properly read about cognitive functions, but as a Feeler type myself, I know most about the different types of ‘Feelers’ to say that Nico has dominant introverted feeling (Fi) and Will uses dominant extroverted feeling (Fe).

While Nico has shown to have social skills, he definitely looks to be a Fi user. He knows who he is (again, not 100% - it isn’t black or white) and what he wants and he doesn’t really base his values on others. I think why a lot of characters with Fi are ‘emo’ or ‘weird’ is because they’re authentic to themselves and don’t bend themselves to anyone else’s will that easily. Now, we all know Nico can be a stubborn prick, but we also can see that in PJO he corrects Minos on who he is. His whole thing there is him being ‘the Ghost King.’ He knows he is, he doesn’t need to be told he is that, he just does what feels real to him.

Also that one scene in ToA (I believe) where Nico is very blunt towards Lester/Apollo and where Will tells him he needs to work on his social skills or whatever? Yeah, that shows their differences in Fi vs Fe. Nico focuses on his inner needs and values (which actually aren’t selfish at all, but important to the entire universe in this case), while Will knows the bluntness isn’t socially acceptable (as far as he knows) and, albeit jokingly, tries to control his outer world to bring it to ‘harmony.’

Note that Nico also has had selfish inner values, wants, and needs. For example, trying to revive his sister. But Will was also selfish when he tried to keep Nico away from the Trogs for example. Fi and Fe aren’t inherently selfish, but their different types might make them make selfish decisions.

Will and Nico both are self-sacrificial, but in different ways. Nico does it for his own internal values and because he feels he’s not wanted anyway, and Will seems to do it because he seems to feel the need to be strong and have an image of himself up for everyone else, even if that means putting his own needs second to his own.

Will also showed some eagerness to absorb and ‘fix’ Nico’s negative emotions in a way. He’s a healer, it’s what he does, right? But meanwhile he struggles to accept or even acknowledge his own ‘darkness.’ (Yes, I’ll talk about this as long as I’ll live. I won’t stop. Ever.)

Also very important. Nico was way more accepting of the Troglodytes than Will. And you might say, “well, isn’t that an extroverted trait?” And I’d tell you: “that depends on your definition!” But in terms of Fi/Fe, it’s Nico who’s showing introverted feeling here. He doesn’t judge, as long as they (the Trogs) don’t go against his core values.

Will, my dumb, dumb, dumb son (note: I don’t actually think he’s dumb), whom I love very much, shows Fe here. He’s quicker to judge because of his sense and knowledge of social norms, but also because of his care for his loved ones. I don’t know, I think both are true arguments as to why he was against the idea of the Trogs.

Also this is why I think it wasn’t too out of character for Will to get all bitchy and negative about the Underworld. And also not why Nico got upset about it, because Will being against his ‘home’, went against his inner self. Boo! Fe vs Fe argument! Take that liberals! (joke)

In short:

Nico is the Fi user. He’s authentic, stubborn (in defense of his own values), actually attracts misfits - because he’s not as quick to judge people who go against social norms - as he doesn’t conform to social norms himself. He’s passionate and emotional (very emotion-driven). If I remember correctly, he also shows to solve problems by talking about it, rather than just cheering anyone up.

When he was ‘unhealthy’, he also retreated from society and went into solitude + lashed out. He also strictly followed his internal beliefs that he was unwanted and all that, while Will claimed that he was the only one thinking that.

Will is the Fe user. He is a healer and nurturer, but neglects his own inner self. He is externally friendly, but can be a bitch. (Sorry not sorry fellow Will lovers.) He can definitely be a bit controlling and less expressive for the sake of his outside world and is also more aware of what he thinks are social norms and cares about them more. (As is seen in ToA and TSATS).

I checked PDB (not the best source, but a source nonetheless) right after this, and people seem to agree. Nico is categorized as INFP (Fi > Ne > Ti > Se), while Will is voted to be ENFJ (Fe > Ni > Te > Si). Thank you for listening to my TED-talk.

[janus-cadet]

This card is brighter than the one I usually do- might even be the most colorful of the whole deck, so far! Which- fitting. Today, let's welcome Charlie Morningstar and Vaggie, double figures for the Ten of Cups!

(Now usually, the card also have one or two more people on it; I thought about adding Pentious, but our snake should have his card soon enough. Therefore, it's just the girls.)

Explanations under the cut, as well as a poll for the next card to draw, and the rest of the Hazbin tarot cards!

Upright, the Ten of Cups embodies happiness, joy, and emotional contentment. You have created an abundance of love and happiness in your life, and you now share this love with others, expanding your heart even more. This fits Charlie and what she created with her hotel, supported by Vaggie- together, they are the start of it all. You are now surronded by your loved ones (it's a fucking happy day in hell!), with whom you share a powerful and deep connection. You support one another, and you help other to reach their highest potential- on the path to redemption! Most of all, you do it because seeing others happy is the greatest joy you could have. It's the "happy family" card by excellence, as well as a positive card for romantic relationships- you're in a blissful one, if that's what you're looking for, to the point you may believe that you ar soulmates destined to be with one another (I do love them, mh, mh). When the card appears in your reading, it's time for you to take a step back, and appreciate everything you accomplished. You went through hard time, but look at that! You can do this, now we know it, and you actually did. Follow your heart, says the card, and follow your inner sens of Good.

Reversed, the card brings more subtility. You can see the Upright reading as mostly Charlie's idealistic view on the hotel and on redemption; but with the reversed Ten of Cups come the struggles. You may feel disconnected and disengaged from your loved ones, like your estranged father and your missing mother. You try to connect, but each times, something goes wrong, and the distance between you grows. Why does he forgets everything you say? Can't he pay attention? Why is he not calling more often? Or maybe you're afraid to trust, and you're keeping some secrets close to your chest. You don't open up enough, and you create, without meaning to, a distance with others, with her. You're too rash and too impulsive, but you mean well- surely, they can see that? It may have an impact on your relationship; you need to realise that nothing is perfect, and every relationship has its ups and downs. The Ten of Cups invite you to seek out a common ground with your loved ones, and rebuild the relationship from there. Talk to your father about why, exactly, he's so reluctant to help; talk to your partner about who you are, and where you came from. Open the lines of communication and be ready to hold space for one another. Be compassionate, understanding, and respectful. The card can also mean that you're starting to doubt yourself, and what you are doing. Is it really worth it? Are you up to the task? Are you letting other people down? You have to rethink those questions. Think about what makes you happy, what you believe in, and bring back your focus to that.

And that's it for today! I'm planning to do at least three more Hazbin cards- if the fixation does not die by then. Not that it shows any sign of slowing down, oh boy- they are all so fun to draw, too!

Anyway.

And with that, Hazbin Hotel verse is the most represented fandom in my whole deck of cards, right before Doctor Who. Ah!

If you have read this far- well done. So proud of you. You win a peach cider, if you're even able to drink this abomination. And paf, the rest of the cards!

[catdoingblep]

And some more headcanons for this crossover (some mentions of the temporary death and canonical/side permanent deaths):

Eleonor was from Ravka, and she was a tidemaker (and Hob fell for her with the speed of tv Jesper). Robyn was a squaller, but their story still ends the same.

Nikolai Lantsov is a very-very distant descendant of Hob. Not like anyone alive knows it except Destiny.  (Robyn was the only kid Hob was aware of, but he didn’t care for real before Robyn that much, and he had his slut period right after he understood that he became immortal) 

Wylan is Hob's favourite Crow because he reminds him of Robyn. Both in Wylan Wan Sunshine and how-about-I-push-you-in-the-canal moods.

Hob and Jesper are vibing together. And they both have ADHD in my mind.

Randall Burgess was in the Fold because his best friend needed to go throught it, and Randall wasn't ok with his friend taking this kind of risk without Randall on side. They both and everyone who was with them didn't make it.

Inej had a knife that was called Sankta Robert. She broke this during the basement rescue (she may or may not broke it trying to crack a fishball). Hob brought her a new one instead, durast made.

New knife is by Mad Hettie. She do not do all the durast stuff anymore by her own reasons (and these reasons somehow connected to Destiny), but she was owe Hob a favoir. They also have a very strange friendship because you cannot don't interract when you are two immortals in one Ketterdam.

Kaz was really interested by the devil in the basement not because it was connected with Jan Van Eck but because anyone was thinking that it is impossible to steal thing from basement. He had a lot of other plans with Jan Van Eck, but he likes the challenge.

Hob once was in the Hellgate as a prisoner for few days during his worst times after Eleonor and Robyn. He will not recomend anyone Hellgate (0/10 for service), and he killed himself really bruttaly to be thrown out as a corpse. He had a very important meeting in few weeks, so not like he had time to enjoy Hellgate accomodation.

Ethel Crips is a tailor, and Roderic wasn't aware of it, so she run away from Ketterdam and tailored her face. Did she tailor also John's face? Nobody knows.

Jordie was asking Death if Kaz would be alright. She said that he will not die anytime soon.

Dream will definitely be once (or maybe more than once) asked by some drunkards is he related to Kaz Brekker. 

Nina still becomes the Corpsewitch in this universe and sometimes she is able to see Death around when Death doing her job.

Ok, I do not make tumblr posts, but I have this crossover stuck in my brain (and I am having a hyperfixation on the Shadow and Bones rn), so…

Shadow and Bones (TV) x Sandman (TV) crossover, Hob canonically was involved in the slave trade.

Hob Gadling, the new owner of New Inn (a small Inn on the edge of Barel) and your local saint (yes, he is known as Sankta Robert, and he hates this) and fellow Ketterdam immortal in his six hundreds, is trying to live his life in the Ketterdam right after his Stranger missed their meeting.

He was away for a few years after planned meeting (you know, all this “die and return as your nephew from Novyi Zem” things) and just returned to the city when Fold was destroyed. He doesn’t want to interact with any of Barel’s gangs, because it is hard to hide your immortality when someone shoots you in the middle of the street (it happened before. Twice, actually).

He still tries to know all the local rumours, so he knows about Crows, and now his Inn is apparently the Dregs’ territory.

Meanwhile, Kaz is planning how to destroy Jan Wan Eck and heard a rumour about the devil in the basement.

So, whatever it is, Jan Wan Eck is very interested in it and spends a huge amount of money every month to cover the costs of Burgess. And the guards of the basement are so well-payed that no one can buy them. Wylan barely knows anything about it, he only knows that once his father said him that Burgess promised his father to guarantee that his next child will not be an embarrassment (in exchange for the favour that is taking away the Dream bc Alex wants to get rid of the ball). 

(Roderic Burgess was not a grisha himself, but Randall Burgess was a grisha and Burgess was already making a lot of plans for how he will monetize his grisha abilities and how he will use Randall in his barely legal plans before he died in the Fold and Roderick was stuck with useless otkazat'sya second son)

Crows think that maybe this is imprisoned healer because older Burgess was too old to be alive.  

(Alex considered himself “forced through circumstances” after his father died bc he was too afraid of both Dream and Wan Eck telling everybody that is in the basement)

So Crows start some shenanigans to break into the basement, and Burgess or Wan Yek heard about it and hires some killers to take them down. One of the killers? Corinthian.

Corinthian caught one of the Crows (Nina who cannot take him down because he was made from the dreamstuff?) in the side street, but Hob is passing by. And he doesn’t want some kid to be killed on his watch. 

Hob attacked Corinthian and killed him (obviously temporally) but got stabbed in the process. In his heart. With a knife. So Nina tried to save him, but once she took out the knife, Hob comes to life.

And this makes Hob involved in all the things that he tried to avoid because he didn’t want to simulate his death too soon (and these children already saw that he is immortal), and Crows offered him to “forget” about his secret. Price? Help to steal whatever it is in the basement. 

After this someone (Inej who will have very mixed feelings about Hob being a saint? like they already met some saints but no one was a slave trader in the past) understood who Hob is.

All this Sankta Robert stuff that Hob hates. He is not only a saint because he just died and was resurrected with too many witnesses, but he also did this during the period when he tried to destroy his own slavery business after his Stranger’s advice. So years after he was known as a patron of the slaves and the ones who were illegally detained.

The eternal reminder of his own mistakes. He is not a saint, ok? Just an immortal man who made a huge mistake and tried to do something right when he understood that a crime he did.

(And in that life, he was going with his real name for some time, so he cannot use Robert Gadling anymore because everyone knows his name as the name of the saint)

Idk what will be next but it all ended up as Hob saved Dream from the fishball and they got together trope, yes. Same story but with some extra Crows flavour.

(And after the rescue of the Dream he is very amused with the fact that mortals call Hob Sankta Robert. Like previously, he never paid attention to the life of Hob between their meetings, only to the Hob’s stories on the meetings, and Hob did not mention this so he didn’t know).

Hob also somehow “adopt” the Crows because they are just a bunch of youngsters for him. Like they’re in their twenties, they are totally kids for Hob. Have they already saved the world? Not changing his opinion, they are kids! Kaz is trying to resist this but unsuccessfully (he is not so unhappy with this as he shows).

[zeevoidlight]

what's the deal with these two...

Seriously. Why is the suspicion and joking of their bromance even a thing that exists (outside of just shipping for shipping's sake and ppl making every male friendship a secretly frustrated gay relationship). Is it even a thing?

Do I ship Goku and Vegeta?... yes.. yes I do, I confess myself as part of the problem. But I feel is fair that in a show like Dragon Ball where there's sexually mature references and themes at times I can give myself the freedom to wonder. So i'mmana talk about two pivotal moments that marked a before and after for both of them together as a team: their Majin saga match and the fusion.

//////

As far as the show goes, there's not really much to go off of. They clearly both have their wives whom they both love very much, children, they love to battle and test themselves, they are bros (now at least), rivals for life, they better each other by challenging one another to get better.

On the other hand my autism tells me that that's not the whole story. Because I normally don't like to take things at face value when i can see more.

Is interesting to see how both, Goku's compassion and respect for Vegeta, and Vegeta's (albeit unhealthy) obsession over Goku, the fact that they were also the last of their kind and the only ones that could compete with each other to fight between themselves and against others (discounting Gohan since he always slacked on his training and wasn't really interested on fighting), the only ones that could understand how the other felt as being pure blooded, that Goku had a living example in Vegeta of his true origins to learn more about himself (like a walking Saiyan enciclopedia), that Vegeta had in Goku a new purpose in life (until he realized what he had with his family as well), all of that with time combined to create a dynamic where they both felt comfortable with each other, it made them be naturally closer than the rest of the cast (even if it was in rivalry terms). They famously became companions, with time forming friendship/friendly rivalry and some could even see them now being akin to brothers. Something that as much as Krilin was Goku's life long friend and will be forever he could never really fulfill all that Vegeta came to develop with Goku. And in a way I don't think anyone can either.

But there's also an important note to make about this relationship/friendship. Vegeta is the one that gives it more meaning than Goku does (at first). I feel like Goku is simply being his loving caring happy free self, while Vegeta takes it personal and takes so much weight on what Goku says and does and how it affects him (like Goku is just vibing while Vegeta is oozing jealousy towards Goku). As he later puts in words in Super (Granola arc i think), Goku is an egotist while he himself is an egocentric. And that difference is important to get to the point because from now on for a while the question is "Why does Vegeta".

Why does Vegeta put so much weight in their fight in the Majin Saga that he's willing to kill innocent people again just to have a match with Goku (going with the latin dub again since is more accurate to the original japanese one). And it isn't just about his ego, is about what he doesn't say as well.

Why is Vegeta the only character that is so against fusion, with Goku specifically because he has only fused with him and we don't know how would he react to fusing with someone else if it's needed.

Why is Vegeta so averse to touching Goku. At least after their fight and after him dying in the Majin Saga and once he is allowed to go back to Earth.

Why on the brink of the universe destruction was Vegeta acting like a cheated on girlfriend when he discovered that Goku had a new transformation and didn't told him about it (I would be mad at him too to be fair but i also understand why Goku wouldn't want to do so and he did it to not hurt Vegeta's feelings and have a good time under fair conditions. he gets half a point for the sentiment).

The Majin Saga

From all the examples people like to pull up when trying to argument sexual tension between these two there's only a few that I feel have some significance. And I can tell you when did it cooked enough to be a possibility. And that is right when Goku announced he was going to go back to Earth for one day and one day only, presumably forever. That's where something started, but it was brewing since Goku died to Cell and Vegeta lost Goku, his purpose, his obsession, his will to fight, and entered a depressive episode that lasted 2 years (aprox, since Bulma tells Chichi that Vegeta had been training for the last 5 years in the 7 year time skip). He honestly was a mess of a person right around that time. He couldn't even call himself a warrior under his own standards, he was trying to cope with the fact that he messed up with future Trunks and would have to change with his own present Trunks, he got stuck not being able to prove himself, etc.

Once he knew Goku was coming back he just had to do anything in his power to fight against him again, no matter what it took (he looks so excited too, that's cute). His entire meaning as the person he perceived he was and his meaning as a warrior and Goku's foil depended on it. He actually was in good terms with Goku up to here though (while in the Cell saga he was pretty much amicably antagonizing Goku for the most part, and the other spent feeling jealous). Agreeing to the tournament rules, being patient, enjoying meals together, bragging about his kid. But after realizing that they might not have their match because of Supreme Kio's pink menace, nothing else mattered, not Bulma, not Trunks, not the Earth or the universe or everything he had been building for so many years without Goku. Goku was the single catalyst for his relapse. Like... how is it possible that fighting with him and proving his worth is more important that it's been a rock in his boots for years now. But ok, he's a warrior so I can understand why, also because he was going through a Major (with capital M) identity crisis where he's trying to negate his newfound value in his family and new home while thinking that is what was making him weak, though he never really believed that since he knew Goku never needed to be cruel to surpass him, it was just a jolt reaction to not knowing how to handle it, and Goku could see through that very clearly by asking him if he really believed that bs about feeling good by being cruel and being a slave of his own mind.

But the thing is that during their fight it is clear that more than winning (which he would have enjoy to no end if they finished their fight and Goku didn't had a new plot convenient powerup hiding under his eyebrows again, though that wouldn't have helped him to grow), both were very much enjoying the act of fighting (since Goku said he wanted to end the fight soon so Buu doesn't get the energy but he didn't because he could have used Ssj3 and end it quite fast), Vegeta fighting against his previous rival now a bit more than that, Kakarot. Battling with him in perfect synchrony in an equal fight because what Vegeta actually wanted with the Majin Magic was to close the powergap and convince himself he had an excuse to not feel remorse because of the magic. And i say that because before Goku dying to Cell he really saw him as competition, but after he lost him i feel that alongside his remorse and embarrassment for the disaster that was that saga, in part because of his gigantic ego, he must have felt alone, now truly being the last pure blooded Saiyan alive and not in condition to call himself a warrior anymore under his own standards. And although he had Gohan, which he respected a lot because of his courage and his immense power, it was not the same since Gohan is a pacifist and didn't had the same passion for fighting like a pure blooded Saiyan so he wasn't even training. So by the time of the Majin Saga and once Goku came into the picture again I think he subconsciously regarded him differently and he ends up realizing it during their fight (although he doesn't vocalize it).

During their fight there's a specific moment. After Goku throws Vegeta to a cliff-side and he makes a hole in it to liberate himself with his ki, Goku comes to him and they both get very close just floating in the air and powering up, looking at each other. Vegeta is beyond pissed, Goku taking the fight very seriously. Then Goku smiles to Vegeta challenging him and showing he's enjoying their fight, and Vegeta relaxes for a moment changing his attitude and showing a smile back to him in empathy, sharing to him that he is enjoying it too and wants to challenge him back as well.

This whole fight is Goku's way to show Vegeta how much he actually cares about him and his well being despite what Vegeta might have believed up until then, how much he respects him as a warrior and an equal too, even risking Earth and Majin Buu's return. He did the unthinkable and menaced Kaio Shin with death if he dared to stop their fight, which Vegeta sure noticed and even reacted with complete disbelief. As Supreme Kaiosama says to Gohan and the others in the wasteland: "we cannot do anything about it. Fight until you can calm your hearts", because even Kaio Shin knew that they weren't going to actually kill themselves, they just had to talk (while fighting).

I know a lot of people joke about Vegeta being a repressed homosexual (or technically bisexual because y'know there's Bulma) because of his legendary obsession with Goku, and i'm not saying he is, but this fight is charged with sexual tension, mostly on his part, among other things of course. And is interesting that Vegeta, ever since the Namek experience (which was the first time in his life he was emotionally vulnerable to the point of breaking entirely), is the most emotionally fragile of the bunch and an unstable character. He feels everything very intensely like an open wound, and reacts in the same way while trying to hide under a curtain of pride, ego and his title of Prince (I mean, he's the one that actually openly cries the most out of frustration after Namek, just for starters).

Goku knew what he was getting into by agreeing to fight with Vegeta. He wasn't going to just let them set the score, he was going to give Vegeta the most intense therapy session ever by letting him discharge all that literal energy and anger, guiding him through his thoughts, playing by Vegeta's rules. Help him overcome whatever he had been brewing in his mind since they day they met thinking on where was the moment everything went wrong for years, so he could move forward...

And then... this happens...

... I don't think anyone expected something like this to even be a thing that he could do as a power that we will only see one time ever in the entirety of the show from him and is in here, lol. And not long ago I watched a semi abridged semi analysis commentary video on the fight and yeah, we coincide that there was something else going on here at the same time. Vegeta got a little too excited... He got rock hard by too much adrenaline (or testosterone, endorphins... i know science ok?), lol. And I didn't mentioned it but being that Saiyans were a warrior culture there exists some real life relation of warrior societies (like greeks, romans, spartans, norse, some aztec societies) and homoerotic practices as part of that philosophy and way of life. Fighting is everything and everything revolves around fighting. And finding a brother in arms could develop into something else (call it love or getting physical or whatever) out of admiration, or from hyper-masculinity with the purpose of dominating the other and demonstrating power by physically making every other man your peach and the others are like "wow, a man dominating a man? that's so mainly". And i'm not saying that that was part of Saiyan culture, just that there might be some similarities with what we're seeing.

There's a fine line between pain and pleasure, hate and love, fear and excitement, rivalry and attraction. And in moments of intensity where both opposite feelings collide can produce an equally intense and confusing response. We know for sure Saiyans by nature often confuse fear an excitement, and rivalry with attraction at least, like Goku when he confesses his motives and feelings on his first fight with Vegeta. And here Vegeta is going through a rollercoaster of emotions, and given that he is the most emotionally charged character it can go all places.

So, Vegeta tells Goku if he pretends to defeat him quickly as he said, Goku responds that he's trying to do that, and Vegeta asks if he thinks he can do it *slap slap* (the disrespect). He's trying to provoke him but the way he does it is kinda similar to what you'd do in a sexual encounter since he's not really hurting him too badly (which is really funny). And I'm pretty sure he wasn't thinking about anything sexual, just pure anger towards our buddy Kakarot, that doesn't change the fact that he did just lost his marbles to blind rage and wasn't thinking at all, just feeling intensely and acting freely on it. "Listen... don't you think this is enough humiliation I got from your part *hit hit punch hit*. This attacks are not enough to set the score. How is it possible that a Prince of Saiyans, that possesses such a great pride, was humiliated by a warrior like you (In the English version there's a series of flashbacks with dialogue but that's not a thing in the japanese and latin version so he continues...). What saddens me the most is that you saved my life, worm (he's referring to way back in the saiyan saga when they first met since for a warrior is way worse offense to get their death in battle denied since he now has to suffer all what he's been through for the simple fact of having been spared=being an embarrassment). You deserve to die! I'll break you to pieces right now! I'll start with the arm...".

((You got this guy having Goku in all tied up to a rock, legs spread out, slapping Goku in the face, talking about "not being enough humiliation", and saying "this attacks are not enough", all emotionally charged and intense with his obsession of a rival, high in endorphins and adrenaline, from a warrior culture, that even back in the day I was like OH MY GOOOOD!? What is he going to DO?!!... He wouldn't do it, would he?... The Buu saga was a return to form to OG DB's general feeling and tone, and if it was OG DB this scene would be absolutely interpreted as having that kind of hidden meaning even if nothing would have actually end up happening, though is still a very bold move in terms of sexual themes, just like that scene in OG DB with Bulma and the two RR soldiers. I was sweating cold, that when I heard him say "I'll break you to pieces right now! I'll start with the arm" I was like OH THANK GOODNESS he's just going to mutilate him... NO, WAIT...)) (also, notice that Vegeta is technically fighting a ghost because Goku is already dead).

Unfortunately for Goku though Vegeta didn't share the safe word and he had to free himself so he wasn't actually dismembered by the intensity of Prince Vegeta and they continued their fight, once again Goku leveling the field into a in a less emotionally charged more equal fight all things considered (while also mutually complimenting their fighting prowess). They talk again and Vegeta admits to him that he understands that he's never going to surpass him because Goku is more skilled at fighting, now getting into the real meat of the matter with him and his frustrations.

We get to Vegeta almost breaking in tears again, torn by the realization of his situation confessing all about how he wants to be who he was as a warrior and how he cannot cope with his new life on Earth having all this new feelings for his family and being passive that make him feel like he is not himself. That he wants to be ruthless like before because what the hell is even being anything else, that's a thing of weaklings. Which tells a lot about how he still doesn't know how to function outside of conflict and his deeply rooted self image since childhood. I mean... this kid (Vegeta) doesn't know anything other than living in conflict, constant stress, anger, and feeling in danger all the time before and during Frieza. He was around 31 years old when he could finally be free. And to me it says that it almost feels to him like he's afraid of disappearing as an individual if he cannot go back to being something he recognizes and is familiar with as he doesn't recognize himself being something else underneath of what he's saying. A who that is completely opposite to what he has ever known. Is something some people that had lived through a deeply traumatic upbringing experience. On top of it being a Saiyan it must have been really confusing and difficult because their nature and culture is nothing like that of earthlings, Saiyan's are naturally built to fight, but Goku is the only one that could probably understand that in some capacity as pure blooded Saiyan that managed to adapt to Earth. That's why he is the only person Vegeta can trust with this information, and because Vegeta genuinely trusts him. With no one else he has this level of openness, probably not even with Bulma.

And i love how Goku doesn't give up on him though after everything and he is still willing to listen and help. Without his help here Vegeta wouldn't have confronted and put into words his reality to later internalize it and fully embrace his love for his family, fully embrace his feelings, giving Trunks later his first hug. That was all Goku's doing.

Of course things happened since they were still in the middle of total annihilation at the hands of the strongest pink ball of bubblegum. and from this fight and his explosive sacrifice/ acceptance of his destiny, going forward Vegeta actually starts acting a little different. A lot more relaxed with Kakarot, more open and sincere, more focused on helping than competing, more agreeable (without betraying his character though) and no longer ignoring or being embarrassed of his feelings for his loved ones (like we see when he gets convinced by Goku to do the fusion using Vegeta's love for Bulma). And I'm pretty sure he felt grateful and in debt to him. Not only for his help with unjumbling his feelings during that fight but for everything he's done for him since the day Goku spared his life way back in the day (as we see him asking to Piccolo if he'll get to see Goku in the afterlife just before he sacrifices). A real true honest best friend/rival for life (like we see evident in the movie Fusion Reborn, which is supposed to happen after his sacrifice in an alternate timeline where both Goku and Vegeta die and Gohan is the one that defeats Buu).

Though he still was being a bit stubborn about wanting to fight Buu himself in the anime, but in the manga he just doesn't charge head first into trying to battle him, he just doesn't like the idea of fussing with Kakarot.

Then the fusion thing...

The thing about the fusion is that Vegeta usually never wants to do it because he's embarrassed by the dance (which yeah... that's absolutely fair) but this is not the metamoran one, is the Potara, and they don't need to dance. His usual complains then change to "I just don't like to be fused with him" or "I don't like the idea of uniting bodies with him" when they have to do it later (either in canon or movie, though the "I don't like to use shortcuts to fight" frequently comes as a reason but is always after they already did the fusion). And I don't know how doing a fusion with someone would feel like but the Potara at least has two ways it can go. For the Kaios just one person becomes the main, getting some physical characteristics and power of the other, and the other becomes dormant, just one person gets to be conscious. But for mortals, both actually remain conscious and they both "live" inside the body of each other as one new combined persona who is a combined identity, mixing mentally and physically, sharing memories, thoughts, feelings, everything in unison either the other wants it or not because when they are fused they are cooperating in a single brain so they think the same under this persona even if later they have separate thoughts on the same thing when they un-fuse. One example of how the logic of it is is in the Super Super Hero movie, where right after the battle with Cell Max Gotenks makes a comment to Bulma and she says "that was Trunks, wasn't it?!", and Gotenks panics and they separate, implying that even if it's a combined identity they still are conscious inside separately and can "influence" their thoughts to act more like so or so, like there's a dominant consciousness guiding the other at times. The fusion is even better actually if they are rivals because they get the rival boost. So is not too crazy to think that some would consider it a very intimate act, even more because is permanent (until the retcon), which Goku is so considerate to tell Vegeta at the very last minute and he's like "WTF!" and Goku is just down with it while Vegeta is regretting ever meeting this guy but does it anyways.

And we have seen other characters combine but they don't think much about it, Trunks and Goten specifically just find it fun because they are best friends and just think about having the time of their lives beating up the bad guys. But I think Vegeta specifically does feel like it's something too personal and intimate that requires a lot his will power to do. His concept of it is different for a lot of reasons that all derive from being a very reserved person in general in many aspects, so he is trusting his entire being and accepting opening to Goku here, and to a degree loose control of himself in an give-and-take act, because he is not silly like Goku but under the fusion he is going to be and act silly alongside him because there's no me and you under it, even switch his brain into feeling it's natural. Same with Goku and being more cruel and mock their opponent more even if he usually would feel is something he wouldn't do.

Ultimately and reluctantly Vegeta agrees for the sake of his loved ones and saving his new home, which is wild to me because he does sacrifices everything he is with the fusion being permanent since just a few hours ago he was just accepting himself as an individual. The pressure was really high.

Goku certainly didn't thought much about it though, just another way to become even stronger by cooperating with someone in a new way for the purpose of saving Earth, and simply not loose the battle for the sake of not loosing itself. He considered his options with others purely strategically without thinking what it could mean outside of that for him as an individual in that moment, because he did understood that if he fused with Gohan for example he thought for a moment if that would mean he would have to go to Gohan's school after they win, but in that moment he was definitely panicking for options just to win the battle and then later he could think about the consequences, as always (he was seriously considering fusing with Mr Satan permanently at the lack of strategic options! How desperate and out of your mind can you get!).

Out of all people it was better if it's Vegeta when he detected his ki of course, because the power boost is much greater to save the Earth and he considers him different at this point, someone he likes better as a selfless guy after his valiant sacrifice. He's so excited when Vegeta accepts because it means so much, it's the demonstration to Goku of his turn to an actual good guy, fighting for others and not just himself, and he's so proud. And the result of the fusion is this very playful, sassy confident and cocky warrior that we all know and love because is the best thing ever and I don't have Vegetto favoritism.

But something did changed in both of them after the fusion. I know is an anime only thing for better pacing (at least until Super came and made it a thing again in small ways of its own), but after the fusion thing Goku started to unnecessarily get into Vegeta's personal space more (I mean, I don't think there's anything more intimate than fussing and you'd have to get a level of trust and understanding with that other person like with no one else ever afterwards regardless). Like, I like that when they do the cheek to cheek attack, which again was completely unnecessary, Vegeta feels dirty about it, even muttering to himself "He's an opportunist...(as in like, Goku was sexuality taking advantage of him) I would have preferred the fusion" and Goku asks him is he's finished blasting Buu bits and Vegeta recoils and yells "Don't get close to me!". (In the manga there's not really that much fuss about it when they separate, they just get to work and directly from separating to Buu's brain).

The fusion represents the pinnacle of their growth together as fighting partners (and partners in general). Probably even more than that at this point for how much they share as rivals and how much they understand about each other above any other person, including their own wives in some regards for all they have gone through on things only they can share between themselves like their love for battle.

And if they both were friendly before while still keeping their cards up, now is when they start to act more like brothers and cooperating. Goku with his power and techniques and Vegeta with his strategic planing at the end of the Buu saga. Goku even becomes more playful with Vegeta, even sharing funny moments together. And as pointed out, I believe the fusion made them know the thinking, memories and intentions of the other to a degree.

This is the turning point for Goku as well regarding accepting his heritage as Saiyan. Because from then on he also accepts the values of the Saiyans as warriors (when before he would be more likely against it) and accepts feeling pleasure in having a good fair honorable fight without aid and relying only in his strength and talent just for the thrill he gets of it (much like what he felt as a child/teen), which he demonstrates by breaking the second pair of Potara earrings while Vegeta responds by telling him that he's so proud of him for going into the fight the Saiyan way. Also from then on others start to recognize Goku fully as a Saiyan (so much is the influence Vegeta has had on him that in the Super Broly movie Goku introduces himself to Broly, a fellow Saiyan, as Kakarot first over Goku).

Now, about Vegeta with the fusion, if he wasn't too sure about the fusion first, now every time the fusion is required he almost feels violated by the suggestion (which right before the kid Buu fight he actually didn't mind fusing again and kinda wanted it in the anime while this wasn't in the manga but ok). And of course, if he didn't had much thoughts on getting close and personal with Goku when battling because it meant nothing (like the arm riding in the Saiyan saga and their almost gory bondage session prior), now he recoils from him in certain situations (it... also didn't help that the first time they fuse they went dick first...).

Also also, there's a moment in the manga when Goku is fighting kid Buu in Ssj3 where Vegeta tells Goku that he guessed Goku was fighting overtime because he never intended for Vegeta to have his turn (because if he dies he dies for real), and Goku says that is not that, that he is just looking for an opportunity to reunite his power for at least a minute, and Vegeta gets all tsundere, blushes and says "So... So you weren't doing it to protect me?!..." (lol, well, here's the latin translation but you get the idea)

And onto Super, they made this thing about Goku asking Vegeta to grab his hand in order to instant transmission but Goku knows very well that's not necessary, he could have said to Vegeta to grab his shoulder like others do but he wants him to grab his hand, and Vegeta gets all flustered and nervous every time as if people are going to make fun of him for being gay or something (since we are told by the Pilaf gang that holding hands is very romantic and a sign of being a couple, and something to be embarrassed about, although from a childish perspective of course but this information was set up for the audience when Trunks wanted to hold hands with Mai). Like... Goku, do you have something to share as well?

They later spent 3 years in the hyperbolic chamber at Goku's request... 3 years together just sparing in a void where there's nothing but infinity and them! (At most they had spent not even two weeks of net interaction prior to that in all the years they have known each other, mostly just in times of conflict and as enemies/rivals/competition, and now they'll spend three years doing what they both love to do the most in friendly terms getting to know each other, just the two of them, are you kidding me?!!) which again, it wasn't really necessary because as Vegeta points out that wasn't going to make much of a difference in terms of power because they are at their limit of what their bodies can achieve by just fighting, and three years is a bit too much. And Bulma even got jealous/angry about Vegeta accepting the invitation. I know Goku went around asking a lot of other people the same request before him, but also everyone in the room (well Bulma and Piccolo) suddenly were paying A LOT of attention in that moment he asked Vegeta and what was he going to answer.

And then! They come out like they did? Matching beards? Truly looking like Spartans for real?! I kinda want to wonder how that came to be. A dare? They broke the razor or what. Obviously the implication is that they got so into their fighting that they just forgot basic higiene those last days but like... I don't even have to try...

It's become such a well known thing that there's something going on that even in official material (not canon exactly but official) acknowledges it. Maybe Goku knows something we don't since the fusion happened but it goes a little beyond just a joke from his part XD.

And i haven't talked about it because contrary to Vegeta Goku is very straightforward, but Goku has no shame or filter. He does seem to display asexual tendencies, but he's either oblivious to sexual stuff at times and how it affects others, or does it on purpose because he feels not much about it but does know how it affects others. So that cheek to cheek attack could have been Goku being oblivious, or Vegeta was right and Goku took advantage of the situation to get close to Vegeta on purpose. He's also known since always to not really care about the social conventions of things. He's a good guy, but he's also reckless, impulsive at times, and if he wants something he'll just get it without thinking of what are others going to think about it.

In GT there's actually not too much, they just remain companions and friends for life...(Is just so cute and fulfilling seeing them being like brothers). Vegeta again reminiscing of everything they've gone through and accepting his role in the powerscale and being very freaking cute with Bulma, being such a dad and all. The highlight is the fusion again though, where Vegeta is the one that says he wants to do the fusion "So what have you decided, Kakarot. Are we going to do the fusion or not", to which Goku just laughs and Vegeta is like "what are you laughing at", and Goku responds saying that "I'm not laughing, I just feel happy because is the first time you ask ME to do the fusion", and Vegeta is just averts his eyes and says "I hate you...", lol.

Of course, the bromance tones might be just fanservice (I didn't knew that in shonen is actually very common but if it is that way I'd argue is exactly because of these two since they were the OGs). But either if there's something or not I don't really care much about that. Because as characters I have seen them grow so much and they have learn so much about themselves and each other that them possibly being into each other might as well be just another aspect they allow themselves to explore if they're down with it, with whatever canon or the anime presents us to see and guess, just like they have with their own families, wives, form friendships, discover new feelings, ways of thinking, how they have become stronger and how they have change the people around them, meta speaking as well. Because it does feel natural for them, like it didn't came out of nowhere or out of purely fanservice (which it kind of is but it does make sense). Either they are just friends, honorary brothers or something more I'm happy with who they have become thanks to each other. And the trust they have for each other is what is beautiful to see reflected. I'm so proud of them and what they have achieved. Now they are inseparable as the best duo in history.

And in my conclusions I would say that Vegeta might feel something towards Goku for how much he has helped him and how he has come to admire and respect him in levels unimaginable... in a spartan kinda way if you like and if he ever was down with it. And Goku is just Goku. He loves in a storge kind of way because that's what he does. He knows Vegeta to a T, knows what he needs, and wants him to be happy as well and become the better version of himself, to feel comfortable and feel loved too because he admires him as well, and if he can help him he will do so. Is not really a physical sexual attraction (which doesn't mean it cannot derive on one if you want and as we've seen, specially with Goku) but there IS attraction and love in a different way.

[zbis]

☆.｡.:*summary : your boyfriend comes home bruised and bloody yet again

☆.｡.:*pairing : boxer!gunwook x reader

☆.｡.:*warnings & other : blood, mentions of fighting, a bit of angst if you squint(?), fluff, not revised

☆.｡.:*w/c : ~1k

“stupid fucking-” gunwook groans out loud. “such a lucky hit, i swear...” he taps his finger on the marble surface of the kitchen island contemplatively. “i was just distracted,” he tells himself.

he places his head on the counter, mulling over the loss of the night. god, if only he did a left hook instead of the right. 

“ow..” he lifts head up and looks down, noticing his forehead wound has opened back up and has left a blood stain on the counter. “shit,” he mumbles. just as he’s about to go grab a towel to clean it up, you emerge from your room. 

“you’re back?” you yawn, your hair looking just a dishealved as his.

he clears his throat, diverting his gaze awkwardly from your exposed torso when you stretch. “yeah..” he mumbles. you laugh at how red his ears get until you notice the forehead wound among many others. you see his blood stained cheeks and eye that's just asking to get swollen if untreated. “gunwook what the fuck?” you scold him. “i-” you cut him off when you notice the stain he left on the counter. “and you’re leaving your blood everywhere!”

he scoffs, “ i was just about to clean that up..” he sighs, “im not really in the mood for this right now..” just then do you notice the way his eyes are downturned and his usual bubbly self is nowhere to be found. 

“did you-”

you dont finish your sentence because the way hes carrying himself tells you everything already. “oh wook..” you walk up to him and cup his face gently, although he still winces at the touch. “it’s just one loss you know?” he sighs, “i was gonna use the money to take you out or something, we haven't done anything fun in months.”

 “i dont care about that, you’ve done alot for me already plus i dont want you to die while making me happy.”

you dont even need to ask questions to know. gunwook typically never fought past his range. he would only go against people whom he knew he had a good chance against. however, every saturday there was an event where the fighters of the area could go against one of the strongest fighters in the city. the cash prize was good but what was even better was the reputation that came with it and your boyfriend wanted nothing more than to have it.

you were supportive but for the past 4 months, every Saturday without fail, gunwook would come home beat to a pulp. you tried to get him to give up but he was determined to win one day, he just had to get stronger.

you sigh, looking over his face. his lips were more swollen than normal and some strands of his dark hair were crisp with blood. “can you just-” “of course.” you cut him off. you place a chaste kiss on his lips, which he hisses in pain at and you laugh.

you silently lead him to the bathrooom where you keep a first aid kit on deck. you grunt as you pick up the heavy box, refusing to let gunwook help you. “just sit your ass down.” when he does you give him a once over.

he looks like a stray puppy who’d just been abandoned at the side of the road. you let out an exasperated sigh at his appearance, “you know, im not a licensed nurse. you need to go to the hospital one of these days.” he plays with his fingers while you get the kit ready for use. 

“why would i do that when i have my own personal fixer upper right here?” he jabs at your side playfully. “ow, it hurts when you do it.” you glare at him with an annoyed but light smile. 

“too strong.” 

“not strong enough apparently,” he mumbles, once again reminded of yet another saturday loss. “well,” you take place on his lap with a cotton pad wet with alcohol in hand. instinctively he moves his hand to your waist to keep you steady. “you’re strong enough to keep me safe,” you whisper.

before he can protest or say anything demeaning about himself you place the cotton on the cut closest to his eye. he hisses in pain and glares at you. “be gentler,” he mumbles. you hum, moving the piece of cotton across whatever cut or gash you came across, making sure to change it whenever it got too saturated with blood.

 “seriously though...you need to be more careful wook,” you place a kiss on the cut you just cleaned and place a bandaid over that. “my biggest fear is getting a call about a wound I won’t be able to fix.”

he nods solemnly, placing his patched up face on your shoulder. you sigh, choosing to play with his hair to soothe his stress and sadness.

after a couple beats of silence, he suddenly pips up.

"but next saturday i've definitely got it in the bag!"

[xx-babyyyblue-xx]

Slytherin Boys Personality

I have now been able to do all of the boys personalities. Let me know if there is anything I left out please

Draco Malfoy: 

Evil personality that can be redeemed with enough work, or with the love of a certain someone. Refers to his girl as his Princess. Daddy issues.

Ambitious: Drive for power, recognition, and success as well as uphold his family legacy and prove himself as a worthy member of a pure-blood wizard community

Proud: Superiority complex that leads to displays of condescension and arrogance. Can get him into trouble because he may say things that he does not mean out of anger because the prejudice is what he knows 

Insecure: Despite outward confidence, struggles with deep seated insecurities that has him constantly seeking validation and approval from his peers (and his parents). This fuels his need to prove himself and maintain a certain image. 

Short Temper: Loses his cool very quickly due to his need to be right and prove himself, but will attempt to make it right fairly quickly 

Blaze Zabini

Probably the most positive and playful out of the entire group

Loyal: Loyal to a fault. His friends are above everything, even his love interest at times. They are the ones who are going to decide everything for him even if he doesnt realize it is happening 

Sensitive: Overly sensitive to the point where he is going to start arguments over little things. He doesnt enjoy PDA because he feels that it makes him look weak and he does not want to be perceived that way. On the plus side, his sensititiviy to things also means he always dresses well and smells really nice

Smart: Definitely the best study buddy. He is the person that others would copy off of it 

Playful: The kind of guy that is going to playully tease you but never in a way that will make you upset. 

Player: He is attractive and he knows it and will often playfully flirt in order to make things go his way. 

Lorenzo Berkshire

Short Temper and Holds a Grudge: Will get angry very quickly and then ignore you for days until he realizes that he misses you and makes it up to you by doing something that shows you that he cares. 

Trust Issues: He is the kind of guy that would create a fake account to “catch” you cheating or will flirt with a girl whenever you are talking to much to another boy

Funny: Has a great sense of humor because of all of the things that he has been through in his life. When everything is at his best, he is a very happy person. 

Mattheo Riddle

Daddy issues and a drug addict who loves sometimes a little too hard and a little too much 

a highly imaginative, highly intelligent, and highly sensitive person, gets into fights

Possessive: He will defend the things and people that belong to him or have value to him and does not care about the consequences

Toxic and loves to party- will be the kind of guy who will pull you back and forth in a relationship but its not because he doesnt actually have feelings for you, but because he doesnt know how to handle them when he does have them. 

Tom Riddle

Smart: Smart without even trying and makes it known whenever you make a mistake because you are therefore dumb in comparison

Jealous: What's his is his and he will take anyone down whom he believes is going to take away the things that are his

Anger issues: Does not know how to cool down and won’t admit when he is wrong. Instead, when he realizes that he is even slightly in the wrong he will attempt to make up for it and move past it without actually talking about it 

Theodore Nott

French in a lot of ways: Smoker, calls you Bella for beautiful, and is rude 

Protective: The kind of person who is going to drop kick anyone that says anything negative about you or any of his people. 

Troublemaker: He does not care about the rules so he will do what he has to do in order to make his point known. He is always in trouble of some kind and that gets in the way of a lot of things. 

Player: Has had many many girlfriends and has a list of people that he needs to avoid because of the way that he has toyed with and broken their heart