#considering the emphasis put on it in the movie but also just in general i think it makes sense

[amindamazed]

[image description: screen captures of a poem. Image text copied and pasted from https://onbeing.org/poetry/38/ where you can also listen to the poet read the work.

FYI there are a few lines at the end with variant line formatting by the poet that I attempted to recreate using extra spaces. That might sound odd via screen reader.]

38

Here, the sentence will be respected.

I will compose each sentence with care, by minding what the rules of writing dictate.

For example, all sentences will begin with capital letters.

Likewise, the history of the sentence will be honored by ending each one with appropriate punctuation such as a period or question mark, thus bringing the idea to (momentary) completion.

You may like to know, I do not consider this a “creative piece.”

I do not regard this as a poem of great imagination or a work of fiction.

Also, historical events will not be dramatized for an “interesting” read.

Therefore, I feel most responsible to the orderly sentence; conveyor of thought.

That said, I will begin.

You may or may not have heard about the Dakota 38.

If this is the first time you’ve heard of it, you might wonder, “What is the Dakota 38?”

The Dakota 38 refers to thirty-eight Dakota men who were executed by hanging, under orders from President Abraham Lincoln.

To date, this is the largest “legal” mass execution in US history.

The hanging took place on December 26, 1862—the day after Christmas.

This was the same week that President Lincoln signed the Emancipation Proclamation.

In the preceding sentence, I italicize “same week” for emphasis.

There was a movie titled Lincoln about the presidency of Abraham Lincoln.

The signing of the Emancipation Proclamation was included in the film Lincoln; the hanging of the Dakota 38 was not.

In any case, you might be asking, “Why were thirty-eight Dakota men hung?”

As a side note, the past tense of hang is hung, but when referring to the capital punishment of hanging, the correct past tense is hanged.

So it’s possible that you’re asking, “Why were thirty-eight Dakota men hanged?”

They were hanged for the Sioux Uprising.

I want to tell you about the Sioux Uprising, but I don’t know where to begin.

I may jump around and details will not unfold in chronological order.

Keep in mind, I am not a historian.

So I will recount facts as best as I can, given limited resources and understanding.

Before Minnesota was a state, the Minnesota region, generally speaking, was the traditional homeland for Dakota, Anishinaabeg, and Ho-Chunk people.

During the 1800s, when the US expanded territory, they “purchased” land from the Dakota people as well as the other tribes.

But another way to understand that sort of “purchase” is: Dakota leaders ceded land to the US government in exchange for money or goods, but most importantly, the safety of their people.

Some say that Dakota leaders did not understand the terms they were entering, or they never would have agreed.

Even others call the entire negotiation “trickery.”

But to make whatever-it-was official and binding, the US government drew up an initial treaty.

This treaty was later replaced by another (more convenient) treaty, and then another.

I’ve had difficulty unraveling the terms of these treaties, given the legal speak and congressional language.

As treaties were abrogated (broken) and new treaties were drafted, one after another, the new treaties often referenced old defunct treaties, and it is a muddy, switchback trail to follow.

Although I often feel lost on this trail, I know I am not alone.

However, as best as I can put the facts together, in 1851, Dakota territory was contained to a twelve-mile by one-hundred-fifty-mile long strip along the Minnesota River.

But just seven years later, in 1858, the northern portion was ceded (taken) and the southern portion was (conveniently) allotted, which reduced Dakota land to a stark ten-mile tract.

These amended and broken treaties are often referred to as the Minnesota Treaties.

The word Minnesota comes from mni, which means water; and sota, which means turbid.

Synonyms for turbid include muddy, unclear, cloudy, confused, and smoky.

Everything is in the language we use.

For example, a treaty is, essentially, a contract between two sovereign nations.

The US treaties with the Dakota Nation were legal contracts that promised money.

It could be said, this money was payment for the land the Dakota ceded; for living within assigned boundaries (a reservation); and for relinquishing rights to their vast hunting territory which, in turn, made Dakota people dependent on other means to survive: money.

The previous sentence is circular, akin to so many aspects of history.

As you may have guessed by now, the money promised in the turbid treaties did not make it into the hands of Dakota people.

In addition, local government traders would not offer credit to “Indians” to purchase food or goods.

Without money, store credit, or rights to hunt beyond their ten-mile tract of land, Dakota people began to starve.

The Dakota people were starving.

The Dakota people starved.

In the preceding sentence, the word “starved” does not need italics for emphasis.

One should read “The Dakota people starved” as a straightforward and plainly stated fact.

As a result—and without other options but to continue to starve—Dakota people retaliated.

Dakota warriors organized, struck out, and killed settlers and traders.

This revolt is called the Sioux Uprising.

Eventually, the US Cavalry came to Mnisota to confront the Uprising.

More than one thousand Dakota people were sent to prison.

As already mentioned, thirty-eight Dakota men were subsequently hanged.

After the hanging, those one thousand Dakota prisoners were released.

However, as further consequence, what remained of Dakota territory in Mnisota was dissolved (stolen).

The Dakota people had no land to return to. This means they were exiled.

Homeless, the Dakota people of Mnisota were relocated (forced) onto reservations in South Dakota and Nebraska.

Now, every year, a group called the Dakota 38 + 2 Riders conduct a memorial horse ride from Lower Brule, South Dakota, to Mankato, Mnisota.

The Memorial Riders travel 325 miles on horseback for eighteen days, sometimes through sub-zero blizzards.

They conclude their journey on December 26, the day of the hanging.

Memorials help focus our memory on particular people or events.

Often, memorials come in the forms of plaques, statues, or gravestones.

The memorial for the Dakota 38 is not an object inscribed with words, but an act.

Yet, I started this piece because I was interested in writing about grasses.

So, there is one other event to include, although it’s not in chronological order and we must backtrack a little.

When the Dakota people were starving, as you may remember, government traders would not extend store credit to “Indians.”

One trader named Andrew Myrick is famous for his refusal to provide credit to Dakota people by saying, “If they are hungry, let them eat grass.”

There are variations of Myrick’s words, but they are all something to that effect.

When settlers and traders were killed during the Sioux Uprising, one of the first to be executed by the Dakota was Andrew Myrick.

When Myrick’s body was found,

his mouth was stuffed with grass.

I am inclined to call this act by the Dakota warriors a poem.

There’s irony in their poem.

There was no text.

“Real” poems do not “really” require words.

I have italicized the previous sentence to indicate inner dialogue, a revealing moment.

But, on second thought, the words “Let them eat grass” click the gears of the poem into place.

So, we could also say, language and word choice are crucial to the poem’s work.

Things are circling back again.

Sometimes, when in a circle, if I wish to exit, I must leap.

And let the body swing.

From the platform.

Out

to the grasses.

[end image description]

Layli Long Soldier, 38, in WHEREAS, Graywolf Press, Minneapolis, MN, 2017, p. 49-53

[qoldenskies]

Oh also, since I think you’ll like this information with your “Mikey is the louder one” propaganda, he literally calls Donnie “bud” in Minotaur Maze… made me laugh I love Mikey acting like he’s grown

i need to amass a COLLECTION to spread my propaganda... the two moments of him worrying about donnie's shell in the movie, also the "don't worry, i wont let us die, im a mystic warrior!"/him trying to use his mystic hands before donnie pushes him down, shutting down donnie when he suggests getting raph and leo in repo mantis, being the more outspoken one in one man's junk and making it into a "we" thing, and also that one moment in man vs sewer where mikey starts shaking him going "STOP FREAKING OUT DONNIE!!!!" while donnie is literally chillin comes to mind

[sailortongue]

someone help me name this fic

pairing: choso kamo x reader

summary: a simple movie night with your best friend turns into something more when his older brother joins your weekly ritual

wc: 3.3k

warnings: smut, nsfw, fingering, unprotected sex, p in v, creampie, yuji is asleep in the same room briefly

an: why is smut so hard to write. feel like i put in so much effort just for it to not even be good

an 2: also the "title" is not a joke. this fic has been sitting in the docs for a few days and i'm still stumped. so if anyone has suggestions the floor is all yours

--------

Movie night was definitely your favorite night of the week. It always involved plenty of snacks, jokes, laughter, and was just generally a great time with your best friend. There was never a boring moment as long as Yuji was around. So no matter what, you could always expect to have fun.

What you didn't expect, though, was Yuji’s older brother, Choso, joining your weekly ritual. You liked him well enough, for what little you knew about him. For as long as you've been friends with Yuji you don't think Choso has ever said more than three words to you at one time. Not that that stopped you from harboring a small crush on the older male. You rolled your eyes at yourself. Crushing on your best friend’s brother. How cliche could you get?

But fuck Choso was pretty. Like, unfairly pretty. Especially now, when he was fresh out of the shower, his hair down from its usual space buns. You also noticed that he had removed the copious amount of earrings he usually had in his ears, giving him a softer look than you were accustomed too. You watched him run his hands through his hair, pushing his bangs out of his face. You bet his hands would feel so good on your-

“Y/N!”

You snapped back to reality to see Yuji looking at you expectantly. “What?” you asked dumbly, heat spreading across your cheeks, embarrassed that you had accidentally ignored your friend in favor of thirsting over his brother. Get a grip you thought to yourself.

But Yuji only chuckled. “Rough week?” he asked.

You groaned as you dramatically flopped backward to lay on the couch, which was answer enough for Yuji. Always the optimist, he said, “Maybe next week will be better. You got this.”

“No, I don’t. This degree is eating me alive. I have not one, not two, but three exams next week!” you exclaimed, holding up three fingers for emphasis.

“You’ll be fine. You did well on your last exams and you’ll do well on these too. So like I was saying, I wanted to know if you had a particular movie in mind.”

You thought about it for a moment. “No, not really. How about we let Choso pick since it’s his first time watching with us?”

Both you and Yuji looked over at Choso, whose eyes widened at finding himself the center of attention. He hummed, trying to think if there was anything that piqued his interest before settling on a movie he’d been meaning to watch but never got around to.

“Perfect! Hey, Yn, can you pop some popcorn while I set it up?” asked Yuji.

You hummed your agreement and stood from your place on the couch, padding your way over to the kitchen. You dug in the pantry for the popcorn, finally finding the box shoved way in the back. You grabbed two of the pouches and placed one in the microwave. While that was popping, you decided to go ahead and get a large bowl for the snack.

Naturally, it was on the top shelf, which left you on your tiptoes and stretching your arm as high as you could all in vain. As if summoned by your plight, Choso walked into the kitchen to see your struggle.

“Hey, Choso, could you-”

Before you could even finish asking, he placed himself right behind you, his body flush to yours as he placed a hand on your hip for stability and reached up with the other arm to grab the bowl. He handed it to you with a simple “here” before walking back into the living room.

You couldn't believe that just happened. Your heart was going a mile a minute and you briefly considered splashing cold water on your face to cool it down. Luckily for you, Choso remained in the living room with Yuji, allowing you to have a small meltdown in peace. 

When you returned to the living room with popcorn in hand, you found that Yuji had made himself comfortable in the recliner, which left you with no choice but to share the couch with Choso. There was ample room on the couch for the two of you, but just being in the same room after his stunt in the kitchen felt too close, much less on the same couch.

You did your best to avoid looking at Choso, knowing your face would erupt with heat the moment you made eye contact. You placed the popcorn on the coffee table and took your seat on the opposite end of the sofa as Choso.

“Everybody ready?” asked Yuji excitedly, eager to watch a movie with two of his favorite people. When both you and his brother gave the affirmative, he started the movie. But for all of his excitement to watch it, you guess the exhaustion that comes with the end of a school week caught up to him, and he was asleep before he even made it halfway into the movie.

This left you to watch the rest of the movie alone with his brother, the man who had flustered you so terribly a mere hour ago and the one you thought about late at night. You silently cursed Yuji’s name for leaving you in this situation, even more so when the characters on screen ended up in a bedroom. You could feel Choso’s gaze on you, and when you glanced over at him, you were right, he was looking right at you.

You furrowed your brows into a questioning gaze, silently asking him what. He shook his head and returned his attention to the screen. You followed suit, but the graphic imagery was getting to you. You shifted in your seat, feeling the stirrings of arousal that first began with Choso pressing himself against your backside. You couldn't but imagine that the couple on screen was you and Choso: how it would feel to kiss him, be held by him, be fucked by him.

Why is this scene so long? You thought to yourself, rubbing your thighs together as discreetly as you could. But not as discreetly as you should have, apparently.

“Are you cold?” asked Choso. Now, Choso knew damn well you weren’t cold, but he wanted to see how far he could push you, how desperate he could make you. 

“No, no, I’m fine,” you insisted.

He frowned at your response and scooted over next to you anyway, extending his blanket to cover you. You weren't so naive to think that this is a normal and friendly interaction. Especially not when Choso’s large hand slid over your thigh and rested just below the hem of your shorts. You stiffened in your seat, and a warmth began to spread through your lower belly. “Choso,” you started, but the words caught in your throat as soon as he glanced down at you.

“You’re so pretty, you know that?” he whispered, brushing a strand of hair from your face. His hand continued from behind your ear and migrated to cup your face, pulling you closer to him. You glanced at his lips, heart practically pounding out of your chest. Before your lips could connect, he paused. “Is this okay with you?” he whispered breathily. He’d never forgive himself if he was making you uncomfortable with his advances.

Rather than answer, you mirrored his actions, cupping his face and pulling him closer, finally pressing your lips against his soft ones. He inhaled roughly, but melted against you as he returned the kiss. He licked the seam of your lips, urging you to let him in. 

But it wasn’t enough. Not for Choso. His hands moved to grip your hips and pull you into his lap. Now straddling him, you could feel how hard he was beneath you. You gasped into his mouth, and as soon as you did you regretted it. Choso pulled away from you, his dark eyes boring into yours. “You have to be quiet, pretty girl. You wouldn't want Yuji to wake up and see us, would you?”

You shook your head, eyes wide and pleading for him to keep going. He mockingly pouted at you, but it morphed into a patronizing grin, a wicked idea forming in his mind. He leaned in and licked a stripe from the base of your neck all the way to just below your ear. You shivered in his grasp, and he chuckled, the deep sound reverberating through his chest. He blew on the wet stripe, pleased at the way your body reacted so deliciously to the stimulation, your hands balling the fabric of his shirt into fists. But you stayed quiet. He hummed. “Good girl. Let’s go somewhere you can be a little louder. What d’ya say? I want to hear all those pretty sounds.”

You nodded fervently, not trusting your voice at the moment for fear that you’d disturb Yuji. Choso tutted at you, and nipped at your earlobe. The sudden sharp pain caused you to wince, but it was quickly forgotten as Choso placed feather-light kisses along your jawline before returning where he started, his soft voice tickling the shell of your ear. “Come on, baby, use your words. I need to hear you say it. Need to hear you say you want me to fuck you.”

You were about to assert that yes, you wanted this, wanted him, but you hesitated, wondering what Yuji would think if he ever found out.

He could see the indecision in your eyes, that you were unsure if you truly wanted to continue this or not. He pulled away from you, terrified that he had overstepped and you were just too scared to stop him. “If you don’t want this-”

“No!” you cut him off. “I do. I really want this. I’m just worried about what Yuji will think when or if he finds out and mmH-” Choso smashed his lips against yours, effectively silencing every racing thought as all you could focus on was the way his tongue intertwined with yours and how good his hands felt as they smoothed up and down your waist.

He reluctantly pulled away before he completely lost himself to bliss. “God, you're just too perfect.” His eyes scanned up and down your heaving body, which was tense with anticipation. All it took was the soft “please” falling from your kiss-swollen lips to have Choso groaning, all of his restraint crumbling within him. Your hips gyrating over his was just the nail in his coffin. He slid his hands from where they rested on your hips down your thighs, smoothly lifting you up with him as he stood from the couch. From over his shoulder you could see your best friend still sleeping peacefully in the recliner, none the wiser that the relationship between his best friend and older brother was about to be forever changed.

A pang of guilt went through you, but was smothered by the overwhelming lust and attraction you had been harboring for Choso since the first moment you saw him. What Yuji didn’t know wouldn't kill him, right?

You lost sight of Yuji as Choso entered his room, using his foot to softly close the door behind him. He approached the bed and placed you atop it gently, reverently even. Seeing his face hovering above yours, having him between your legs, it felt unreal. You never even entertained the thought that your fantasies would become a reality, but now they were and it was so much better than you could have ever dreamed.

In the privacy of his room and without worrying that his brother would wake any second, Choso became bolder. He was seemingly unable to decide where to place his hands now that he finally had you under him. You wrapped your hands around his wrists and guided his hands to your chest, prompting him to cup your breasts. He got the message loud and clear, giving them each a soft squeeze. He trailed his hands down to the hem of your shirt and slid his hands under the material, pulling it above your head and tossing it to the floor of his bedroom. He returned his hands to your covered breasts, kneading them through your bra before he hooked his fingers under the fabric and pulled it down.

He let out a shaky breath, entranced by the vision you made beneath him, the very picture of beauty and femininity. You watched him as he drank in the sight, resisting the urge to pull him where you wanted him. Unable to resist any longer himself, Choso lowered his face to your chest, taking a nipple into his mouth and tweaking the other between two fingers. You gasped as he suckled at the tender flesh, and your hand flew to the back of head, winding your fingers in his dark hair. He released your nipple with a pop, and tilted his head up to see you already looking at him. “Don’t stop,” you whined, already missing the warmth of his mouth on your body.

“Don’t worry, I'm not stopping til we both feel good.” As he said that, he switched sides and continued his ministrations, dragging his free hand down to the hem of your shorts. “Let’s get these off, yeah?” You lifted your hips to aid in his efforts, and they soon joined your shirt on the floor.

Choso placed his hands on the outside of your thighs, using the thumb of one hand to toy with your clit through your panties. You moaned at his touch, his name slipping from your lips. The sweet sound of your voice was music to Choso’s ears, and he was determined to hear as much of it as possible. He leaned down to kiss you, swallowing every gasp and moan, his lithe fingers bringing you to the edge faster than you ever thought possible. All too soon, he removed his hand, but you quickly realized he was true to his word and far from done as he slid his hand beneath your panties.

He chuckled against your lips, “You're so wet and I've barely done anything.”

You turned your face to the side, using one hand to cover the blush spreading across your features. As endearing as your bashfulness was, Choso wanted you to be as comfortable with him as possible. He took your wrist in his hand and pulled it from your face, instead placing it atop the painfully throbbing bulge in his pants. “You don’t need to be shy with me. I want you just as bad, if not more. Wanted you since the moment Yuji first brought you home.”

“Really?” you asked, wondering if both of you had been ignoring your feelings for each other all this time.

He nodded. “Really. Still remember the first time I saw you. You were wearing that cute little skirt with the laces in the back, and all I could think about was what it would be like to fuck you in it. You’ll have to wear it for me next time, hm?”

Next time.

“Only if you put in your piercings.”

He laughed at that. “Whatever you want, princess.”

You were both there gazing at each other like fools, the distance slowly but surely closing between you. The kiss was searing, and you were abruptly reminded of the need you felt as Choso made quick work of your bra and panties, leaving you bare beneath him, despite the fact that he was fully clothed. He attached his lips to your neck, sucking dark marks that Yuji would surely see tomorrow morning, and dragged two of his fingers through your folds, gathering slick with his fingers before pushing in. You moaned at the intrusion, your walls clamping down tightly on his fingers. You could feel Choso grin against your throat as he curled his fingers into you, pulling them in and out slowly. Your gasps and moans increased in both tempo and volume until he removed his fingers altogether.

Your protests died in your throat as you saw Choso prop himself on his knees as he removed his shirt, revealing the toned body you had no idea he was hiding beneath his usually baggy tees. He removed his sweats and boxers next, his stiff cock slapping against his stomach. He resumed his position between your legs and stroked himself a few times before lining himself up with your entrance.

He pushed in slowly and you would have screamed from the pleasure of him stretching you out if it wasn't for the hand that swiftly covered your mouth. “I know, baby, I know, but you can’t be too loud.”

He continued to push into you, and every time you thought you had taken all of him there was more. Just when you were sure you couldn't possibly take any more, you felt his balls press firmly against your ass. You were so full, more than you ever had been in your life.

Choso sighed as he filled you completely, the velvety softness of your walls sucking him in greedily. “Oh God you feel too good,” he whispered, the words strangled as he struggled to keep himself still, giving you time to adjust to his size. He watched the way your chest heaved up and down with every labored breath, the way your eyes were glazing over in ecstasy, and the way your sweet cunt fluttered around his cock.

He couldn't take it anymore when you thrust your own hips upwards, the involuntary movement all it took to snap Choso’s composure. He pulled out almost completely, before sinking back in a single thrust. The way your cunt swallowed him so eagerly had him on cloud nine. How had he gone for so long without knowing the bliss that was being inside you.

His cock continued to drill in and out of you, his grunts of pleasure mixing with your moans. The delicious sounds you made spurred him on, and he quickened his movements. He no longer cared if Yuji heard. Let him. Let him know how good Choso made you feel. You were his best friend, but as of now you were also Choso’s girl.

You felt yourself going stupid with the pleasure of having him inside you, his name the only word you were capable of saying. He knew you were close, and he wanted more than anything to feel you clench around him as he brought you to the height of pleasure. He brought his hand down to rub circles against your clit, doing his damndest to make this the best you’ve ever had. “C’mon, baby, cum for me. You can do it. Cum around my cock, show me how good I make you feel.”

Those words were all it took to have you falling over the edge, pussy clenching tightly around Choso, whose own orgasm was triggered by yours. He moaned loudly, feeling too good to worry about volume. He continued to thrust into you as you each rode out your highs, his cum leaking out around him with every push into your used hole.

As soon as the waves of pleasure died out, pulled out and collapsed on top of you. Your pants mixed together as he lay with his head on your chest. You brought your hand up to card your fingers through his hair, and he hummed at your soft touch.

You continued to do so until he propped himself up on his elbows, his face mere inches from yours. “Would you go on a date with me?” he asked nervously.

A broad smile spread across your face, ecstatic that he wanted more from you than just sex. “I’d love to.”

A smile of his own mirrored yours as he surged forward to capture your lips with his own, the happiness exuding from him almost palpable. When he broke the kiss, he rolled off of you and onto his side, pulling you into his chest as he did so. With Choso’s arms wrapped securely around you, you both drifted off in the comfort of each other’s presence, unaware that it was the exact position a younger brother incapable of knocking would find you in in the morning.

[lets-try-some-writing]

Transformers One: My Thoughts and Critiques

Note: This is going to be a very long read, so be prepared.

Before I begin my thoughts on the film, allow me to state beforehand that I will be looking at this film as a standalone film first and foremost. I will not be considering the fact that it is meant to be part of a trilogy until the end of my assessment because a good piece of media should be capable of standing on its own. With that said, minor allowances will be made because of this fact.

Additionally, I will not be applying any other continuity lore to this film review in order to limit my continuity bias (although I will make frequent comparisons). Please note that these are my thoughts and opinions and the fact that I even bothered to write more than a two sentence 'it sucked' with a wail of anguish tacked on means that the film has value. I am merely picky. Obviously, this will have a heavy does of my personal takes thrown in along with genuine analysis, so don't take my assessment as gospel.

From this point onwards, spoilers will be present. Read at your own risk.

The Good

(Me trying really really hard to not accidentally be negative.)

The visuals for Transformers One are, of course, stunning, and the voice acting, as a general rule, is very on point. Chris Hemsworth as Orion Pax and later, Optimus Prime, was a decent decision. I like his voice as Orion, but regarding Optimus? I have opinions that will be discussed later. But for the time being, his voice as Orion gives the character life, emotion, and a great deal of ethos. He's likable and interesting, giving him depth that we have not seen in any other Orion Pax since G1.

Megatron's voice actor was also incredibly well picked. The emotion and tone in his voice was undeniable and gave D-16, and later Megatron, such enthusiasm and vibrancy that I (and likely much of the audience) couldn't help but feel for him in many of his interactions and speeches. I loved hearing how his voice evolved as he went, slowly becoming more aggressive and deep. Elita-One was a reasonable pick when it came to voice actor. She certainly had tone and opinions. Bumblebee's voice actor was very entertaining when it came to giving the character development. Having Bumblebee with such a enthusiastic voice actor made him into someone who had far more depth than he likely would have otherwise.

Sentinel's voice actor was golden. He comes off just the way the movie needs him to be, and it is done quite tastefully, although it certainly doesn't break any molds when it comes to the cliche evil character arc. I adored Airachnid's voice acting. It fit her well and was a polite, but well earned shift from the snootiness seen in other continuities. She automatically has more depth simply because of her voice.

The worldbuilding for Transformers One was well done considering the time limits of the film and the focus that had to be given to other subject matters. There are many issues of course, but overall I cannot fault a single film for not having the length and depth of something like Prime or the IDW comics. The flora and fauna showcased were bright, and at least in the case of the flora, quite diverse. The designs for the few creatures showcased were interesting but not overwhelming, especially for the Quintessons. The shift from inorganic to organic was clear as day with their presence, and highlighted the love and care put into every single frame of the film. It was clear that there was real love shown to each character, movement, and scene. For once, the creators seemed to genuinely care about what they were doing.

The fight scenes were stunning. They flowed incredibly well and made excellent use of the environment and the biological aspects of fighters. The use of partial transformation and transformation in general was something I have never seen given such emphasis in a Transformers film or cartoon, not since Prime at any rate. It was done perfectly in my opinion, and showed an actual understanding of how the characters should move and likely would move in various combat situations.

Onto the actual film. The movie hops right into the action and we, the audience, are given a fantastic view into who Orion Pax is as a character. We see his longing to be something greater right off the bat, giving new fans a solid start for his character. Old fans are also given a nod to various continuities with his character design and his overall knowledge and interest in the archives tied with his station as a miner.

The design of Iacon was a fascinating shift from other continuities, that with everything being underground. And D-16's introduction was well integrated into the scene. His and Orion's friendship is masterfully done, and their interaction on the train gives amazing hints into their past, potential history, and creates interesting lore for an audience to ponder. Their relationship is by far one of the most important and intricate parts of the film. It is a masterclass in setting up a relationship prior to a film or story actually shoving two characters into a setting where more of their traits are showcased. Honestly, we can see so much about both of them from that first scene.

D-16 bailing Orion out of trouble quietly like its normal. Orion going through all the effort to give his friend something of value that is both personal and has money attached. Banter that showcases their depth and rich relationship that also flows smoothly and naturally, like old friends should. We get to see how Megatron will come into being through his adoration of Sentinel Prime and Megatronus Prime. His youthfulness combined with Orion's desire to see and experience everything brings out the best in both characters, giving them reason to be together and to get along.

I will never stop giving my praise for that first scene with D-16 and Orion since it was so tastefully done.

Their work in the mines is well directed and the introduction of Elita is... a thing. (thoughts later)

The lore presented in the mining operations is ingenious as it showcases both Cybertron's situation, lays the groundwork for the knowledge characters possess later in the film, and overall shows D-16 and Orion's hesitant heroism (at least on D-16's part) when they save Jazz from certain death. In some cases, the introduction of new information is masterfully done through the use of referencing demotions and promotions in a manner that applied to the situation in question. The lore regarding energon and the overall loyalty of the miners also demonstrates much of the mindset Cybertron is operating under and is done quite well, as seen with the cogless bots being totally fine with their lack of transformation ability for the most part.

Brilliantly done pre-set mindsets. Especially showcased with Sentinel's message to the cogless leaving them all in sheer awe and cheer. I could sense the villain a hundred yards away, but I could tell that the characters believed what they were hearing, and that in my opinion is a show of how well presented the mindsets of the characters and overall view of the society are.

The race was fun to watch, with plenty of spectacle. Orion and D-16's conversation pre-race showed more of their character and D-16's adherence to the rules vs Orion's desire for something more. Orion leading them through back roads into the race also added more depth to Orion's character which I adored (and was unfortunately underutilized). I appreciated the tricks pulled by Orion and D-16 to win. I also adored the brotherhood shown between them, especially how Orion went through the effort of giving D-16 his chance to be a hero, even if D-16 was hesitant. Their brotherhood in the beginning of the film was honestly one of the best highlights, and distracted me from many other things that I will discuss later that were less than optimal.

I loved seeing how excited D-16 was toward the end of the race, and of course how Orion stopped to help him. Their banter in what I assume was the medical bay was also enjoyable and laid further groundwork for D-16's character.

The scene with Sentinel congratulating D-16 and Orion Pax was suitably filled with awe and stiltedness in equal measure. It played well and showed D-16's character as well as Orion Pax's passion and drive. One thing I will not fault the film for is Orion's devotion to his goals. They were clear and remained so from the get-go along with D-16 admiration (right up until the fifty minute mark).

The meeting with B-127 was unique, and an interesting show into the madness that forms in those who are condemned to the bottom rungs of society, even though it was played for laughs. The introduction of the main plot device was something I have critiques regarding. Although, with that said, D-16 and B-127's reasonings for going were both done pretty well. I like how D-16's reason played off his character and previous history with Orion. Again, the brotherhood between them is key in this film.

The logical leap to get onto the trains was well done and also set up essential plot devices for later. Elita's presence was odd, but whatever.

The fight scene on the train and the rush to stop Elita from telling on all of them was well played for the most part. Her anger made sense and her snark didn't exactly come from nowhere. Her taking of the map made reasonable sense (although I have opinions). B-127 is vaguely humorous at times during their journey, which I can appreciate in small doses. (His cave comment got a vague chuckle out of me.)

The introduction of the Quintessons was well placed in light of the future scene with Sentinel. I loved our main characters maneuvering to avoid detection as it showed their cooperation as a team for the most part. Orion's knowledge of the Quintessons made sense in light of the very first scene in the film (again, it was an excellent start to the movie and laid a lot of groundwork).

There were a few scenes in this film that really kicked me in the feels, and the moment the group enter the cave and find the bodies of the dead Primes is one of those moments. The scene is solemn, not a hint of snark or banter to be found. Everyone is lamenting, thinking. The atmosphere was perfect, and the sheer emotion from D-16 in particular was delightful in its own quiet way. The way he sat before Megatronus Prime was emotional. For once in the rapid fire mess that is TF One, time was taken to let everything sink in. You can see a quiet shift in him, and in Orion there is something that makes the audience note how lost he appears. Elita and B-127 only added to the scene as their usual lines died off, letting the scene simply breathe. It was, in my opinion, very well done. Especially with the music running softly in the background.

Their worldview was shattered in that cave, and I adored seeing it play out.

Alpha Trion's character was done well, very well considering how short of a chance he had to be on screen. He showed proper confusion, but then moved along once he noted the situation. There are things I would change obviously, but his character played its part, and I appreciated how he got to the point and limited his cryptic behavior to an extent. He seemed tired, as he should have. His death was also well timed and I appreciated how much the movie wasn't afraid to straight up off a titular character in other continuities. The scene with the T-cog distribution was also a delight to watch. The animation was very clean and it gave me a whole lot to ponder biology wise.

I must say Sentinel's interaction with the Quintessons was, quite frankly, not surprising. But it did convey its point well. I like watching this noble looking character finally drop his façade fully, bowing before invaders and shocking our main cast (even if the audience could see this coming from two seconds into the film).

D-16 and Orion's first argument hit me in the feels, mainly because I really did understand D-16 far more than I did Orion. He was angry, he wanted justice, and above all else, he looked lost. I was simply enthralled with the way his character started to shift and change, going from passive to aggressive in response to rapid fire hits to his worldview, ultimately leading to a perfectly reasonable bot shattering under the pressure.

Alpha Trion offering the group T-cogs from the Primes was interesting and left me with many worldbuilding related questions. The scene where the group first transform was fun. I liked how the characters were given a chance to show their inexperience and struggles. Disregarding the comedy, it made perfect sense for bots who'd never once transformed to have to learn to do it all from scratch, trial and error. It was fun, especially D-16's leg being stuck halfway into turning into treads.

From here my praise is a bit more limited, but I enjoyed seeing D-16 flex his authority and get his group in line. I appreciated the moment of tension between him and Orion, showing the conflict brewing and yet the lingering brotherhood that had not yet cracked. It was delightful to see the war going on inside D-16 in that moment, the hesitancy and the care for his best friend buried under newfound rage and betrayal. Orion later doing his best to try and check up on D-16 was a delightful touch that only further cemented their struggling companionship as the film progressed.

Seeing Starscream was fun. Shockwave's voice was a nice addition and the extra emotion I find was a bonus. Also Soundwave with unique abilities. Nice.

D-16 beating the ever living snot out of Starscream was fun on its own, at least without considering the context and pacing. I enjoyed Starscream's character and the change to his usual cowardly behavior was, in my opinion, well earned and much needed (at least so early on in this new continuity). Orion's growing confusion and uncertainty was a lovely touch. I also adored how he stepped in, bringing D-16 back to reality long enough for him to spare Starscream and make his declaration.

Just going to throw this in here. Sentinel Prime is peak evil and I loved how cruel he was throughout the entire film. He oozed snooty and evil billionaire. The entire scene with him slaughtering Alpha Trion like some sort of hound, his dialogue, and later his insults toward D-16 were just *chef's kiss*. Him carving Megatronus's symbol onto D-16's chest was downright evil and served to further prove just how terrible he was. It was a great scene with very solid dialogue. Honestly, despite how evil he was, Sentinel was one of my favorite characters simply because he was consistent and his dialogue was very well done without any severe stilted moments right up until the end.

Not much to say about the D-16 capture and the Orion & Elita-One pep talk scene. It happened. More thoughts in The Bad section.

Additionally, D-16 staring death in the face was brilliant. I loved seeing his sheer defiance, and the way he met his potential end with honor even when B-127 was willing to stay down. It spoke so much of his character and his development since the beginning of the film. He went from wanting to hide from fights to actively standing up for his rights.

Orion talking to all the miners was, in theory, and probably on paper, a fantastic scene. It wasn't as grand as it could have been, but I really appreciated the size difference between him and the others combined with his attempts to rally them. His speech was moving and I could see his comradery with his fellows the spark of Optimus Prime within him. I loved seeing him rally his troops, encouraging his people to stand and fight. The miners being all so small really did wonders for the scene though. I know I already referenced the size difference, but seeing all these cogless bots look up in awe did something wonderful, especially with the lighting.

The revelation of the truth was downright brutal. It wasn't done as well as it could have been, but I appreciated it all the same, even if it gave off "I'd kidnap a thousand children before I let this company die!" vibes. (Thank you, Monsters Inc).

D-16 fighting Sentinel and then the subsequent attempt on Orion's part to calm him down was... painful (in a good way). I knew it was coming, I could smell it a mile away, but I honestly hadn't expected the scene to play out as it had. Orion trying to stop D-16 once was expected. Him trying again and getting hit was very him, and very powerful with D-16's response thrown in. Seeing the anger that had been brewing in D-16 fade for a moment to instead be replaced by guilt and grief for a precious second brought me nothing but sheer joy. It was such a turning point for the character, especially when the disbelief in his tone hit. D-16 holding onto Orion while on the verge of breaking down, warring with himself, and then deciding to let Orion fall?

Beautiful.

In that moment, we got to see D-16 metaphorically die alongside Orion Pax, breaking their brotherhood so that Megatron could rise from the ashes and try to bring down everything that led to their paths crossing and ultimately diverging. Honestly, I would have paid good money for an alternate ending where Orion died and stayed dead for a while longer, specifically so that Megatron could have a chance to grieve and contemplate. There was just so much going on in that scene with the music, the loss, and the tension that made it a fantastic visual.

The whole comparison between Orion and D-16 as they changed and morphed was a wonderful thing to witness. I enjoyed Megatron's birth a bit more than I did Optimus's, but that was largely because as Orion approached Primus's core, I personally would have adjusted a few small things to keep the dramatics in place. Megatron's birth however was truly stunning, showcasing his strength, his rage, and his passion all in a few short scenes. The music was phenomenal and only made it all the grander. His speech was simply perfection and I have absolutely no complaints. The concept of Megatron was rightfully embodied there and I was all but squealing in excitement when he made his declaration.

Optimus and Megatron's battle was amazingly done. The fighting and the use of weapons and transformation was spectacular and I have exactly zero complaints regarding the fight scene on its own. Optimus then banishing Megatron from Iacon had its own set of feelings, although, there are things I would change.

Bumblebee's line at the end of the movie was actually funny. It got a very solid chuckle out of me.

The flashback was adorable. I loved seeing the contrast between the bot who D-16 was, versus what he became. A brilliant scene, albeit a tad out of place in my opinion.

I have exactly nothing good to say about the last few sequences of the film. But I will say that Megatron is forever awesome.

With all that said, the music for the movie was phenomenal and made scenes that otherwise would have been simply moving into heart wrenching moments of awe. The Fall is by far my favorite simply because of all the emotional tracks in it. Every time I listen, I see that pivotal scene play out in my mind. Megatron and Optimus's birth, so perfectly contrasted and the emotion played out spectacularly. It's been days since I watched the film, and the emotional value of the music hasn't worn off in the slightest.

The Bad

(Aka, my rant combined with actual critiques)

Oh boy here we go.

Orion is just off. As a character, there's something off about him. He's perfectly acceptable on his own, but there is a lack of substance to him that makes it difficult to find him compelling at times. We never really know why he even gives a crap about the things he does. He just cares about the Matrix and becoming greater because of... reasons. There's no basis for his interests, not like D-16 who expressed in dialogue and actions why he cared about the things he did. He loved Sentinel because Sentinel "saved" them. He loved Megatronus Prime because he was the "strongest Prime who ever lived". Orion's reasoning for caring about the Matrix and freedom in general amounted to wanting to help Sentinel. I mean, it made sense, but it wasn't particularly fulfilling for his character, especially when the rest of the population was perfectly fine with their situations for the most part.

There needs to be reasoning. What happened to him to have him break the mold and try to act out? Why did he break it at all? Orion is obviously an outlier in mentality, and therefore he should have at least been given a single line of dialogue with D-16 to explain his interest, (excluding his declaration of wanting to help Sentinel find the Matrix. That is a mere statement and it didn't give me much of anything to understand why he cared since he wasn't as devoted as D-16). This issue follows him throughout the whole film. He's a bit of a shell at times, although it could have been due to the way his dialogue hit. This lack of foundation for his character made it difficult for me to really feel for him like I did with D-16. When D-16 got angry, I was on his side because I understood where he was coming from. But with Orion? He was always just... there. He expressed emotion and I loved seeing how he shifted, but his growth didn't match the pace the movie set, leaving him in the dust a bit.

It weakened his character drastically.

His voice is also a tad... bland. No offence to Hemsworth, but I just don't think he managed to capture Orion like Brian Tyree Henry managed to get D-16 and Megatron. Orion had his moments, and those moments were spectacular, but his speeches never had any of the depth of Peter Cullen's Optimus or the youth of TFA's Optimus. He lacked something distinctive to set him apart. He tended to sound somewhat blank in certain scenes, almost like Hemsworth had only just been given the script (or was still attempting to be Thor). It was especially bad when Orion becomes Optimus Prime. Where Hemsworth did an arguably fantastic job as Orion, his voice simply didn't fit Optimus. Am I biased because I enjoy Peter Cullen more? Yes. But also, Optimus is a mech meant to show power.

He needed a deeper voice desperately, something that would rattle and have the tone of a true commander, demanding respect even when he's being gentle. Hemsworth was a fine Orion Pax, but Optimus needed to change and become something more in my opinion. They didn't even have to change voice actor if Hemsworth could pull off a bit of range like Brian Tyree Henry did with D-16 and Megatron.

No complaints about D-16's introduction.

Back to the film. The sheer amount of background Easter eggs was fun right up until I started seeing far too many familiar faces in the same place. The world of Transformers One, unfortunately, feels incredibly small. We see Iacon and we see the cogless and Sentinel's servants, but nothing else is really there. It's a strange emptiness. I can tell the film creators were trying to fill the void, but we never got the chance to see those who did more than just mine. Where's the middle ranks? Who is running everything else? Why is every single Autobot a miner? There should at least be a few middle rank bots wandering around. We did see scenes with random civilians at the end, but I would have liked to see a greater range of work involved in Iacon. Even just a medic would have been great. If those things don't exist, then how does the city operate? Where the heck are the other cities? Is there a council of some sort? How is Sentinel running literally everything without an inner circle? We only ever see Arachnid after all.

Honestly, a tad more variety is what we needed. Not to say the variety we got was terrible, but seeing a medic, a random vendor, or even a military drill sergeant in the background would have done wonders I think.

Additionally, there should not be so many familiar bots all in one place. I know this is a new continuity, but it feels weird because there is no way every single big Autobot just happens to come from Iacon because they were ALL cogless miners. If that is the case, that destroys so much depth it's not even funny. I mean, the continuity can do what it wants since its new and has its own lore, but I suppose its a bit of a let down if everyone shares the exact same origin. Additionally, the voice acting for most background characters was... fine. Some scenes were fantastic, like the race where everyone rushes to see the miners on screen. But the movie could have greatly benefited from a few more unique and passionate voices. I wanted to see true anger, REAL heartbreak at the lies that had been fed to the cogless. This is more petty than anything else, but a few more voices and a bit more depth would have been fantastic.

It's only made worse by the fact that the entire film just feels tiny compared to the scale its operating on. One city, one mining area, one train, one open field, one race track, one abandoned base, one rebellion base, and a cave. Sounds good on paper, right? Lots of room to move. But we never see anything about any other part of the world. Not even a mention or a poster on the wall for a different city. It made everything so much smaller and more controlled. That's not necessarily a bad thing film wise, but giving artificial depth through background characters and whatnot would have been great. Even just some chatter from background characters would have served this purpose. Think about Star Wars or Lord of the Rings. Both movies referenced planets and places that came into play later far before they actually showed up, and in only one or two lines. TF One needed such dialogue if it wanted to establish the scale of the world. Unfortunately, we didn't get that.

The first mining scene in the movie agitated me on a spiritual level. Not necessarily because it was bad. I found the actual operation of the scene very interesting, especially seeing how Cybertron reacts to the mining and how the bots go about getting energon. It was downright fascinating watching the trained and trialed methods the crew used to get in, do their mining, and get out. Jazz was hilarious. However, Elita-One murdered the mood for me.

Elita is... an interesting case. I will just say it outright. She serves no purpose within the film that actually means anything. And this fatal flaw reflects horribly on her character. On her own, a bit of snark and anger over her situation and even the arrogance would be good character flaws for her to work past, but combined with her place in the film, it made her nothing short of grating. Every scene she did anything more than fight or offer reasonable commentary was a slow torture for me. There was nothing to give me a reason to like her. She's an arrogant bot who thinks she knows and can do everything, and that bothers me. If there was something for her to have to go through to work past those flaws, then I could appreciate it. But she maintained her poor disposition throughout the entire film with little to no outward changes. It was a wasted character and an arc that was never even given a chance to exist.

With that said, every time Elita turned up and started getting talkative I died a little inside. I am prepared to be crucified for that take.

Elita's attitude after Orion and D-16 saved Jazz was just the worst. Even though I understood her take, she still bothered me with her rudeness. She's a very selfish character if you really look at her, and it shows. Her voice acting wasn't bad, although there were a few repeat lines that got stale fast.

The Iacon race was a fun concept, but Orion's character was again left to exist in a vacuum when he took D-16 to the race. Evidently, Orion knows a crap ton about the underground and travelling discreetly. This skill is never seen again. Nor is his knowledge of travelling quietly on his own ever mentioned after this scene, to my knowledge at any rate. Whatever the case, he was given a hint of lore and then left to go be rebellious for reasons we still do not have a solid foundation for. Honestly, I understood D-16 far more than I did Orion and I think that's a problem in a film meant to be their origin.

I have no real complaints about the actual race. The scene with Sentinel had nothing for me to comment on negatively.

Bumblebee is again, another character who holds little use in the film. I understand WHY he was put in (fanservice and all that), but the way he was implemented was very poor. There were far better ways to incorporate him into the story and actually make him important and telling. Instead, he's just a chatterbox there for jokes and one liners. He's far less agitating than Elita though because at least he has vague chemistry with our main protagonists. Also, B-127's whole nickname sequence should have been cut, or at least sidelined a bit. It really wasn't that funny, and if the crew were trying to show how isolation has gotten to him, the whole fake friends part got that across quite well.

The plot device was ridiculous. Not necessarily in its existence, but in its implementation. You want to have a SOS message from Trion to be the key? Cool. DON'T put it in the actual trash in the most obscure place on Cybertron. The fact that the bloody message survived is a miracle and quite frankly, it felt contrived. There were far better ways to implement the message. Think about Stars Wars and R2D2. Personally, I would have been privy to a bit of War for Cybertron coming into play, or possibly Smokescreen from Prime. That way Bee could actually be useful while still offering the crew their plot device. That said, it wasn't the worst thing and with a bit of grace, it is not a major sin.

The train scene with Elita was actually painful to watch. I despise her so much, and she just made the whole thing agony to get through. I skipped through her kicking the guys around like boyscouts because it was not appealing in the slightest. (I do understand some people like her, but I am not one of them and this is where my bias shows most.)

No complaints about their stint on the roof of the train.

Elita's entire scene on the ground where she gets in Orion's face made me want to strangle her. I can understand her reasoning, but she's so frickin annoying that I simply could not care about her in the slightest. Her lines might have even been funny if she hadn't been such a poorly done character.

Why does she get the map??? Why??? She isn't even meant to BE there??? Orion, why are you letting her walk all over you??? That's your evidence! You can't even trust her! Let D-16 read the bloody thing. He feels like he has the most braincells out of all of them. I get that they were aiming for girlboss and mom friend vibes combined with Elita, but she's simply agitating and I think it would have been far better for Orion or D-16 to lead the way and show more of their character. Actually, let Orion do it. He snuck into the archives all the time. He's a perfect fit for the role and would have given him the chance to show off that foundation that he lacked throughout the entire movie. If they REALLY needed Elita, they could have used the chance to build that oh so lovely ship bait for fans by having Elita and Orion have to work together to successfully read the map. After all, Orion knows all the weird underhanded stuff and Elita was a team leader for the miners. Their combined knowledge could have been a bonding moment AND been useful to the plot later to show why they fight together in a reasonable fashion.

Again, Transformers One feels tiny. There was one creature type shown on screen, and I understand animating is a pain, but even just some shifting shadows as the group walked would have been nice. Would have made things feel more alive and artificially expanded. (again, a petty complaint above all else. Maybe Cybertron just doesn't have a ton of animals.)

No complaints about the cave scene.

So... T-cogs can just be taken from the dead? Is that not a health issue? We see later that Megatron taking Megatronus's T-cog changes him further. Does that imply that all four of the crew are now biologically related to the Primes? If those T-cogs aren't rusted to hell and back after fifty cycles and don't give the crew infections later, this has some startling implications. Less of a complaint and more of my confusion. Seriously, are there no prerequisites to have a T-cog when a bot's original one has been removed?? Does this mean that biological offspring can be a thing via passing on a T-cog?

(I have some worrying thoughts about relationships on Cybertron now because of the shift in characteristics for the crew when they got their Prime inherited T-cogs)

Too much exposition from Alpha Trion. It fit the scene certainly, but the whole film had a running problem of mouthing off and throwing exposition around like candy. It was not done particularly tastefully 90% of the time. In fact, the only exposition that I liked was from D-16 and B-127 because it felt natural for them to explain things as they did. Trion's was cool certainly, and honestly if Orion's first exposition in the archive and then Trion's were the only dumps, I would have been quite happy.

I can't believe the Primes fell as easily as they did. I understand they were ambushed. But how on earth did Sentinel manage to personally cut down several of them when, up until that point, Alpha Trion said they were winning? One sneak attack is understandable, but the rest was a bit unbelievable. Especially Megatronus Prime.

Why is everyone suddenly so chill with killing? I mean D-16 just shot someone to DEATH despite having never raised a hand to pretty much anyone with intent to kill up until that point. Is this a society thing? Cultural? (I am not talking about Orion here. He's a sunflower compared to B-127 and everyone else going off and chopping enemies to bits)

Regarding D-16's arc, it was rapid fire from this point onward. I can see what they were aiming for, but there was a distinct lack of anything to really cause him to fall as far and as fast as he did. Actually, allow me to rephrase. Rather it was that he HAD reason, it was simply too fast paced of a film for me to feel his change and truly cement it in my soul. It stuck and it most certainly made sense, but it was a bit like whiplash when he chose to let Orion fall to his death despite them having gotten along up until that point for the most part.

Orion is an idiot as well. He spent all of D-16's rapid fall into warlording staring at his best friend like a confused goldfish. He did very little to step in aside from try to ask if D-16 was alright and stopping him from killing Starscream. Yes, D-16 was captured and there wasn't a lot of time to do therapy. Yes, the rapid character change occurred literally over the course of like, a day and change, so I can't fully blame Orion. And do I understand why he was so hesitant? Yes of course. The change was super fast. Do I also understand how and why D-16 fell? Absolutely yes. Were both of these characters rushed? Abso-frickin-lutely. The foundations were there and they were fantastic. They just had to be roller coastered to their completion without any regard for the emotional value of pacing their respective shifts away from their previously shared goal.

I do not truly blame the film creators for the rush, but it does kill a lot of the emotional impact that would have come if we'd been given more time to see D-16 and Orion have more and more arguments over increasingly difficult moral decisions.

Starscream and the High Guard are stupid. They are a fantastic concept on paper, but much like half the cast, their implementation was poor in the extreme. They came from nowhere, were exposition dumped into existence, and promptly followed the rando who beat the snot out of Starscream and could have, for all they knew, been an actual spy. For some of the best trained bots on the planet, there was not a single braincell amongst them.

Starscream had so much potential too. But that vanished into smoke twenty seconds into his face getting bashed in. Soundwave looks like a taco. And he acts like one with his lack of substance character wise. Shockwave was neat right up until he got wrapped up into the stupid gag with B-127. It's a dumb joke and it destroyed whatever seriousness was building. Like come on guys, we are at the one hour mark. It's time to get serious or go home. Again, aren't these the High Guard???? Very important very well trained bots??? Why are they acting like savages and petty children? We at least need explanation for that if we are rolling under that rule. They needed more depth desperately. As it stands, they were nothing more than free guns for D-16 to yoink for future movies.

Also, again, Orion the goldfish. Standing there all confused without doing a bloody thing about it. He's so passive in this movie and it infuriates me because it feels like his character arc never picked up the pace like D-16's did at the hour mark. I understand he's going through a lot and watching his bro fall is likely a bit shock to the system, but one would think with how close they are that Orion of all bots would be the one to try and humble his brother in arms. (I am aware he did his best with what time he had, but still). I know that if one of my siblings decided to go all murder hobo on me I would be the first to get up there and throw a shoe at their head. Once more, I do understand that Orion was likely in shock, but due to the pacing of the film, he feels a bit like stale bread right up until he's literally shot.

Neat, a fight scene. D-16 is captured, ooooh that could be interesting- aaaaaaaand there's Elita being the worst again. Great pep talk. Fantastic even. Now I hate her even more because all I am getting is sheer arrogance and not even in a humorous way like Knockout from TFP. Good heavens Elita sucks.

"We won't follow you." *Elita exists* "wE wiLl fOLLoW yOu" - Frag ALL the way off with this garbage. High Guard indeed. High on drugs and low on self-esteem. Elita has done NOTHING to prove herself worthy of being followed, or Orion for that matter. It would make far more sense for the High Guard to just be pissed off and opt to go fight Sentinel on their own since they've lost their new leader and a ton of their troops all in one raid. It would have been majestic for them to straight up decide now or never and lead a charge, and then have Elita and Orion join them with unexpected troops in the form of the cogless.

Again, aren't these guys meant to be the High Guard? Why can't they get into their own city? Surely they have contacts or old knowledge? Actually, why can't Orion bargain his way into their ranks using his knowledge of all things underhanded in Iacon? It would have been a great callback to his scene getting himself and D-16 into the race. I know they sort of went that route by having Elita get everyone in while Orion went to fetch the cogless, but it would have been way more interesting to see them working together in a logical manner and planning their attack. I know there were time constraints, but that doesn't mean they couldn't have worked together for a short period of time and shown either the brutality of the High Guard or their similarities in regards to goals and ideals.

The scene with Orion addressing the cogless was certainly stunning, but it needed more. Emphasis, tone, lighting, music. I think it needed something just a touch grander. Not too much mind you. Orion needed to have come back with a new aura around him, something to really make him stand out aside from his newfound height. This is his dawning moment after all, his first spark of Optimus Prime. If he'd spent some time scheming with the High Guard, maybe he could have had an air of a fledgling soldier, just bloodied and ready for battle. He did punch Darkwing, and that certainly helped, so I will give him a pass in this regard. His speech still would have meant more if he'd been a bit grittier and yet still kind, especially contrasting D-16 who took one life and then never stopped doing that. His compassion was a nice touch, as well as his relatability to his fellows, but there had to be that hint of something more commanding. He had the inklings and I appreciated his first real speech, but the rallying cry was, in my opinion, a tad off. It could have been due to the voice acting. (Seriously though I did love this scene, I just have itty bitty suggestions regarding how it could have been better. And Orion made a funny face halfway through his big pep talk so there's that).

The background character voice acting didn't show quite enough confusion or awe for me to really be sold on the scene. I would have preferred something more akin to the TFP scene where the kids are introduced to Optimus. Shock, awe, excitement, a hint of fear. Those things were present of course, and I understand the miners were tired from doing their million and a half shifts. But a bit more could have been done. More background chatter essentially.

No complaints about the Sentinel and D-16 interaction.

The battle scene was well done, all of them. The Arachnid thing worked, but the big reveal of the truth did absolutely feel torn right off of 'cliche villain downfall bingo'. I would have liked something a tad more original. Just a bit. But it did get the point across well enough so I can't really be upset.

Again with the background characters. It wasn't bad, but where's the RAGE?!? Where is the sheer chaos? It was emphasized later with the battle, but I think that scene with the big reveal needed a bit more violence so show just how unruly the population ended up. It could also make it clear why so many would eventually choose to join Megatron. Give me ONE guy with a Molotov cocktail throwing it at a statue of Sentinel or something. Why not have some of the cogless start attacking their superiors as well as Sentinel's servants, just to show the sheer destruction going on? Please, it would have been delightful and only have taken up like, five second of screen time MAX.

No real complaints about the scene with Orion, D-16, and Sentinel. It was still fast paced, and Orion still felt a bit like a goldfish, but overall the scene was perfect. The pacing is all that made it feel somewhat off.

The birth of Megatron was perfect. Zero complaints.

Once Orion reached Primus's core, the birth of Optimus gave off "Meeeeeeeegatrooooooooon~" vibes from the TFP Movie (Thank you Unicron. Love the voice acting man). Alpha Trion's voice was not doing it for me. It made a grand moment rather cheesy. Personally I think Orion needed whispers, echoes and flashbacks to go along with D-16's increasing violence and declaration. It would have been the perfect time to throw that flashback from the closing part of the film in. Let Orion see a ton of rapid images of him and D-16 along with increasingly loud whispers from all the Primes, cumulating in "Arise, Optimus Prime." Maybe even chuck in visions of the dead Primes, showing bits of their lives as a way to nod to the knowledge contained within the Matrix (if this continuity is going that route anyway. If nothing else, it would look cool and allow each Prime to meet Optimus in a natural manner during his creation). Additionally, that way Optimus can maintain a hint of mysteriousness but also grandeur.

Optimus flying up to the surface like superman.

I get what they were going for, but it was a tiny bit silly. I think it would have been grander for Optimus to have taken a bit longer returning, simply so that he could have the very earth part for him Moses style. I am not entirely sure. There isn't really a right way to fix this scene in light of the time constraints, and frankly the sonic shoot up to the surface did look cool and served its dramatic entrance purpose. I don't necessarily dislike it, but given the opportunity, I would have gone a slightly different route.

No commentary on the battle. It was perfect.

Again, Megatron's character arc was seriously rushed. He needed far more time. I adore him in TF One. He's quite literally the best character in there. But everything leading up to his final moment was rushed and it left me feeling unsatisfied at the end. There was plenty of foreshadowing in small ways, but those didn't start happening until the hour mark, give or take. Also, Optimus banishing Megatron from Iacon?? Why just Iacon??? Where the heck are the other cities?? Do they exist?? I'm spitballing but the whole scene felt ever so slightly off. Megatron limping into the distance didn't feel quite right. I honestly think that in exchange for wounding him, Optimus should have gotten a scar somewhere in return as a reminder of his cause. Megatron got Megatronus's face burned onto him. Let Optimus get a similarly noticeable marking, that way both players show a mark of their fallen friendship.

Sidenote: How does ANYONE know how to fight in this film?? Sentinel, the High Guard, and those with T-cogs makes sense. Orion? Sure. He did a lot of rough housing. Elita? Maybe. Hard to tell with her limited background. But D-16 and B-127? The rest of the cogless? Where did they pick it up? Its a recurring problem. And how does the crew improve so fast? I mean, they know how to fight with their big ol saws from mining, but we don't get to see in anyone except Orion so its hard to believe anything. We are never given a solid time period between the journey to the surface and then back down again, and really I think some of that travel time should have been spent with the group sparring or otherwise bantering about their backgrounds to lay the groundwork for their skillsets.

Regarding the final scene of the film, its really bad. Painfully bad.

(I would like to throw Elita off the nearest structure thank you.)

I get that they are laying the groundwork for more movies, but the flashback was quite forced. It was cute and absolutely had a place in the film somewhere, but not right there. It didn't feel quite right, or at least not with how it was edged into. The narration was just... weird, to me at any rate. The T-cogs being distributed was cool, certainly. But it raises many questions about the logic of it all. It feels dues ex machina. Not in a good way either. Not saying it wasn't cool, but it did feel forced. Like a participation trophy. I would have loved to see the cogless remaining that way and having to collect cogs from wherever Sentinel stored them, or otherwise take them from the fallen. That way they could have more diversity going forward.

That whole ending bit with Optimus and the Autobots running into the sunset was stupid. There is no other way to describe it. The scene gave nothing to the film and I think it would have been spent far better if we saw Optimus and Megatron both gathering their armies while the Quintessons loomed overhead. Megatron watching his warships be built and then him looking up at the sky. Optimus gathering up the cogless and helping them get their T-cogs via Matrix and then also looking upward. Only to then have it end with the Quintessons looming above.

The Quintessons were so underutilized in TF One it wasn't even funny. I don't even really know why they were there. I mean I understand they had to exist for war reasons and Sentinel and all that. But if they are such a threat, then they need to either be driven off so that the Cybertronian civil war can happen, or they need to make themselves everyone's problem so that Optimus and Megatron's spat looks all the worse for the planet.

There needed to be more for the Quintessons. They needed to have played a bigger role or to have been somehow removed from the playing field by the end of the film. Even one scene with them seeing Sentinel falling and then opting to get the heck out of dodge would have served well enough. But they didn't. And for that reason they are just... there. Letting their prized slaves rebel. They won once against all the Primes. Why not do so again?

Also why do they want the energon??? There are too many questions right now and not even the barest inkling of an answer.

The Characters

(A look into every character of note + my edits to their development in the film.)

Orion Pax/Optimus Prime:

Orion's character is quite well done. He has goals, morals, and a personality that shines in the right environment. His adventurous spirit gives him life, and his desperate desire for something more makes him compelling when he's given the opportunity to really flex his morality muscles. He has a bit of fight in him, an eagerness to improve and assist those around him that makes him lovable and fun. Every moment he was on screen was a delight, and there was never any point where I directly despised his presence. He had moments of greatness, and moments where I would have preferred someone consulted Peter Cullen for advice on scenes where more Optimus was meant to show. His arc was steady, but it didn't move quite fast enough to match the pace D-16 set with his rise (or fall). It was clear Orion was meant go from largely trying to become greater for his own personal reasons to instead fighting for something more than himself. The creators were attempting to broaden him, give him more to fight for and more to lose. They were well on their way to doing that, but Orion's arc simply did not move fast enough, leading him to end up feeling a bit static while D-16 steamrolled ahead.

To adjust him, all I would want to see is for Orion to be shown having a more solid reason for his goals. Instead of just wanting to help, perhaps have him witness a hint of the mess on the surface at some point in his youth. Maybe he could mention it to D-16, saying that when he was newly forged, he either witnessed a record or saw a peek of the surface or perhaps some other Quintesson related thing to get him to feel a degree of investment in trying to help. Maybe he found the surface lovely and wanted to travel there. Maybe he heard legends of the Primes and particularly wanted to see them and make sure that they really had fallen. He either needed to show a level of devotion to the cause to match D-16's love for Sentinel and Megatronus Prime, or he needed to be skeptical. I would have loved to see Orion doubt, simply because no bodies of the Primes were ever recovered and old records did not mention the Matrix passing on (or perhaps he is skeptical in general). Whatever the case, giving Orion this foundational skepticism or believe would have allowed him to be more compelling when the truth was revealed.

Then, to match D-16 character arc, Orion should have started to try and take a commanding position earlier. Perhaps he could feel just as betrayed and angry, but instead of being more passive like in the film, his anger could instead be directed as the Quintessons who allowed things to happen as they did. Maybe Orion could feel loyalty toward his people as a whole, making him want to do things correctly and rally his kind together for the sole purpose of ensuring no other could ever enslave them, directly contrasting D-16 who was off to kill Sentinel for arguably more personal reasons. Making Orion care more about the people as a whole, knowing that they have all suffered under the threat that is the Quintessons, all the while D-16 cared more for his specific group of fellows... yeah it would have been delightful. Just, having Orion focus more on the bigger picture as the movie progressed, leading him to maybe mistreat D-16 a bit in his haste to spread the truth rather than get rid of the source of the problem. This way both Orion and D-16 could be given depth, since arguably, both are right in their approaches.

These are, of course, vague edits. And much like D-16, there isn't a ton I would change for Orion. He just needed more time on screen, and more opportunities to be presented with moral challenge and/or chances to lead.

"The line between friend and enemy is not as clear as I once believed. Once it's crossed, there's no going back, because some transformations, are permanent."

D-16/Megatron:

D-16, and later Megatron, was by far the best developed character in the entire movie. A very good thing considering the film is his origin moreso than anyone else's. He had the most growth to go through, and my goodness he went through it fantastically. He started off somewhat meek, mild tempered, and cheerful. He was a normal bot, one just happy to go about his life and enjoy his few passions as an average civilian. But as the film progressed, his character shifted from one of fun and adventure to anger and betrayal. One lie after another stacked up, slowly breaking down his innocent belief in everything he held dear until he had nothing left to stand on. All he could do was direct his anger at something, lest he lose himself entirely. His reasons were all justified, and you could see the way his morality shifted between "I want him in chains" to "you need to get out of my way, before I move you myself." and it was brilliant. Everything about his arc was well formulated, at least regarding showing his shift in character.

All I would have changed is the rate at which he changed. It was very fast paced. And from what I gather, occurred over the course of maybe a day or two. Crimes of passion are a thing, and some change really does happen that quickly, but D-16 needed at least a few more scenes of moral debate. Perhaps a scene in the beginning where he makes a simple choice that Orion's agrees with and then a very similar scene later where he goes directly against his previous choice. He should have been shown arguing with Orion more as the film progressed, and over more and more serious matters. Perhaps it starts with the map, but as time goes on, it starts edging into who to kill, who to suppress, what path to take in laying siege to Iacon, etc. That way D-16 moral shift can come a bit more naturally when he finally beats the snot out of Starscream and later kills Sentinel with no remorse.

D-16, and later Megatron, is a delightful character. There is very little I would change for him. Above all else, he needed more time on screen to shine, and I think that's the best possible critique there could be for a character.

"The age of Primes has ended. No more false Prophets. Follow me, you will never again be deceived! Rise up!"

Elita-One:

Elita-One is the worst offender in the entire film when it comes to horrible character. Where others lacked personality, she got far too much and absolutely zero development for it. She came in arrogant and came out just as if not more so. Obviously, the creators were aiming for her to be a foil for the boys, trying to make her into a more stable and commanding counterpart to Orion's, and later D-16's, rebellious nature. But her extreme arrogance, snarky attitude, and little to no love for anyone else made her presence grating. There wasn't enough of a relationship between her and the boys for me to see her in a more familial light for them, nor was there enough of an indicator of rivalry for her viciousness to not be annoying in its presentation. She was mean, bitter, and overall a pain throughout the entire film. And while there were reasons for those traits to be presented initially, they were obtrusive and took away from the film since they were never again addressed or given proper conclusion. Elita-One had no character growth, and as such, she leaves a bad taste in my mouth. Her relationship with Orion in particular was agitating. She had a backstory at least, and it did contribute to her character, but it didn't help to differentiate her a ton or warrant her arrogance, unfortunately.

Elita-One needed a reason to be so confident in herself that was visible to the audience, not just her forcing her crew to repeat her greatness. Arrogance can be done well, as seen with Starscream and Knockout in TFP, but Elita's just came off as annoying at the best of times. To adjust her character, I would have pre-established her relationship a bit differently. Instead of aiming to be supervisor, she should have been one already. To make her arrogance less annoying, she should have been shown as being affiliated with Orion before her demotion, perhaps as the one letting him get away with all his shenanigans. That way her arrogance plays off as her bantering and simply noting her station, and maybe she flaunts it around a bit, having Orion do her random favors since she won't go breaking protocol, but she knows he will. Their relationship could be one of mutual benefit, perhaps even hinting at Elita having used Orion's help to achieve her station at some point. That way they can be vaguely affiliated and their power dynamic can be somewhat equal since Orion offers a service and in turn, Elita covers his back when he decides to go and wander off.

If the creators wanted to go the ship baity route, or even just make Orion and Elita closer, it could be a thing where Elita was an old friend of Orion's who simply drifted apart after her rise to supervisor. Instead of being harsh with him during the mining scene, she could offer to speak later. Their entire dynamic could be that of ancient friendship, older than even Orion's and D-16 connection. Maybe they were in training together. Perhaps they were on the same mining crew for a while. Whatever the case, making Elita a bit nicer would go a long way, especially if she attempted to cover for Orion yet again after he broke protocol to save Jazz. She could try to cover for her old friend and be punished for it, making her less willing to help later in the movie when her aid is needed once more. Her character could go through serious growth because of this.

Additionally, if this were to be how her character played out, when she's brought to the surface, her lingering arrogance can be crushed like a grape in the unfamiliar environment. Where she once looked at Orion as a bit of a nuisance due to his habit of going places where he really shouldn't have been, she can now appreciate his skill and support him with her own. Maybe as a former supervisor, she's the only one who can read the map accurately, but for that same reason, she has very little skill in traversing the land and translating old indicators on the coordinates. That's where the boys could step in, helping and offering their skills and in turn showing Elita that while she's not the best and never will be, her skills are valuable when applied correctly, just as her companion's skills are as well. They could play off each other in a more meaningful way, helping Elita develop a healthy relationship with her companions and her ego. By the end of the movie, she could end up a bit more like Skybound or Earthspark Elita-One, confident and competent, but mature enough to know when to let someone else take the lead and when her job should be to play support.

She could even serve as a bit of an echo of Megatron, starting off where he ended. Anger, passion, and of course, arrogance. Then slowly she can learn to mellow a bit and apply herself in a far more productive manner. This could let her relate to D-16 as he starts to crumble, giving her more of a reason to be invested in him since as she improves, he starts to fall to pieces. There are many ways she could be played, but more importantly, she needs to be showed having actual chemistry with her companions and changing as a character into someone more mature. She's not a bad pick for a character, but she needed to be tempered, a lot.

"My point is, that your instincts tell you to break protocol for a reason."

B-127:

B-127 is a character that, on his own, doesn't really have a purpose being in the film at all. He's comedic and does show the beginnings of maturity in more serious moments, like when he and D-16 are captured. However, he lacks substance. He's fun, he's peppy, but it feels like a lot of the basis for his presence hinges on old and new fans recognizing his paintjob and knowing who he will become later down the line. He's a rather shallow character, which is not a necessarily bad trait since Sentinel pulled it off brilliantly. But since he is meant to be a main character in this film, I would have preferred he be given a more solid foundation. His actions are fine, his personality is acceptable, but he needed more to work with, a reason for his behavior if you will (since he can't exactly have a reputation to run with, being on sub-level 50).

I think the best way to have introduced him and given him a foundation would be to foreshadow the sub-levels. Perhaps have it be noted that bots go down a few levels and never come back, unfortunate miners who mess up one too many times. (maybe D-16 reminds Orion of this potential fate). Instead at staring at smelters, B-127 could be introduced as a scavenger. Rather than be down so many levels doing essentially nothing, perhaps show him weaving through discarded rubbish in huge heaps before they can be incinerated, taking bits and pieces that he likes. This way his random assortment of knowledge can make sense. It can explain his madness in a slightly more believable manner. Seriously, if B-127 knew how to get out, why wouldn't he leave at some point to seek out companions? Better it be that he's trapped, and now that he's got new companions, he feels totally fine accepting them and showing off his collection of trinkets since they are all prisoners together. He could state he's been down there for a very very long time, maybe making him the oldest out of the eventual group of four. This would explain why he has the plot device later, and if he shows off more confidential reading/viewing material he's collected, his knowledge base and animalistic fighting style make more sense.

It would give him a foundation as someone more feral, easily surprised, and excitable. It would give him unique skillsets, such as scavenging and self repair. If needed, he could even be the team's makeshift medic. Maybe B-127 could even have a broken T-cog instead of missing it altogether, showing that the practice of removing a cog was imperfect for a time, and since his removal failed, they disposed of him. Yet another hint of what is to come. His introduction scene would be about the same length too, since all that would change is the setting. It would also give all three time to bond since B-127 doesn't know how to escape, but has resources, which would allow D-16 and Orion to put their heads together to get them all out. It would also create a sense of loyalty for B-127, encouraging him to stay with the group. No changes need to be made to B-127's personality, just a shift in scenery.

"Are you serious? This is the greatest day of my life! I get to work for the government!"

Starscream:

Starscream's appearance in this film, much like Elita's presence, served little to no purpose. He existed purely to provide D-16 a chance to exercise his brutality and growing passion for rebellion. However, with what little time he had on screen, he presented an incredibly unique version of the character. Gone was the cowardly behavior seen in almost every single Starscream to have ever been produced. This Starscream appeared to be a highly competent character, willing to fight and die for his cause. He showed determination, energy not seen in any other Starscream. I can't exactly say he was the most intelligent character, a shame considering his station. But the embers of something more that he presented were fascinating, and in my opinion, a delight to witness.

I would have liked to have had his foreshadowed earlier. Personally, I think a great way to have hinted at his presence would have been to make him a bit of a martyr. He could have been blamed for the betrayal of the Primes, with Sentinel pinning their fall on the High Guard and Starscream in particular. That way, he could have been foreshadowed via D-16 absolutely hating him for his "betrayal" and also served to hint at the High Guard's power later. Additionally, if Sentinel made it so the High Guard looked like they'd sold out to the Quintessons, him going to the surface would be even more "Dangerous" since he'd be fighting "traitors". All the more for him to have lied above, and more to keep everyone off the surface.

Bonus if Starscream actively has a warrant out for him, as evidenced perhaps by chatter from background characters or maybe even Darkwing calling D-16 and Orion Pax "High Guard/Starscream sympathizers" for their rambunctious activity. Through this slight shift, Starscream's later appearance could be far more meaningful and make him an ally of note, especially if its mentioned that he and his people have been attacking energon trains for sustenance and to mess with Sentinel. Starscream's intelligence can be shown, as can his former ties to the Primes, all by adding a line or two depicting his presence.

"Two options for you! One, we slowly dismantle each of you one bolt and screw at a time, and really make sure you feel it. Or two, in exchange for a quick death, you give us intel on the energon trails, access to the mines, or anything else that could hurt your Boss, Sentinel Prime."

Soundwave: Soundwave can hardly be called a character in this film. He exists. That's about all he has going for him. He looks like a taco and has all the personality of one, that being none at all. There was so much potential for him, but he got a grand total of perhaps three lines before he became background noise. Jazz had more lines than Soundwave. Jazz, the cogless background character. We know nothing about Soundwave except the fact that he's with the High Guard and apparently important enough to have been in the records. No explanations regarding his abilities, no backstory, no reason behind his connections. Nothing. He's a familiar name for old fans to gawk at and does little else.

If Soundwave is going to be in a film, I feel like it is law for him to play at least a semi-important part. Even if I didn't know Soundwave from other continuities, he would still be seen as highly underutilized. Personally, I think he would have done so much better serving as an agent of Sentinel Prime who turned when he learned the truth. He could have been right at Sentinel's side whenever he was in the city, offering reports on other cities and their struggles to obtain energon but ultimately being waved off. This could help with the small setting feeling and give Soundwave character through his hesitance and concern for the rest of the population. It could be fascinating to see Soundwave loyally follow this Prime, despite his concerns, and then be betrayed with the knowledge that his world and his people have been enslaved by the one he thought was their savior. This way, he would have a very valid reason to hate Optimus when he comes into being, and consequently have a reasonable desire to join Megatron.

"Scanning electrical impulses: He speaks the truth."

Shockwave: Thankfully he's less of a taco. Unfortunately, he only has a bit more personality than Soundwave. We also know exactly nothing about him and he suffers from the same problems as Soundwave personality wise. We've got next to nothing to work with, not even a title. He also comes off as a bit of a potato since the very first thing he did when threatened by Elita of all bots was to bend the knee. It does tell us about him, but its not done tastefully and as it stands, Shockwave has the personality of a small child who got his favorite toy stolen from him.

Much like Soundwave, if one is going to use Shockwave, he has to at least have had some sort of impact in the past, if not the present. I would have liked to have seen him possibly have been the one who assisted in removing cogs from the newly forged. It is an essential part of their structure, so I imagine there is a certain degree of delicacy involved. Or barring that, why couldn't he have been the High Guard's medic or scientist and studied the process and uses of the Transformation Cog? That way, he would have a plethora of knowledge and be very invested in Sentinel's downfall since he knows the truth of the matter. Perhaps he feels guilty for having assisted. Maybe he was banished for trying to do too much. There are a thousand things that could be done with even a hint of such a backstory. Heck, maybe he could be the one to have a small mountain of cogs to offer cogless bots during the battle against Sentinel. Or if we want to maintain the emotional value of the bots fighting without their cogs, have Shockwave offer up images of piles upon piles of destroyed T-cogs or something for evidence. There is a lot of potential for him that was never realized, and all it would have taken is a line or two to establish him and his usefulness to the Decepticons later.

"He wouldn't stop talking."

Sentinel Prime:

Sentinel's character was, quite frankly, delightful. There were no redemptive qualities about him, and I personally found that to be perfect for his character. He was cruel, prideful, vicious, arrogant, and everything else I expected from a cliche villain. And yet, despite being cliche, his voice acting combined with his stable character portrayal always had me adoring how terrible he was. Whenever Sentinel came on screen, I was excited to see him because I knew how he was going to act, and I was thrilled to see it play out every time. I knew his personality, and yet how he went about his activities always exceeded my expectations. Personally, I adored how smug his dialogue was, right up until the very end of his life. It sold him as being the worst, even if he wasn't breaking any new ground with his character. Sometimes you just need a character who sucks as an individual. I appreciate that the movie was willing to make him irredeemable, unlike other iterations of Sentinel Prime who at least had a slightly non-selfish hidden motive somewhere in their backstory. There's nothing I would change about him, not in the slightest, at least not without adjusting the entire movie and rewriting it from the ground up. He fits. Simple as that.

"What truth? That I plucked your cogs from your newborn chests, forced you to mine so that I could pay off the Quintessons, and live like a King?"

Alpha Trion:

Alpha Trion was a fascinating character with so much potential history and lore attached to him. I am quite sad he didn't get more of a chance to shine, considering his past and his status as the last living Prime. He did serve his part in the movie, quite well might I add. But he could have had more. He was so very tired sounding, lost even. He seemed to care for our main cast and offered so much wisdom, and yet had so little time to actually impress it upon the main characters. He died with honor and what times he did have the chance to speak were well put together. However, I would have liked to see a bit more of him, personally. A bit more character, spice if you will.

I would have given at least one digit on my right hand to see him train our group of four, or at least begin guiding them back to Iacon so give them more time to talk. His presence could have accentuated the fallout between Orion and D-16, showing their shifting ideals when compared to the pure goal of Alpha Trion. Perhaps he could be the one to try and guide the group into working as a cohesive unit. And perhaps his slaughter could be one of those things that drives D-16 and Orion apart now that they no longer have a stabilizing force to keep them from arguing over what to do with their evidence. Honestly, I'm thinking something Uncle Ben combined with Uncle Iroh for Alpha Trion would have been a perfect way to introduce him, make use of him, and ultimately offline him in a meaningful manner. But again, time constraints are a real issue and I understand the problems the movie had giving everyone time to breathe.

"I failed you, old friend. You deserved so much better than this end."

Arachnid: She's a fascinating character who I personally would have loved to see more of. The times she turned up on screen were always noteworthy, and the fact that her intentions were largely unknown gave me a feeling like she was this movie's Soundwave. She didn't need too much development because her role in the movie was perfectly structured. She was Sentinel's right hand, his eyes and his hands. She is a perfect example of a character who doesn't need much exposition or backstory simply because she fulfills her role perfectly. We can make assumptions and still have room to speculate, but her character doesn't feel like a vacuum or like its missing some grand piece. Would I have appreciated a hint more for her thought? Yes.

Personally, I think hearing rumors of Sentinel's frightening right hand might have given her the final touch she needed to be a solid character in my book. Just some bots being in awe as she walks by with Sentinel, or perhaps Orion recognizing her from some old text from the archives. That way she could come onto the scene with a reputation. Or barring that, a sense of dread. That said, I did enjoy her introduction and I have no real critiques of her. The character is built well for the time she's on screen. I enjoyed her far more than I did Elita-One which should tell you all something. A girlboss character can be done well. Look at Arachnid and her combat prowess and intelligence. Elita was just a poorly done, slapped together attempt at giving our main cast flavor.

"I see everything."

That One Random Quintesson: It looked neat. Very intimidating in its own weird way. Certainly uncanny considering the metallic scenery. Could have used at least a line or two to sell the evil. I personally would have paid money for the Quint to talk in gibberish and for Sentinel to somehow understand because that would show just how long he'd been working for the Quintessons.

Jazz: We saw him a grand total of perhaps five times and I love him. No complaints. He's very Jazz and maintains his Jazz attitude throughout every single scene he turns up in. I especially love him during the scene where Orion rallies the cogless. He looks so confused and yet so happy later one when he gets his Transformation Cog.

"Little? There's nothing little about you."

Darkwing: DARKWING DUCK- I'm kidding. Darkwing's character had little to no depth, but he served perfectly fine considering his role in the movie. An aggressive enforcer of some variety, evidently high ranking enough to be in the Iacon 5000. He's got enough flavor to him that I'm sure someone in the fandom will decide he is their blorbo and run with it. He's not breaking any new ground, nor are his lines anything noteworthy. He simply is, and considering his role, it suites him.

"You are no cog bots with limited options. Report to waste management immediately."

Background Characters in General: Nothing really of note. They existed and served their purposes. I appreciated the fact that no two bots were the same appearance wise. It made Iacon feel more lived in, a trait desperately needed considering how small the world felt. Seeing so many familiar faces was fun.

The Plot

(An assessment of the story overall & its holes.)

The plot was fantastic, at least with all the random unneeded scenes not considered.

There were quite a few themes present, most of which were at least touched upon. Honestly, the journey to discover the truth was a wonderful overall plot. I have very few complaints about the way the story set out. Two miners who, by accident, are cast away and gain an inkling of the truth. This in turn sending them on a quest to uncover said truth, only to have their worldview shattered. It's simple, and at the end of their road, their differing ideas regarding what to do with the truth are what drive them apart.

There are some things that don't add up, such as the time it takes the crew to actually get from Point A to Point B at any given part of the film. Time is a real issue in the movie. If we had only been given the illusion of more time passing, some of the pacing issues might have been less in our faces. Additionally, there are a few inconsistencies.

The boys being chucked down fifty sub levels because the plot needed it to happen. The plot device just happening to be there for reasons. How B-127 and the boys know how to get anywhere is beyond me. Elita being at the exact train they need to board at the exact right time is a bit off. The t-cog situation is interesting and I can't help but wonder how that whole mess really works. The High Guard popping out of the ground like cabbage patch kids. D-16 suddenly choosing to betray his best friend for reasons that were not given enough time to justify.

It's just a lot of smaller things that added up, when combined with the pacing, to create something a bit off. However, overall, the base story attempting to be told is very solid, only needing to be tweaked and refined to add further depth and give characters reasons to be there at all.

A very solid 7.5 - 8/10 movie when viewed overall.

The World Building

(Current questions & Information + musings)

Cybertronians don't bleed, unlike other continuities.

I find this fact downright fascinating. When characters are killed, they don't bleed. TFP bled, pretty sure other continuities did as well. Except for G1 at any rate. It's an interesting take since energon appears to be a liquid, not crystal, on this new version of Cybertron. That leads me to believe that it must be pure energy since the moment it is taken in, it appears to go straight into powering the bot in question, rather than flowing through their veins. They are far more machine like, and I have had that fact grow on me a lot. Less alien, more mechanical.

The cogless had their cogs removed before coming online. Where are said cogs now?

It really is fascinating to think about. Sentinel had all of these T-cogs removed, presumably thousands upon thousands of them. I have to wonder, were they destroyed? Stored away in case on of the bots allowed to have their cogs needed a new one? If they were thrown away, how did no one notice or snag a few? There are many questions regarding how this big biological aspect of the cogless was kept from them.

Where are these bots forged? No Well of Allsparks was mentioned, at least to my memory.

It was stated that the first Primes came from Primus's core, which adds up since they are the closest this new continuity has to demi-gods. I would say that it would be likely that bots just clamber on out like the Primes did, but considering how fricking long that fall was for Orion, I have my doubts. Personally, I'm thinking this continuity probably is going the hotspot route where bots just kinda pop out of the ground in certain places. They obviously aren't climbing since they weren't online for their T-cogs to be removed. That leads me to believe that they likely form in hotspots and are cultivated until they are ready to come online. This would give Sentinel plenty of time to do a little removal all easy peasy.

Cycles are years. Days are days.

Interesting take on time, but ultimately kind of useless on its own. Lots of human time terms are used, so it seems cycles is just in there for alien factor. A unique take all the same though. I like it.

Primus is mentioned and acknowledged, but there is no mention of Unicron whatsoever.

It's really quite fascinating, but not particularly surprising considering the setting TF One takes place in. Many bots are uneducated, and with the fall of the Primes, it could very well be that no one knows about Unicron anymore because the threat he posed paled in comparison to the Quintessons. It could also be that Sentinel might have had any records about him removed in order to keep the population afraid of one threat, rather than many. It's not as thought Sentinel can deny Primus exists. But Unicron? Can't see it? No need to believe it. Still, it will be fun to see if Unicron ever comes up.

The war with the Quintessons is stated to have gone on for thousands of cycles, and yet there are few ruins. Just how devastating was it? How powerful are the Primes?

I am of the belief that long ago, Cybertron was an empire. There were cities everywhere and the surface was most likely covered in defenses. Most likely, the Quintessons whittled away at Cybertron's surface population, hence the war going on for so long and the people retreating underground into their creator's shell. The Primes appear to be powerful, but they were most likely scattered across the surface to try and limit the damage done by the enemy. The war was likely very close to be lost after millennia of being continually under siege when the Primes finally fell. In a sense, Sentinel likely did buy Cybertron time, but he also doomed them by destroying what history they had that might have helped them.

Are there other cities on Cybertron? There has to be, considering how large the planet is, but the offered energon to the Quintessons tells a different story. What happened?

We don't have enough information to make a good guess, but I personally believe, as stated above, that most cities were likely wiped out. Those who survived fled underground, meaning that most cities are either few and far between, or they are so sprawling that 'Iacon' encompasses far more area that we are led to believe. The offering of energon could have possibly been so small because it has been so long. Maybe, once upon a time, the offerings were far larger since more cities could bring energon in. It's hard to tell.

Is Cybertron in a post apocalyptic state?

I think so. Considering the ruins on the surface, the suppression of the masses, and the struggle to get energon, I do think that Cybertron is sitting in such a state when the movie is happening. The setting scene in Transformers One, and Iacon in particular, appear to be the last gasp of a dying race after what could have been a siege lasting up to thousands upon thousands of years.

T-cogs evidently have a certain amount of biological alteration involved in their acquisition.

This can be seen in Megatron when he takes Megatronus Prime's T-cog. Personally, I think this says something about the use of a T-cog. Some appear to be more suited toward combat whilst others have other uses. It appears to be Cybertron's version of the genetic lottery, since up until one gets a T-cog, it seems as though it is quite impossible to determine alt-mode or abilities. Look at Jazz. He didn't get his little door wings until after he got his T-cog. This has a lot of implications for T-cog inheritance too. Is that a thing that can happen? Does it affect various bots differently? Many many questions.

Does the T-cog have an effect on the mentality of those who inherit it? Was Alpha Trion aware of this when he chose which T-cogs to give to the crew?

I honestly think it's impossible to know at the moment. We don't have enough lore to make a solid assessment. But I would like to think it at least has some effect on the bot in question when they get a T-cog that was not originally theirs. Again, look at Megatron. Maybe Alpha Trion selected the Primes with the most adaptability for a reason. Perhaps some of those latent traits present themselves in their new wielders. I don't know, but I would very much like to.

Cogless bots are essentially children.

They are smaller, slower, and from the looks of it, less liable to fight against those larger than them (although that could just be common sense.) They don't appear to be less intelligent or anything, but I do imagine the T-cog is a sort of wakeup protocol for bots. It diversifies them, allowing for specialization. So yeah, from the looks of things, they might as well be children frame wise.

No noticeable spark chambers. Instead, we have the slot for T-cogs.

I find it downright fascinating that instead of having a way to expose their sparks, the TF One bots instead expose their slot for their T-cog. There's not a ton I can gather from this lore except for the fact that this must mean sparks are likely farther into the frame and more protected, and like a human heart, probably not meant to be seen.

(Also the smut writers are going to have to get creative)

There are different Primes this time around. Still Thirteen of them, but a few old and new faces from various continuities.

I have no clue what it implies for the most part, but from the looks of it, we aren't going to have an IDW/TFP Arisen any time soon. All the Primes are named, have faces, and are confirmed to be dead. There's no mystery here about some secret resurrection Prime goofing around in the background. I like it personally, even if it does limit the more mythological aspects that could be present in this new continuity.

There don't appear to be any sort of familiar or mentor-mentee social structures on Cybertron. We also don't see anyone who acts young enough to possibly be newly forged. Does this mean everyone comes online with basic knowledge? Or are they put through bootcamp before even entering society?

Again, I'm thinking the bots are raised like cabbage patch kids, grown and watched over wherever they form until they come online. Then, most likely, the cogless just kinda figure it out, IDW style. Same goes for the rest of the population.

How are the cogless selected for their fate? Is it random since Sentinel removed their T-cogs before they even came online?

It's a good question that I would like the answer to. Most likely, it's a numbers game. Special traits don't appear to present until a bot gets their alt-mode, leading me to believe that the cogless are selected based purely off how many miners are needed at the time.

D-16 gained a weapon via being angry. Do all bots have that? Is it a stress response? Or is D-16 special like that?

Again, the T-cog question. It feels like it's related to biology somehow, but I don't have enough info to make a solid guess.

The Matrix is referred to as an entity. Why is that?

No bloody clue but I really hope the dang thing talks or has some sort of unique ability aside from being an extra battery that gives Optimus a really cool axe.

The bots have eyelids and tongues.

It makes sense that they have them. I just think it's neat.

Some bots have real names. Other do not.

I have no clue what this implies, but I am running under the assumption that there is either a criteria to meet to get a name, or bots just pick their names and roll with it.

The Ending + Implications

(How I think things will go from here in future films.)

The ending scene was ridiculous and felt chucked in there above all else (note: I am referring to everything after the t-cogs are distributed). However, it did offer a hint of insight into what is coming in the future.

Based on what Transformers One presented, and the fact that it has been stated that it will (if all goes well) be part of a trilogy, I have a few predictions for the coming films. Of course this is all speculation because the movie ended on a rather open ended note without much foreshadowing for what is to come, at least on the surface. So take this as my musings above all else.

Firstly, the Quintessons are going to be removed or otherwise sidelined as a threat. Optimus's line regarding the Quintessons at the end of the film leads me to believe that they were more of a plot device than anything else, and I expect them to become even less prominent going forward. I simply cannot see them being the BBEG of the trilogy considering the layout of the movie. Although it is very possible that they could serve as a minor antagonist to push the war along in later films.

If things continue as they are and the creators keep to the origin story vibe, then I see the second movie as likely focusing heavily on the war and its rapid fall into sheer chaos. I expect it to be fast paced, just like Transformers One. So quite likely, it will be a series of battles, schemes, and Megatron marching his armies while Optimus desperately tries to rally his people and fight back.

The second movie will probably be split between Autobot and Decepticon perspectives, Avengers Civil War style if I had to guess.

We will likely see Megatron gathering troops and capturing territory while Optimus fortifies what land Sentinel previously controlled in order to try and limit conflict (and promptly fail).

Optimus will go through some arc or another that gets him to fight seriously, but considering this is Optimus, he is probable to maintain his attitude of 'I can fix him' at least to an extent. Although, considering how he sent Megatron away, we may be surprised going forward.

We are going to be introduced to key Autobot and Decepticon characters throughout the second movie. Prowl, Jazz, Ironhide, Arcee, and others. Starscream, Soundwave, Shockwave, and the rest will likely get actual development.

There will probably be at least one peace talk that goes south the instant Optimus dares to breathe in Megatron's general direction.

Elita is bound to get more screen time than she deserves.

Bumblebee will earn his name and either have his voice taken from him, or he will end up forcefully silenced through some other means, perhaps a vow or trauma. Depends on how mature the creators want to make him in the future.

Megatron will probably end up seeing Orion as having died in some capacity, either that, or he will see everything Optimus stands for as a betrayal of their shared history and a insult to the suffering of the cogless.

The third movie will likely end with both factions abandoning Cybertron during a great exodus (if they are trying to follow G1/comic canon vaguely.) I simply don't see the films moving to Earth since that's been seriously overused over the past twenty or so years.

I anticipate the introduction and or the alteration of previously well known characters throughout all the films. Since the creators have been willing to adjust the origin as much as they have, nothing is off the table.

Those are all the predictions I can make at the moment considering there has been very little to work with foreshadowing wise.

My Suggested Adjustments

(My thoughts for an ideal TF One which stays within the time limit, keeps to the established plot & acknowledges the future existence of more films.)

Now, again, before I begin my edit rant, I will try my very best to keep to the plot of the film and not go off track. I will be offering edits, not a rewrite (yet). Also, most of this is just musing and things I would like to see, not professional writing. Take with a grain of salt. That said, here's what I would adjust.

I would add a few lines of dialogue during D-16 and Orion's chat on the train to hint at Orion having a fascination with the surface and/or skeptic attitude toward what they've been told backed with a desire to check things out for himself. This would be just to build a little extra character. Additionally, during their chat, D-16 can remind Orion that the surface is dangerous not only because of the Quints, but because the traitors are up there. The wild High Guard, now gone mad. Orion can wave him off, stating he's not going to become like Starscream before moving onto his discussion about how he has a feeling like he's meant for something greater. The conversation can then continue as normal.

Remove Elita from the mining scene in the beginning. Have someone like Ironhide be the team leader so that his gruff personality can really drive home just how dangerous their job is before they even get started. Instead of Elita's rant, Ironhide can again remind his group about the risks of their work and maybe even discuss how someone got his or her lower half crushed in the last tunnel collapse. The group can then rush to get to work, with D-16 and Orion being all buddy buddy about it. D-16 and Orion can greet a few of their fellows, maybe assisting a bit in order to bring in more familiar faces. A brief pause can occur for Elita to look down on the group from her position overseeing things. She and Orion can share a brief look/nod/salute/gesture that D-16 can then mock and Orion can use to remind his brother in arms that Elita is an old friend, nothing more thing less. Elita can then call down, ordering them to get a move on before they get in trouble. Ironhide can then get the group hustling into the tunnel. This would solidify Elita's place of power while also introducing other characters and the harshness of the work.

The mining scene can go on as usual, but when the rescue happens, Elita can jump down and order Orion and D-16 back, maybe yelling something like: "Pax, D-16, pull back! I won't ruin my record with three deaths in one day!" in order to cement her deep care for her position. And once they make it out safely, Elita can check Jazz over for a moment before getting in Orion's face, D-16 probably trying to not be involved. There they can share some dialogue that shows Elita's exasperation with him, but also her fondness. Perhaps something like this:

"How many times have we done this Orion? I can't keep letting you break protocol!"

"Even to save a few lives?"

"We are miners. Danger is part of the job. Your recklessness is a liability."

"Even though it saved you from that tunnel collapse last cycle?"

"That is beside the point Orion, and you know it. You really need to develop some self-preservation skills."

Then of course Darkwing can jump down and fire Elita, only this time instead of being as sudden as it was in the original TF One, Elita can instead be fired for letting Orion and D-16 off yet again AND sustaining an injury to her team (RIP Jazz's leg). She can fight back, saying that lives were saved despite the breech of protocol. Darkwing can then shoot her down again even when Orion steps up to try and take the blame. This way, Elita can have the final straw moment with Orion, her expression being bitter as she has her rank badge ripped off. Her dialogue with Darkwing can hint that this is not the first time she's let things slide, hence the demotion. She can look at Orion and D-16 in sheer anger, shaking with rage as she murmurs about how hard she worked for this position before shoving past both of them. This would make her less agitating as a character but still give her ample room for snark and anger while maintaining a connection to our main cast.

When Sentinel gives his message to the people, D-16 can get just as excited TF One canon, but Orion can be a bit skeptical. The scene with Elita can influence him, making whatever skeptical nature he'd developed all the more real. Perhaps, as a bonus, Sentinel mentions that the winner of this race will get to request something from him/get a new rank. Seeing this, Orion will then want to get in both to try and prove a point, and to hopefully make it so that he can get himself and those closest to him to a high enough rank to make a difference. His hope could be that if they won, he could request better oversight in the mines and a chance to show their grievances. D-16 can still, of course, not want to be involved when Orion implores him to try and be something greater.

The race scene can stay as is, only changing to show Soundwave AND Arachnid by Sentinel's side. But when the duo are in the med bay, Ratchet can come by to fix these two idiots up. Instead of being cogless, he can be one of the higher ranked bots and perhaps serve Sentinel personally. While Orion and D-16 have their little banter session, he can work on them and probably tell them to shut up before the Prime arrives. Perhaps he also comments on their poor repair, wondering if the mines have medics. D-16 and Orion can state that they do not, earning Ratchet's anger since he assumed they at least had basic health care. Maybe he even tells them to watch their mouths, or perhaps praising them for their stupidity and being mildly in awe of it. This could set him up as an ally later.

The discussion with Sentinel can go as it does in canon, but when he leaves with Arachnid, it can be Soundwave who is ordered to 'remove' them. Soundwave can hesitate, looking at the duo and then at Ratchet would could try to object since he would know what is coming. Soundwave, ever the loyal aid to his Prime, could then call Darkwing in to take D-16 and Orion to their fate. Soundwave can even look genuinely upset at the scene, his fists all clenched up as the duo cry out in confusion. Ratchet can curse, and the scene can end with our two heroes being thrown down to sub-level fifty where no one without an alt mode with wings can escape.

Down in sub-level fifty, it can be a horror show. A huge set of incinerators where huge conveyor belts are transporting waste to the fires without end. Maybe there are even a handful of bodies amongst the mix, miners and other cogless. D-16 can continue to believe it must have been some huge mixup, perhaps getting all angry about it before B-127 appears from the rubbish, looking terrifying and scuttling over to them. He can get all up in their faces, maybe touching them to ensure they are in fact alive before his mask lifts and he goes right into being himself. He can have his nickname moment, but it can be mixed in with him showing the duo around the fires, giving them some warnings like:

"Don't mess with the bodies, those tend to be infected."

"Watch where you step! Don't want to miss energon by accident. It's rare down here!"

"With you two here, I won't have to worry about accidentally ending up on the conveyors while recharging!"

B-127 can ramble for a bit, much to our duo's horror. Then he can show them his makeshift residence, made of trash and other things. Inside can be all sorts of wacky things, including STEVE. As he's showing off his collection and gleefully pointing out things from various cities he's found, D-16 can marvel at a few of the older wartime relics Bee has and Orion can sift through Bee's stack of random reading and viewing material. As D-16 tries to smile through B-127's eager explanations of how he found things, Orion can note the symbol of the Primes on one of the small disks B-127 has. Bee can notice and exclaim how he found it on the body of someone from the High Guard forever ago. At that, D-16 can recoil, but Orion can turn the disk on.

The message can be revealed as normal, and again, Orion can convince D-16 to go despite the threat. Being trapped underground, they decide to give it a shot. B-127 sadly points out that he's been down in the sublevels for actual cycles and he's never been able to get out, not without a T-cog. At this point, he can show off his damaged T-cog, taking it from one of his shelves for all to see. The duo can be quite confused as Bee states that he came online with it broken, mentioning how he felt someone trying to mess with it before he was thrown into the sublevels. Orion's suspicions can grow, D-16 can become more adamant that something OTHER than Sentinel is going on here, and from there, they can use B-127's things and tools to work their way out. Perhaps they construct a grappling gun, or otherwise use old material to tower their way up to a vent on the far wall. D-16 can undo all the screws with some difficulty as the conveyor belts below them threaten to drag them into the fires. But with time, they can quickly crawl their way out, perhaps with D-16 grabbing Bee before he can fall back into the rubble below.

From there, Orion can use his knowledge of all things underhanded to begin guiding them up toward the surface. D-16 can add his input by feeling for wind currents and whatnot. All the while, B-127 can tell them he's heard of a train depot nearby, considering maps and other things that fell into the rubble with him + shaking over head occasionally.

Once they get to the depot, they can try to join the masses of miners loading up the train carts. Attempting to blend in, they grab grates and try to move quietly and just, not emerge from the train once they get on it since they know its heading to the surface. But as they are waiting to load, they encounter Elita. She engages with them, attempting to stop them as a form of retribution and even arguing that she's saved their hides one too many times. Orion, despite his respect for her, pushing his group on. They push past Elita, discarding stealth in favor of leaping into the train before it can take off. Elita, still upset and desperate to stop them from causing more harm, throws herself in after them with the intent to stop them. The doors close before she can, and in anger, she pauses, and books it toward the front of the train to try and halt it. Being smaller and nimble, she dodges attempts to grab at her, even knocking a crate over which hits Orion. As they make it to the surface of the train, D-16 and Orion lag behind, but B-127 manages to slow Elita down by grabbing her leg long enough for Orion to also pull himself up and grab her arm before she can hit them.

Then the traintop scene can play out as normal.

Once they are thrown to the ground, Elita can still get up in Orion's face, but instead of losing her cool, she can instead grab him, take a few breathes, and say something along the lines of this:

"Orion, since they day we met, you've been a thorn in my side. Always getting me intro trouble whenever you decide to run off with your go-bot buddies and make a scene."

"I know. And I'm sorry. But this... this is beyond any of that. We could find the Matrix, Elita. We could do what Sentinel hasn't been able to. We can save our home."

"And that is the only reason I haven't tried to punch you yet, Pax. But if this mission of yours fails, if this is all some grand hoax, I'm taking you and your pals back to Iacon and getting my rank returned to me."

"That's fine, because I quite firmly believe that this is the real deal."

"It better be, or you can bet your bolts I'm never going to let you live this down."

"I wouldn't expect anything else."

Orion and Elita share a moment of reconciliation before they both look over the map together. Leaning on each other for support as they follow the coordinates. All the while, D-16 and B-127 comment on the scenery, and helping their group avoid various hazards. D-16 might even note how there aren't an High Guard rebels, a fact that leaves him suspicious, especially as the group passes through increasingly frequent ruins, all inhabited by the bodies of bots who bear the symbol of the High Guard, or the long dismantled old Cybertronian army. D-16 might even see how it seems as though a few of the High Guard were actively trying to defend civilians, as evidenced by the bodies. This leaves him thoughtful, less angry.

There should be a few flashes of the group taking cover as strange creatures move on the surface. B-127 can pause to gather up some abandoned weaponry from an old base, earning commentary from Elita-One about how she never knew they once had so many cities on the surface. It should be a somewhat solemn march, and as they go, they can practice with their haphazard firearms by shooting as various targets to acquire what energon they can and to scare off random creatures. Orion notes the cities they pass through, listing off names he's read in the archives and being saddened by the fact that they lost so much. D-16 becomes more and more upset as they go, seeing the bodies and wondering why Sentinel hasn't recollected abandoned resources or otherwise given the dead a bit of respect in light of the fact that they haven't seen a single enemy so far.

The scene running from the Quintesson scanner can continue as normal, and the group can rush to the cave as they watch the huge ship loom overhead. The cave scene can also continue as normal, only this time, the group can be even more distraught since they've seen the remnants of their old empire and already have doubts. Awakening Alpha Trion can go as normal, as can Sentinel's discussion with the Quintessons.

D-16 and Orion can get into a slightly more heated debate than normal when they return. Orion exclaims his desire to have the people get their justice, making sure everyone knows their loss. D-16 can agree, but their argument can occur when Orion makes it clear that the people come before getting revenge on Sentinel. This does not go over well with D-16, and although Elita and B-127 attempt to step in, Orion and D-16 begin to argue more furiously until at last, Alpha Trion steps up and pushes them apart gently. Probably saying something like:

"Primus has a plan for all his creations. Do not judge too quickly, instead, act with wisdom and foresight."

Trion can offer the values of his fallen brethren, encouraging D-16 to act as Megatronus Prime would, as a guardian of the people, their voice and their sword. In turn, he can urge Orion to follow after Prima or Zeta, telling him to use his noble spark to be a voice of reason. He might turn to the Elita and B-127, but then he notes that they are low on time. From here, Trion can give the group the T-cogs of the fallen Primes and hurriedly usher them out as Arachnid draws near. The escape progresses as normal, and Orion and D-16 again have their debate. Orion stands his ground a bit longer, showing a hint of anger. But remembering Alpha Trion's words, he consoles himself and D-16 by stating that he trusts D-16, which in turn diffuses the tension.

The group can move quietly, with Elita being solemn and B-127 a bit shaken up. Orion and D-16 discuss what they plan to do as Elita watches for enemy units and B-127 hurries ahead to scout. As they talk, it becomes clear that Orion wants to rally the people and spread the truth first and foremost. Meanwhile, D-16 wants to strike hard and fast, a tactful assault meant to end Sentinel. They can worry about the truth later in his mind. They argue for a while, and as they fight, Orion can get a bit aggressive, leading D-16 to push him. As they tussle, they end up tumbling, and despite both B-127 and Elita telling them to shush and trying to pry them apart, the group are unable to evade the High Guard soldiers that surround them. they aren't given a chance to fight back before Shockwave orders their capture.

The scene with Sentinel and Alpha Trion can go as normal.

The group can wake to Shockwave assessing them, noting that their T-cogs are not biologically theirs. He finds this interesting, and since they are of interest, he prepares to remove said T-cogs/perform other surgeries to see if they are a new flavor of spy. D-16's fears are confirmed for a moment, up until Skywarp and Thundercracker stop him, ordering Shockwave to bring the prisoners to Starscream. The name rattles the group, causing them all to bunch up in momentary fear. But when they are brought before him, Starscream looks at them all in intrigue. He questions them, asking why they were on the surface at all since its essentially a barren wasteland. Shockwave points out their T-cogs, and Starscream finds it suspicious. Skywarp and Thundercracker guard the group, one with a gun to B-127's helm to keep him quiet.

Starscream steps before the group, scarred and battered, maybe even a little sickly looking from lack of energon. The rest of his soldiers aren't much better. He assesses the group before concluding that they aren't spies, merely newbuilds who got too curious for their own good. Not wanting them to go back and spill the beans about the High Guard, Starscream offers them a place as soldiers in his ranks, confirming that they fought against Sentinel, not the Primes. He also makes it clear that he will require the group's information regarding energon, that being his major reason for keeping them at all.

At his point, D-16 can step up, angry and unwilling to serve another false prophet. He refuses to bow to a mech who fled, and then their battle goes on as normal. D-16 proceeds to hold Starscream captive, stopping Thundercracker and Skywarp, Starscream's lieutenants, from acting and ordering the rest to attack. He declares his desire to fight, to strike back against the enemy while they still can. He points out their weakness, their lack of energon, and describes his experiences in the mines. Knowing they served the Primes, D-16 repeats the tenants of Megatronus Prime taught to him by Alpha Trion, rallying the High Guard. The High Guard, seeing his passion, and after watching him beat down a few more bots eager to stop him, agree to follow his lead. Starscream is allowed to live, only because Orion steps up and grabs D-16's blaster. They have a moment of tension, but it fades as D-16 throws Orion off and declares that he knows the mines and can guide them in for an assault on Sentinel. The High Guard, having little to lose and finally having a chance to fight, are eager to serve.

Orion can then step up, upset that D-16 cares more about vengeance than the truth. D-16 states that they can share the truth later, once Sentinel is dead. Elita steps up to calm Orion, urging him to not be rash and compromise. B-127 attempts a similar method with D-16 and urging him to at least take time to plan. Orion and D-16 do not back down, and just as Orion asks for them to at least take time to discuss things, the attack from Arachnid occurs.

The battle goes as normal, but in its aftermath, Thundercracker, Skywarp, and Shockwave remain, along with about half their troops. Elita tries to get Orion up and going, reminding him of how his nature has saved bots time and time again in the mines, and how his instincts brought them there, to their newfound truth. She comforts him with a quick hug, urging him to get back up now that they have information to spread and friends to save. Orion agrees, and speaks with Thundercracker, Skywarp, and Shockwave. He bargains temporary leadership by offering the same information D-16 had, the way into Iacon. The High Guard are hesitant, but they follow if only to have one final hit at Sentinel before their end. They are all sickly anyway, and Thundercracker can note that without Starscream, they don't have much motivation anyway.

The group can board up on a train that passes by, throwing out the crates and loading soldiers instead. Elita takes control of the bridge with the help of Shockwave who guides her through security protocols. When asked how he can do that, he simply states that he once served Sentinel, keeping it vague and maybe stating he was his head scientist at one point and that his credentials are still valid since he was assumed dead. It could be something like that. And Shockwave can get them past security without issue. Thundercracker and or Skywarp rally the troops as Orion leaps from the train, making his way toward the mines.

There, he can speak to his fellows. Covered in soot, grime, and ash, he can hold a gun given to him by Skywarp before his leap, and he can make his grand speech. There, the miners are hesitant even after being told the truth. But Ironhide and Jazz can step up, offering their belief and support. Seeing that, other faces from the mining scene earlier in the film come forward, willing to fight. Orion tells them to gather up their tools, to fight for their freedom, and from there, the miners also raise concerns about their wounds. At that point, Ratchet can step forward, stating that he can help. Orion is in awe, but is even more shocked when he gets word that Soundwave of all bots is offering aid and supplies. More soldiers join the miners, eager to fight. Ratchet can smile, picking up a pistol and declaring that he, Soundwave, and a few others have had enough of turning a blind eye to the injustices committed by Sentinel and his kind.

D-16's interaction with Sentinel goes as normal, although Starscream does pipe up along with B-127, attempting to save D-16 neck as he refuses to bow. After Sentinel carves the symbol and Arachnid points out their incoming enemies, the scene can shift to show cogless, not cogless, and High Guard soldiers alike all pouring onto the premises. Sentinel can demand to know why their defenses are lowered, turning to Soundwave in anger. Soundwave for his part can then betray Sentinel openly, showing his distaste and getting a solid punch in before he's thrown across the room. On the ground, Ironhide can be seen directing soldiers alongside a future Decepticon of choice, perhaps the Stunticons or Constructicons help him tear down some walls or other defenses. Ratchet can also be seen working with a few of the cogless and offering covering fire as Jazz and Prowl rush forward to get in a few potshots with their far too large weapons.

The battle progresses as normal, and Orion manages to get the truth out as per usual. The scenes shift to show bots all across the city swarming in anger, breaking things and fighting anything or anyone that looks like they might follow Sentinel. Elita and B-127 celebrate and Orion orders them to go assist with controlling the assault in order to capture Sentinel's followers and limit the chaos. They agree and rush off, but Orion soon finds himself in the battle with D-16 and Sentinel.

The Fall goes as normal, only having a bit more aggression on Orion's part as he pleads with his best friend, begging him to at least wait until the people can judge Sentinel themselves. They are fighting for freedom of choice, and he tries to dissuade his friend for D-16's sake. Unfortunately, the Fall goes as planned, and D-16 lets Orion drop after he comes to the conclusion that it would be better for Orion to die here than to witness what he's going to do next. He may even tell Orion as such, calling it a mercy. Then, he lets him fall.

Megatron rises as normal, and Orion is brought to Primus's core. There he hears whispers, contrasting Megatron's speech. Orion hears the Primes speaking to him, each murmuring softly and quietly showing him visions of times gone by between him and D-16, a final goodbye of sorts. Then, it ends with the Matrix bestowed, and Optimus Prime is born as a chorus of voices calls his name. He rises to the surface as Megatron starts shooting at Elita and B-127, Soundwave joining him along with Starscream who covers his back. More future Decepticons rally around him, helping him in his rampage while the cogless and Ratchet try to limit the crossfire. It all ends as Optimus Prime comes forth.

Their battle can then progress as normal, with Megatron being banished. Optimus can still be sorrowful, but something hardens in his gaze as he turns away from where Megatron fled. He had his moment to let go when he took the Matrix, and now he's ready for war. He gathers his allies, looking over the devastation and up toward the surface. Elita comforts him quietly with a smile and a hand on his shoulder. B-127 notes Optimus's new height and points out the people below, the cogless all watching in awe. Elita encourages him to speak, and Optimus does just that, rallying his people one more time with encouragement and a declaration that they must move onward, to reclaim their freedom and their world.

He raises the Matrix high, and energon again flows. The people are thrilled, and soon they each begin to step closer to the streams of energon. The cogless lean close, and their T-cogs are returned to them. The movie closes with Optimus's narration about how their battle is not yet over, and how it has merely begun. All the while, Optimus is shown getting his people in line, Elita standing proudly by his side as he begins to organize his troops. Ratchet smiles and pats him on the shoulder, Ironhide flexes and picks up a blaster, Jazz gleefully flutters his door wings. The people salute and cheer as Optimus passes. The scene then changes to Megatron with the High Guard, rebuilding their destroyed ship. Megatron welcomes new recruits from Iacon into his ranks.

Everything ends with the two leaders looking up toward the surface, ending with Optimus overlooking their world and seeing a Quintesson ship flying away as he gives his closing narration.

This is roughly how I would adjust the movie, minus all the itty bittie things that would have to be brought up with the animators and voice actors. But plot wise, these are my adjustments. It would lay the groundwork for future films and also establish character lore early. So yeah, enjoy my take.

Arguments Against My Critiques

(Q&A against Strawmen. More of a joke than anything else don't take it too seriously.)

The movie is aimed toward a younger audience. You shouldn't be so serious with your review.

The movie had Megatron quite literally tear a mech in half. On screen. No cuts. It also dealt with the slaughter of actual Primes and touched dark themes like slavery and the beginnings of an Orwellian society on Cybertron. Sure, it had jokes and gags aimed at younger audiences, but this film was created with so many Easter eggs and callbacks that I cannot find it in myself to believe the creators were aiming for a children's film. They made it for Transformers, a franchise forty years old. When messing with such an old franchise that has always touched delicate and serious themes throughout all its media, you have to consider old and new fans alike.

Thus, I feel no inclination to be nice in my assessment. This is a film that's trying to reach all Transformers fans, so I will assess it as a full and proper movie.

The studio only had 75 million dollars and a tight time limit for the film. Can't a few allowances for pacing issues be made?

No, no allowances cannot be made. A good piece of media should be able to stand on its own, and a well constructed film should be capable of cutting excess fat in order to keep the movie on track. Transformers One was trying to do the seemingly impossible by shoving an entire origin story in one film. While I think it was possible to have been done tastefully, as seen by the glorious scenes spread throughout the film, they failed to make the pacing make sense.

They had roughly and hour and forty minutes to make their story happen, and far too much of that time was spent on meaningless characters and scenes. If that time was reallocated, the film could have dealt with much of its pacing problems. It probably wouldn't fix everything considering the tight timeframe for such rich characters, but it was doable.

Additionally, 75 million is MORE than enough to make a quality film. I doubt funds were an issue here. Although they might be going forward.

Orion was in a state of shock and couldn't be expected to act perfectly considering the situation. And D-16 anger made perfect sense so there is no need to criticize them both so harshly.

I partially agree. I can't judge them too much because on their own, these traits of theirs are expected and in fact, good for their development. Unfortunately, due to the pacing, D-16's combustive rage and Orion's passiveness came off as rushed and somewhat childish on both Orion and D-16's side. I judge them harshly because their arcs feel like whiplash, or in Orion's case, unfinished. I'm willing to give D-16 a little room because his arc actually arced, it did its thing and finished in a convincing manner (disregarding the pacing). But Orion? Nah. I judge him and D-16 because they could have been so much more given TIME.

The plot wasn't that bad. The progression made sense on paper and each shift in the narrative led into the next scene without much trouble.

I'm sure it did! I really am! If I were writing a novel with this plot, it would make sense when blocked out! But the presentation of an idea is what defines it. Transformers One had a perfectly acceptable outline, I'm sure. But the pacing threw the entire thing into a blender and topped it with mustard and kale. Because of the pacing, the plot itself started to fall apart, especially with excess bloating in the form of unneeded scenes and characters. It's a shame since I'm certain that given enough time and proper progression, the jerky scene shifts could have been made spectacular.

The High Guard could have worked. They really could have. But they needed foreshadowing and time. The same goes for a lot of things in Transformers One.

Why are you so harsh with Elita-One? She finally got some spotlight and had a chance to shine!

A shiny turd is still a turd. Next question.

You can't expect every background character to have depth or for there to be a thousand cities for the cast to traverse.

True enough! But to that, all I can say is: Environmental factors.

I don't need to see Kaon, Tarn, Helex, Uraya, Polyhex, Rodion, or any of the other cities seen in various Transformers lore to know they exist and feel the world is bigger (And if they don't exist in TF One then it would be a great hint at the horrors inflicted by the Quints to state that there are no other cities anymore). All it would have taken was a bit of background lore and attention to detail to make me and other viewers feel like there's more to Cybertron than a cave, a field, and a city. A few posters on the walls, some background chatter from side characters, maybe even Bumblebee mimicking various accents from around Cybertron since he's meant to be comic relief. Heck, just show various flashes of bots in other cities being shooketh during the big reveal with Sentinel and suddenly the world feels so much more lived in.

And for characters? I don't need Soundwave's entire biography to feel he's rich. Look at Arachnid. I know next to nothing about her but she feels alive. All the side characters needed were important side roles and a few actions worthy of note. Think of TFP Soundwave who hardly ever centered but was always there. Always doing something to assist the main story. It really shouldn't be that hard to make a world feel alive. Just attention to detail.

Why does the voice actor for Orion/Optimus matter so much? What's the point in focusing so much on it?

It matters because there is a distinct change between Orion Pax and Optimus Prime. Frankly, you could have anyone be Orion because Orion is the origin. But when it comes time for him to grow, to become more? That's when its time to put on a warface and give Optimus Prime a voice that matches the name. Optimus Prime isn't just a name, it's a title, it's a long string of powerful characters each showcasing empathy and strength in equal measure. If Optimus's voice is not distinctive or powerful, his resonance as a character is seriously damaged. Now why don't I share this opinion for Megatron? Because Megatron doesn't have a frickin relic in his chest. Megatron is a voice for the people. Megatron is the embodiment of strife and anguish. His rage and his passion is what gives him distinction, not necessarily the commanding tone of his voice.

It's a difference in character that makes me care so much about the voices for Orion Pax and Optimus Prime so much.

Why bother with such a long review at all?

Because Transformers One is the first not-garbage to come out in over a decade. (No, I do not like Earthspark. That's a whole other animal and I don't think I'd have the willpower to actually watch the thing again for a review of this length.)

I want to give this film the respect it deserves by showing my every thought for it. I want to show people that despite all its good and bad features, its still something to think about and acknowledge. I don't want something this groundbreaking for our beloved franchise to go down the drain because people were too apathetic to care or too blinded by new content to use their brains and help develop better things going forward.

Final Note

(Best film ever? No. Great addition to the Transformers Franchise? Yes.)

Transformers One was a masterclass in setting a scene and establishing relationships. Everything in the first ten to fifteen minutes of film was brilliant in regards to setting up the world and our main characters. Even if I weren't a Transformers fan, I would care about the brotherhood between Orion and D-16, or at least understand it. The visuals were stunning but not too intrusive and the film was clearly made with love. The characters that were given screen time were fleshed out as much as they could be considering the constraints. And while a great many things were very out of place and made no sense logically, at least within the rapid fire time frame that is the film, the overall movie was enjoyable right up until the meeting with the High Guard, at which point things became a bit contrived.

The plot was whack considering the film's short run time. Some things were very janky. The Quintessons weren't shown nearly enough or given sufficient presence. But again, lots of this was just a side effect of not having enough time to get things rolling slowly and properly as they should have been. It was a kick back, binge on popcorn, and scream at Easter eggs type movie.

If you want something colorful to look at and a half decent set of characters to enjoy, go right on ahead and watch TF One. You certainly won't rot braincells like you would watching some of the Bay films, but I can't in good concious say that TF One is better than older things like Prime. It is a brilliant concept that needed more time. It needed probably a two and a half to three hour runtime to set up, to get the ball rolling in a meaningful manner, and to establish the broken friendships and rivalries in a far more intimate manner. The concepts are lovely, the scenes are well done, but its a pity that it was cut so short and so many things were shoved together when they could have shone on their own in the proper setting.

There was so much there, and yet so much missing. So many pieces that fit well and yet so much more that was cast aside altogether. It is an imperfect thing, but this movie isn't a bad introduction or addition to the Transformers franchise, not in the slightest. Its a new start, a chance to make things better for this fandom and its abysmal run of bad movie after bad movie developed in Bay explosion style topped with far too much emphasis on humanity.

I believe that while TF One isn't going to be my personal favorite, or even the next big thing for the time being, it sets a new standard. No longer can we be fed garbage, because now we've been given a chance to look at something better. Hopefully, TF One will set the groundwork and foundation for far better films and shows going forward, giving this fandom new life and redeeming our sullied name as the big explosion robot fanatics.

TF One is flawed, but its a start. It's a fledgling attempt to make something new and interesting in a show business that is dead set on killing creativity and squashing anything of quality in an attempt to press an ideology. It is the baby steps shown by people who care. People who want to see the movies they never got. I will not fault it or the creators for existing. It may not be Lord of the Rings, War for Cybertron, Transformers Prime, the comics, or other big names, but it is a hope for the future.

It's not a bad movie. It was simply born in a bad time.

With that said, I'd recommend watching it at least once, if only to get a glimpse of what we have gotten and to have hope for what we might get going forward. I certainly intend to fill in holes with fanfiction, but that's just part of fandom, is it not? Enjoy this new piece of media, but don't take it too seriously. It's flawed just like everything else, but can be taken for what gifts it brings.

"We could have built the future together."

"I'll build it myself, after I tear down everyone in my way."

[zorilleerrant]

things I think are responsible for the reading comprehension crisis, rather than the things people always talk about:

people get so worried that kids will hate reading that they profusely compliment any analysis young kids make, even when it's blatantly wrong, like A Modest Proposal levels of wrong. which means later when someone argues they refuse to listen because they think they're perfect at analyzing books

teachers are so overworked and undersupplied (and often assholes) that they demand only a specific version of analysis that they agree with and if anyone has any competing arguments they get their grades docked. possibly due to above

because of the literacy crisis, people keep putting huge, daunting classics in front of kids instead of fun books. this leads kids to believe that books can't be fun. or that books can only be fun if you pretend they have nothing to say

knowing that encouraging reluctant readers in reading literally anything improves literacy, people start encouraging all readers the same way. this leads to kids believing they're super smart and special readers who read way above grade level when they're actually falling seriously behind

the attitude of 'everyone has something worthwhile to say' means that people work really hard to compliment students who say things that are pointless or even fundamentally wrong. while withholding praise from students who make creative contributions in case it seems 'unfair'

that weird thing where kids now believe that everyone has to agree on everything or they're experiencing violence

increased push for diverse perspectives in fiction simultaneous with a push against describing the backgrounds or social situations of various authors (or historical figures in general) means there's less context and more confusion

it seems like people have stopped explaining that you can enjoy something artistically while disagreeing with its message or values? I blame advertisers for this one because it's the thing that lets kids not fall for commercials

too much emphasis on how 'everyone is smart' instead of placing less social import on intelligence. leads to ideas like 'no one can be more talented at anything than anyone else, they only practiced more' which makes more perceptive kids dumb down their analysis so no one thinks they're being stuck up. it also makes people believe no two books could be saying different things

the strong push against TV, movies, video games, etc. being considered art means people no longer bother to analyze them artistically. so they don't exercise the same skills they'd need for reading while doing other things

and the related push that reading is always a 'brainy' activity and all books are 'equally smart', meaning that even books that don't say much must secretly be incredibly complex and have deep, well-researched messages. which leads to people inventing things that aren't there. and since they have nothing to practice on, also no learning how to pick up on things that are there

the idea that there's some inherent divide between 'mindless' activities and 'intellectual' activities, and that it's a trait of the activities themselves, not how people engage with them. so people are under the impression they don't have to try to do anything in particular. it'll just happen

the creepy thing where people universalize history and think everything has always been the same as it is now, only worse (or better, depending) and related misunderstandings

whatever has happened to fact-checking

novels genuinely are worse quality now because there's less money in it and therefore way more constraints on who writes and what they write and how it gets popularized

[pencileraser1]

things i noticed/thoughts about most recent rewatches of dps (plus laserdisk deleted scenes):

whenever theres a group scene i've started watching the characters that the story isn't focusing on to see what they do and i've been having a fun time with that. pitts and cameron specifically seem to almost always be doing something interesting in the background.

hopkins!!!! my favorite minor character who somehow got character development despite having like 2 lines!!!! the last guy to stand on the desk but he did it!!!

sometimes i do like to think about what the rest of the students thought about the dead poets society, esp in alternate timeline neil lives dps keeps meeting universe. like yeah theres this guy in their class whose one of the most credited students in the school and we think he maybe started a cult. idk though. but that group runs out into the woods every few days to do god knows what and one of them keeps talking about "dead poets honor" whatever that means and holy shit welton star student neil perry started a cult.

i watched the movie with headphones. and maybe it's because ive seen this movie Far too many times and mabe i'm listening too hard but it was Really obvious sometimes when audio was added in post production. llke in the sweaty toothed madman scene when you can hear laughing and to be fair the camera is behind their heads. but it does Not look like anyone's laughing. my favorite is at the end of the phone call to chris scene where knox is like i'm gonna seize the day!! and runs up the stairs and the poets are cheering him on and neil is sort of yelling "carpe!!!!" and i could be wrong but i'm like 75% certain that the person singing is Also rsl so now neil is just speaking two times at once somehow. anyways it didn't ruin the experience for me or anything it was maybe just a little bit funny to notice but very sorry if this did ruin anyone's viewing.

people talk a lot about how rsl and ethan hawke really made their characters what they are but i have to add dylan kussman to that list. I get the impression that older versions of the movie didn't really give as much depth to cameron and watching dylan kussmans performance is like. he Knew who his character was so fucking well and it shows!! like the deleted scene of them getting clubs assigned. like i could tell So Much about cameron from that scene

for how little she actually appeared, there is an emphasis put on the fact that neil's mom smokes pretty frequently. and i think that's interesting considering neil is one of two poets shown actively smoking. neil's mom doesn't appear for very long in the movie but during that time it definitely seems like the movie is intentionally making parallels between the two, particularly in the last argument with neil's father. neil and his mother are both sitting for almost the whole time, which contrasts with his father who is standing. they are both almost powerless in this scene. they stand up at almost the same time. anyways there's a couple different possibilities for what this could mean? that i've though of? 1. to show that neil's mother is in a similar situation to the one neil is in in regards to neil's father and 2. maybe a stretch here but the theory that neil inherited his mental illness at least partially from his mother. i'm pretty sure 1 was fully intentional on the directors part, not entirely sure about 2 though

unmanned flying desket scene: it's probably cause he and ethan wrote the scene themselves but the way rsl talks in this scene feels more like the way he talks in general than the rest of the script. like briefly neil perry is talking in rsl's voice. one of my absolute favorite scenes though the sarcastic dialogue is so good.

the light of knowledge at the first shot of the film vs. todd standing on his desk at the last shot of the film paralel

[fantasygerard2000]

Reworking Wish

I know this was already said, but the main gripe people have towards Wish is that the potential was there, it just didn't put on the right amount of effort. A criticism that took me long to agree with after sifting through Starboy simping, Magnifico sandals smooching and parasocial hatred towards the house of mouse.

So, after rewatching Wish for like the tenth time or something, I dunno I lost count, I decided to write down some things in the film that needed improvement. This is going to be taking the film as it is and giving it that little push it needed, more time in the oven to bake.

Also, a side tangent I wanna bring up before we move on. I don't like to use the word "fix" especially since it's associated with some people taking a work and reworking it to suit THEIR tastes and preferences, often without permission and out of spite.

Okay, let's proceed.

The film starts with the shot of the book opening and a narrator explaining the story. A classic Disney staple. The narrator "reads" us the creation of Rosas by Magnifico. However, the opening narration emphasizes too much on Magnifico. I get the intent that this is a form of propaganda he made to get parents to tell stories to their kids about him, but this comes with a caveat regarding his backstory that I will explain later.

So, either you have a different person narrating the opening scene like how in the classic Disney movies do instead of Asha. Or have Asha narrating to Sabino told through hand drawn illustrations she drew about how he and his family came to the kingdom of Rosas, visually through hand drawn animation.

Have the rest of the scene play out but major difference here. Instead of Asha applying to become Magnifico's apprentice, she was recommended the job by Amaya. An issue of show-don't-tell is present as Amaya explains how kind and generous Asha is, but is never shown. Have Asha welcome the tourists but the child is too scared to leave the boat, so Asha sing to them about how wonderful the kingdom is to make the child feel better while also helping the townsfolk on the way in her unique way, reminiscent of Mulan during Honor to Us All. Have Amaya watch Asha guide the tourists on a balcony through a window like the Evil Queen if you like to add a nod to Snow White as well subverting the trope to show that she's a good queen.

A detail I like in the film is that instead of having a servant inform Asha that she's ready for the interview, Amaya herself came to the kitchen to inform her herself.

As for the apprenticeship thing, I like to spice things up by having Tomas, Asha's father once worked for Magnifico who he considers a close friend before retiring once Sakina was pregnant with Asha. Amaya, being more close to her people than Magnifico, knew that Asha is Tomas' daughter and seeing how she's takes after him, recommended her husband to have Asha work as an apprentice.

So, Asha, nervous about becoming an apprentice to her father's former boss/friend/like-a-brother cuz why not make an evil uncle figure. The scene plays the same but little emphasis on Tomas. As well as a "he betrayed me" rant from Magnifico later on.

The At All Costs sequence remains the same and the argument afterwards also kept intact. Additional dialogue has Asha mentioning how her father would have told Magnifico the same but he quickly dismisses her.

The argument scene be tweaked with Sabino still hopeful about his wish being granted next year, making the news that Magnifico will never grant his more hurtful for Asha.

The filmmakers' intent for the animals is that they know much about the universe than humans but considering they can't talk, humans just think they're dumb. I'm a Star plays out the same but additional dialogue is given before the song plays, with the animals explaining to Asha that Star can't speak to answer her questions but they can in song form.

The scenes afterwards remains up to This is the Thanks I Get!? I like to add in minor details earlier like Magnifico checking his reflection during the interview as he "listens" to Asha, subtly showing his narcissism and his ties to mirrors.

Also in the interview scene, he mentions about his old home being destroyed by greedy thieves. This was the caveat I mentioned earlier and how his backstory despite being offhandedly mentioned a few times made him too sympathetic for the simps to defend his nonexistent lack of honor. Either we cut out the "tragic" his backstory and simply have him studying magic and the masses praise him so much that he has enough influence to make his own kingdom.

Once Asha returns Sabino's wish to him, have the unused scene above be kept. An issue with the film is that despite Sabino being the main drive for the plot, he barely appears in it enough for viewers to care. So the scene where he can finally be able to play his lute serves as this.

Magnifico arriving at the cottage to arrest Asha plays the same. Additional dialogue has Magnifico informing Asha and the viewer someone close to her who knows of Star ratted her out. After escaping Magnifico, have him burn the cottage if you like more villainy.

The scene after play out the same with some minor tweaks. The teens have a secret hideout, a cave with the entrance be under a tree, a nod the dwarfs and the lost boys. Asha doesn't know the hideout initially but Dahlia has left a clue for her in a form of a hardened cookie, a nod to Esmerelda leaving Quasimodo a clue to find where the Romani are hiding from Frollo. Amaya discovers the hideout by following Asha.

Instead of just books, Star uses the furniture the lift the teens up to the pulleys. Another scene has Amaya and Dahlia destroy the book in hopes of no one using it again. A major change is to have the book inform the reader that the more the person uses dark magic, the corrupt they become instead of committing once they commit to eternity, which I understand sounds like a lazy excuse to not redeem Magnifico.

Have most of the guards go after Asha who thought they were being led by Magnifico but was actually Simon. Have the animals attack the guards and Simon like in Tarzan and Beauty and the Beast.

When Magnifico blasts Amaya, she gets knocked out and drops her crown. To show his people he was the real traitor and make the crowd and remaining guards turn on him before he quickly overpowers them.

Have the climax be given additional dialogue and show Magnifico treating the wishes badly once he had Star.

Give a few moments to the scene where Asha remembers the "we are stars" message. Have her look at the her and her father's wishing tree and a moment of reflection before she starts singing.

After Magnifico's defeat, have the scene play out the same but with additional dialogue from Amaya towards Magnifico. Additional dialogue from Sakina reveal Asha her wish.

Once she takes after Magnifico's place as ruler, Amaya wears a more colorful dress, particularly a red colored tone down version of her original dress, showing she's a more competent ruler than Magnifico as well being tied to the rose, the symbol of Rosas.

After the brief timeskip, Asha wears a different dress than her previous one that gets sparkly once Star made her a fairy godmother, justifying the Cinderella reference without too being on the nose.

As for other stuff like the songs, they're fine. Just need a few lines change to sound less awkward.

The animation is fine too, though a lower frame rate like in the clip below would've suffice. And yeah, people will accused Disney for copying Spider-verse, but honestly I don't care since they'll accuse Disney of anything bad, even if they included the stuff they wanted.

And that's all what I can think of to "improve" Wish.

As much as I like this movie, I do understand why most people don't to the point of "fixing" it. However, fixing it isn't to add a love interest or a villain couple, it's to figure out what works and doesn't. Which is why as much as I have my own version of Star that is very loosely based after the Starboy concept, I didn't added them in it because it'd be unnecessary and distracting.

Wish's flaws are the intentions that were there and obvious, but the way they were executed was lacking. Hence why some of the "improvements" are what the filmmakers intended but given a tweak. Even stuff I added like Tomas being Magnifico's former best friend and apprentice are things the can be better if executed properly or not.

My general thoughts on the rewrite fandom is that some do have the right idea but just have the wrong priorities.

And as much as I wrote down changes to Wish that could may have and have not improved it, I don't want to be praised for it because they general attitude of "this is better than X" has left a sour mark on my thoughts towards the vocal minority in animation fandom or any fandoms.

[pathetickuroo]

i'm a film student. here's how i felt about the edge of sleep.

for a bit of background on my "credentials" so to speak: i'm in my second to last semester of studying digital media/journalism at my university. in my program you are required to take a "digital media core" that teaches you the technical aspect of film as well as analysis and a number of writing and screen/scriptwriting classes that respectfully i performed extremely well in. i don't throw "film student" around lightly even though my emphasis is in journalism.

and here's an obligatory disclaimer that this is about the show, not mark. anyway.

overall i found the show enjoyable. it was a very fun watch featuring (and produced by) a youtuber that i've been a fan of for almost a decade. i have to say this, though, and it's going to sound harsh before i get a chance to explain what i mean by it: there is a distinction between enjoyable and "good". i liked the five nights at freddy's movie. that doesn't mean it was good.

i'm not going to come on here and say edge of sleep was bad, because it wasn't! i do think it was good. however (and clearly mark's influence on these things is more than likely slim to nil so don't come into my replies yelling at me for criticizing the show), there were a lot of things that just were kind of okay to me.

firstly, the whale. i believe this was in episode one. frankly? terrible first impression. i found the pitched down voice entirely out of place. it would have been better i think (especially considering the whale only talks that one time and never again) for it to be whalesong with subtitles, the same way they provided subtitles with safet. to be quite honest i think if not for markiplier i maybe would have turned the show off or found it an irredeemable thing based on what had been shown so far, but because i am also a film student, it was likely exacerbated by the fact that i have the mind and knowledge for film. things like this affect "normal people" or "laymen" less, and even aside from what i'm studying i also know my standards in general are. um. high. lmao. in fairness yes for this point i am nitpicking, but a first episode is the "hook" of a show so for it to have had something in it that took me out of it so much was disheartening.

some of the writing felt a bit janky and to be fair i suspect that comes from it being adapted from long-form storytelling into a six-episode, twenty-minute-segment form. i'd like to point out specifically a lot of the problems that i have with the writing/character approach apply mostly to matteo's character. with him i felt there was a lot of, "what the fuck i can't believe this. well whatever i actually don't care anymore so let's do that." he continually, more than anyone else, went back and forth on what his hard limits were in that situation. there wasn't any scene where they were trying to convince him of something (or convince him to do something!) where i felt he actually put up any kind of resistance. it all felt too easy. he should have been more in the middle of the spectrum, for or against, or completely on one side or the other and taken a longer time to convince, rather than swinging from one end of the extreme to neutral in the span of 30 seconds. i like matteo as a character. i think his plot-related decisions were poorly written.

it was also difficult for me to find really any of the characters likeable or particularly interesting or feel sympathetic to them and their struggles. it felt almost as if the writers ran with the assumption that it would be natural to care about the characters because they're characters in the show and you "have to". as a viewer i was never able to really "build a relationship" with the characters. i didn't find linda particularly interesting. frankly i really didn't think dave was a very compelling protagonist either (but this could also be a criticism of the "chosen one" archetype). i didn't care much for ruth. i think the characters i liked the most were katie and dr. castaneda.

something with a technical aspect of the show and its sense of pacing: i thought the "x hours without sleep" endcards were. i mean. they did the job. they certainly did the job. i found them a bit lazy. is it possible for me to say both that "it was clever" and "it was lazy"? that's how i feel. after the initial sequence of dave and matteo driving to the party, it was never dark out again that i can recall. the characters weren't sleeping because they couldn't sleep. why did they never do anything at night? why did the directors (or the editor or whoever) choose the "cop-out" option over ever shooting at night? was it budgetary? was it a time constraint? regardless of the "why", it was noticeable. it felt like one endless day instead of several days on end. there was also (sorry to costuming and makeup) to me almost no visual change in the characters, or there was only sometimes a change. there was one scene where dave had deep circles under his eyes and i was like, "yeah, that's a guy who hasn't slept in a long time." other times later in the plot it was almost unnoticeable. the physical variables that could convey a passage of time (darkness, personal appearance) were missing, i thought.

perhaps they're leaving it open for a season 2, but the ending felt very "whatever" to me. like, okay, we're doing this now. sure. there's a war. okay. aristera. sure. whatever.

additionally: how did they know aristera was 1) real and 2) how to get there? there was no scene or glimpse of them looking on a map or googling (which they have to have been able to do because phones were working, unless the battery had ran out which was also not established in the text) it or anything, so how did they know? how did matteo know where to fly them? it just felt like there were a lot of things that only made sense because they had to magically make sense and not because there was an actual explanation.

to be honest i thought the acting was fine. i don't have anything glaring to comment on with the acting and also, that isn't my area of expertise anyway. i heard some people were saying the acting was too "meh", but i was talking to a friend about it and she pointed out, like, "they're supposed to be sleep deprived. the acting isn't gonna look like normal acting." there's that for your consideration as well.

so do i think it was good? sure. i'd be more likely to say i thought it was fine. do i think for a non-fan it would be a must-see? probably not. do i think it was TECHNICALLY groundbreaking, in terms of direction writing et cetera? no. it had a lot to accomplish based on the source material in not a lot of time and not a lot of budget and you can tell. they did do a good job with what they were provided in terms of resources, but it could have been better.

i was also watching charlie(as in penguinz0 moist charlie)'s review of the show (got 2.5m in before i decided to write my own first) and he brought up a point i think cannot be understated: people who aren't already fans of mark will be less forgiving of these things. i think what happened with me was that i turned off the "markiplier goggles" and saw the show objectively instead of "markiplier did this".

there were also obviously constraints like i said before that would be out of mark's control (direction at large, budget, etc.) so i feel like it's also incredibly unfair and a misrepresentation of the project as a whole to just call it markiplier's thing. i think this whole whatever that's going on with amazon and this and iron lung is unfair, because mark did not write the edge of sleep. he DID write iron lung. for that to be hanging in the balance is absurd. any writing criticism like my own that gets directed towards the edge of sleep may also be unfairly applied to iron lung before it even has legs to stand on. so just in case it wasn't crystal clear: i know iron lung will be good. i want iron lung. that doesn't mean the edge of sleep couldn't have been better.

[seventeenlovesthree]

As you may have noticed through the course of the past few months, I have done a lot of shipping polls (and will probably do more, because it's just so fascinating to me to see the current status of what the fandom likes and prefers!). This won't be as big of a project as the FANDOM SHIPPING POLL ANALYSIS 2023, but I thought to at least give you a short summary of my findings at least!

"Pick a ship dynamic": I do realize that I already put a bit of a bias in this one, because I already mentioned the dynamic/tropes that the respective ship was mainly associated with! Back then, it was still common to have my polls circulate in more Taishirou centric spheres, so I am not surprised that they won this one by a landslide! (Only Takari and Daiken reached more significant numbers, with Taiora at least crossing the 10% mark!)

Digimon Adventure Rarepair: Again, this one has a bit of an inherent bias, because there are obviously a lot more rarepairs out there, but I wanted to mention mainly those I actually had seen tumblr fandom content about through the course of the years! There haven't been that many participants, so the results are a bit more balanced and thus, of course, not really representative - so it was more surprising to see Kenkeru be the ship to come out on top!

Favourite 02 Ship: Since DigiFes was around the corner and the hype for the "Digimon Adventure 02 The Beginning" movie was speeding up slowly, I wanted to do some 02-centric polls, starting with the most obvious one. It should come to nobody's surprise that Daiken - and basically Takari too - won by a huge margin here. All Jogress combinations aside, these two have always been and probably always will be the most popular 02 ships around the globe!

Favourite Adventure/02 ("Senpai/Kouhai") relationship: I chose this poll with a similar intention as the previous one, wanting to see which of the "generational relationships" were the most popular. Seeing how much emphasis the series had put on the lesbianism sisterhood of Mimi/Miyako, this was an interesting result! They were also closely followed by Taichi/Daisuke, which can be seen as a male counterpart, seeing how much these two are being paralleled.

Most "Shippable" Chosen Child: This was one of the more recent polls and, to at least some degree, it mirrors the popularity the characters had in last year's shipping polls. Seeing Taichi on top of this list shouldn't really surprise anybody, as he had already been one of the most voted on polls last year as well (with his most popular shipping choices having been Koushirou, Yamato and Sora). Mimi had also been among the most popular in last year's ship polls (with her most popular shipping choices having been Jyou, Koushirou, Sora and Taichi). But this time, she only finished third in the poll and was surpassed by Yamato, who did not have as many votes last year (with his most popular shipping choices having been Taichi, Sora and Jyou). It would be really interesting to see how the overall results would change this year.

"Which Chosen Child could you see yourself only ever shipping with ONE other character": Or how I put it up there: "Who is the least multi-shippable?" I do realize that the question may have been a bit confusing here and there, but in the end, the polls did mirror the poll results of last year to at least some degree; Ken is mainly being shipped with Daisuke (or Miyako), whereas Koushirou is mainly being shipping with Taichi (or Mimi), so people prefer being very selective with them! Surprisingly enough, Taichi and Sora also received more than 10% of the votes - whereas the former is usually considered pretty multi-shippable (as seen above), the latter is usually also part of shipping debates. So my interpretation here is that people who voted on this poll may not have voted on the previous poll and actually do prefer these two to be shipped with only a selective number of characters!

Favourite OT3: This poll has only ended today and while Taichi/Koushirou/Sora had led it for the majority of the time, it's not too outlandish that Taichi/Yamato/Sora surpassed it in the end, as it had always been one of the most popular OT3s since the very beginning (due to both fandom popularity/division and canon handling). Daisuke/Takeru/Hikari coming in third is also an interesting result, which has also always been part of fandom discussions (and each ship combination, as with Taiorato, can be found in their respective shipping polls from last year as well!). Again, I do realize that there are always more OT3 combinations out there to focus on, so the poll was somewhat limited.

The OT4 poll is still going on and I'm really curious what this one will bring... I also left a "Others" option in there, so feel free to mention your own favourite group dynamics!

[gracebethartacc]

Hi, I just wanted to say I love yiur wish rewrite ideas so far! Your art style is so cute!

I’ve got afew questions about it.

What’s Asha’s role in the story? Is she an actual princess this time or is she Magnifico’s apprentice from the start?

I would also like to know a little more about star and Magnufico if you can❤️👍

AAAAA TYSMMMMM!!!! THIS MEANS THE WORLD TO ME 

ANYWAY messy character/story ramble and some on the spot brainstorming under the cut:

I mentioned it in my first wish post but yes she’s still wanting to be the kings apprentice/isn’t a princess (but I’d say for the ending after the king gets killed off villain style she replaces him as princess so it comes full circle n all) 

The main difference with my Asha is she has zero social skills/is shy/doormat, I liked the idea of how she was anxious before meeting with the king but youknow in mine I’m getting rid of the adorkable stuff from it. Like it emphasizes how big of a deal this is because she finally worked up the proper courage to speak with him. 

I’m not 100% sure but I like the idea she only offers to be his assistant AFTER being turned down about granting her grandfathers wish, like I think she’d always want to be a sorcerer like him but never had that wish right at the forefront youknow? Perhaps after her father died she lost hope in that or just thought it was unrealistic etc but I feel like in the movie her having both of those motivations at once kinda muddled with things and definitely paints her as being a bit selfish especially considering this movie does just a reallllly poor job at show don’t tell like we never see Asha like studying magic or wishes or looking up to the king etc but we sure are told it a lot but just?? It definitely feels very cluttered and could easily be adjusted with just emphasizing one thing over another, so in mine I’d like to think either one of two things I’ve not decided yet but either 1: she hits two birds with one stone and goes to work for magnifico for a bit and only THEN asks about her grandfather's wish or 2: my previously stated idea of asking about wish first and doing apprenticeship work in exchange 

I kinda prefer the first one a little bit just bc gives us some time with Asha and the king to interact while also giving time for another wish ceremony to happen in that time, and for her grandfather to again not get his wish chosen to kinda put a nail in the coffin. And in mine her grandpa is much more physically fitting for being 100 like man is going to die in like the next one or two years he doesn’t have very long HENCE haves emphasis on WHY Asha is so insistent on getting his wish granted bc in the movie sure she cares about him but we aren’t SHOWN WHY like no specific childhood moments or any clear close bond moments like I said just way too much tell and not enough show

not sure about her dad yet but I definitely wanna make him more prominent maybe he was magnificos apprentice or studied stars etc just something to give him more of a importance

But yeah so making her shy was a big thing in helping separate her from other Disney protags bc I honestly can’t really think of many outright anxious or people pleasing Disney princesses/Disney girl protagonists ? And because it helps with her arc of standing up for herself/seeking justice like it hits it home a lot harder as compared to “ooo quirky girl but now she’s cool!!” Like it felt very forced to me atleast in my opinion so here it feels much more natural, and helps her bounce off star more bc the goat was not it that wasn’t a character to bounce off of that was a trailer one liner generator. 

So speaking of Star!! Bc you asked about him so yeah uhh not really much to say besides I wanted to combine the cute ball of energy personality that the movie had AND the bombastic energetic shapeshifter boy from the concepts so I combined them together to get cute starboy who rather than being full of energy is more so just easily excited especially considering star has wanted to visit earth for forever 

I like the idea that maybe they never granted wishes or helped people was because Asha and her dad were the only ones who really wished on stars bc everyone else just went to the king. So Star hears her venting abt the king not helping her grandad at the tree asking for help as like a last ditch attempt and star recognizes her voice and grants her wish like ‘you wanted help? I’m here now!’ Type of deal

Ohhh another idea I actually got this from another post but someone had mentioned making the stars magic/wish granting work like the blue fairy from Pinocchio, in which they can’t directly grant wishes but instead give you the means to achieve your wish on your own (hence the bit in that art of magnificos ref sheet having the doodle of Star saying even star can’t grant wishes directly/take them, which is a huge deal bc if a cosmic being can’t do something that this regular ass guy CAN do then that’s a huuuge red flag (or… black flag ig in this case bc yk.., black magic lol))

My Star is basically just a rehash of the classic Ariel type character of ‘I’ve watched humans my whole life and it’s boring in space, I want to be human because I like them!’ But unlike Ariel he doesn’t stay human because star instantly regrets it after getting it granted because 1: magnifico manipulated star and just got god powers and 2: ‘oooohgpf this is overstimulation hell wtf wtf wtf I hate this this feels so weirddddd’

And another reason is because of the Asha foils/recognition of the self through the other plot of them two thus they get symbolism of appreciating what they already have and all :3

Magnifico I’m still brainstorming on but tldr I’m thinking he will be more manipulative than straight up evil/the full evil stuff just shows up later/it’s a slow burn 

Like starts off being a little sus but ultimately well meaning and helpful, then bleeds into manipulation territory, then once getting star magic he just lets go of all that restraint and just is full power hungry villain, ALSO killing the book possession thing bc that was stupid and instead I like the idea he uses dark magic from the start but no one knows because he lies about it’s just because he’s the most powerful sorcerer/maybe he’s the only one who actually knows magic either bc of a ban or perhaps something about his old kingdom being destroyed maybe it could be a library of Alexandria thing of he’s the only sorcerer left around in that area shrugs but lots of fun to be had with him ! slutty evil kings are an awesome trope like I really wanna play on hubris/self downfall bc that’s my favorite kind of villain of ‘you could have been different but just dug yourself such a deep hole it became your grave’ 

Sorry for the ramble oof I just decided to let alphabet spaghetti fall out of my mouth and hope it turned into comprehensible sentences ok

[ask-cloverfield]

Hi, I am coming to you with a bit of a dilemma.

I’m someone who recently got into the kaiju fandoms (summer 2022) but took a bit of time to warm up to the Ultra Series specifically (summer 2023). I found it really stupid, and the design gave me uncanny valley.

After a bit of acclimatizing (and taking ribbing for changing my mind), I really loved Shin and Rising and I’m… liking Blazar so far (on episode 20). I did watch the first part of Next as well, and liked it, but sadly haven’t gotten around to finishing it. I also got struck by the inspiration to do my own fan ‘verse, that is a thing some people are doing- like how the whole FanGoji thing is with Godzilla. Anyway, however, parts of the franchise are still too… goofy and weird for me? Like on one hand I love the messages of hope and suchlike, and as a very sensory-oriented person I like to imagine what the physical sensations of bonding and hosting and etc might be like, and I love kaiju in general, but on the other hand I don’t like all the gimmicks that’re present in the more recent stuff… I especially don’t like when the powerups are based on an older character’s powers, it feels very marketable to me. I tried to watch Geed with some friends and was very put off by all of that, and Tiga’s first episode didn’t grip me either.

Anyway, since I’m almost done with Blazar, and laying out my problems above, what do you recommend I try next? I was personally considering Cosmos.

The 2 series that come to mind that you might enjoy unfortunately suffer from less than ideal subtitles, Ultraman Gaia and The Star Ultraman

Ultraman Gaia is a story that has two very different philosophies between two Giant superheroes oppose as they try and figure out how to embrace their status as the wills of the earth. The monsters have fun mysteries surrounding them and the series focuses on the support staff of the Defense Team which is a fun change of pace.

The Star Ultraman gives a more mythic feel to the “aliens” and has a bigger emphasis on the Host and Alien dynamic, other than that it is the usual Showa Ultraman’s formula in a different medium. When they aren’t doing worldbuilding it is great.

Ultraseven is a show that takes itself rather seriously and has some excellent moral dilemmas and social commentary. All backed to gorgeous miniature effects that put monster movies from years later to shame in their quality.

You might enjoy Nexus, it is a more horror oriented take on the franchise. The way it reimagines Ultraman as a beacon of hope in a horrifying world is genuinely fun and the soundtrack is sublime. It’s biggest weakness is that it was cut short.

Ultraman Decker is a fun vivid metaphor. A return to the episodic approach to the series. Just a lot of good standalone episodes with a fun cast.

All that said, it’s a kid show, it’s gonna be silly sometimes. If it isn’t your thing it isn’t your thing

[haljathefangirlcat]

Sorry for the spam. I have a lot of Volsung-Nibelung-Dietrich Cycle thoughts. But what do you think Volker's early life was like? His job is minstrel, which means two things in a medieval context: a knight with no real estate who was someone else's retainer, and traveling musician, and very often these two meanings would overlap, because knights with no independent income would take up music to make ends meet. However, the official establishment of minstrels/ministerialis as a social institution was around the Carolinian empire, which is later than original historical inspiration for the death of the Nibelung Dynasty or Attila. And I think the German is Volker Spielman, so he's technically just a musician? Volker is also called THE Minstrel, so was he the official court poet for the Burgundians? Scops of England and Skalds of Scandinvia had a fairly prominent position at court, where they not only entertained and recounted the deeds of their leaders, but also recited oral history and use satirical songs to spur people into action on the eve of battles or quests, so do you think Volker was filling this role for the Burgundians?

Aww, don't worry about it! Sure, it was a bit... unexpected, I guess, but that's mostly because I'm not used that many asks, in a row or not, on any topic. XD Also, I totally get the excitement of meeting someone else on here willing to talk about all of this. ;)

As for Volker... you know, I've often wondered about it, too. In the Nibelungenlied, at least, he seems to be placed pretty firmly in Gunther's court, but then again, we don't actually see that much of him before the Burgundians travel to Attila's court and the story starts (imo) zeroing in on Hagen's relationships and connections.

I'm pretty sure "Spielman" is the right term, but on the other hand, I'm not sure if that would indicate a very specific/well-defined role or be more of a "he's the Music Guy in our group, we identify him by his music before any other achievement or title."

Later representations/adaptations of him may not be very relevant to the question, but now that I'm thinking about it, he seems to be THE court poet in Worms in both Lang's and Reinl's Die Nibelungen movies. (Although, frankly, I've always thought he doesn't get enough space or importance in the former.) Stephan Grundy, too, gives him that kind of role in Rhinegold and Attila's Treasure, even if, due to setting his story in Late Antiquity, complete with Germanic migrations, foederati, and wary Romans, he puts more emphasis on him being not just a musician but a keeper of the Burgundians' mythological, historical, and genealogical lore. He also has him act as a messenger and an ambassador of sort between tribes.

I'm also thinking back to this one academic paper... "Volker von Alzey - the figure of the minstrel and standard~bearer in medieval Nibeîungen tradition and in German literature from 1819 to 1968" by David Noble. Bear with me because I read it ages ago, but iirc, at one point the author considered, among other theories on Volker's origins as a literary figure, the hypothesis that the Volker von Alzey we get specifically in the Nibelungenlied might have inspired by an historical nobleman from the Rhine area who was an Imperial administrator (or seneschal?) and standard-bearer who might have just happened to have a talent for music.

In my headcanons, I kind of always go for an aristocrat warrior/court poet angle, as it seems the neatest solution to me, but no matter what prominence and sway on other nobles and royals through his talents, eloquence, and wit I think up for him, I also generally picture him as... like, lower nobility, in a sense? Or at least, lower than, say, Hagen, who gets the "his ancestors totally descended from the Trojans" treatment in the Waltharius. Both because I enjoy the idea of Volker being just a bit of a self-made man, and because I really, really like the idea of the Volker/Hagen friendship (... or "friendship" ;)) and, more than that, their respect for each other and ability to discuss things as equals (like the "we should stand from the bench for Kriemhild" thing or, later, the "please don't go fight a bunch of Huns on your own" thing during the night watch... both arguments Hagen wins in the end, but he does that by convincing Volker and appealing to the affection they feel for each other, not by ordering Volker around) going easily beyond that kind of stuff.

... also, I thiiiiiink there's a little bit in Adventure 33, or anyway during the fight between the Burgundians and the Huns, where Hagen mentions to Gunther that he has a higher position than Volker when they all sit at a table together, and that he thinks Volker should get to wear finer clothes than he currently does? But I might be misremembering (or misinterpreting!) either the phrasing or the intention of that. So take that with a grain of salt, lol.

[makethosenarratorsfight]

UNRELIABLE NARRATORS; SIDE C

Charles Kinbote Propaganda:

World’s least reliable poetry critic. Weirdly obsessed with this poet John Shade and then publishes a commentary on his final work and wildly misinterprets lines to make it seem like him and Shade were bffs.

Ok so basically this poet John Shade just died. Before he died he (nearly, by one line) finished this big poem about death and his life. Kinbote considers himself Shade's good friend (he's not- Shade describes Kinbote as "some neighbour" in the poem at one point) and decides to posthumously publish the poem with his annotations to explain it since Shade is dead and can't explain it. It's pretty clear from the start start that Kinbote is completely bullshitting however he also claims some pretty crazy stuff. He believes the whole poem is about this country called Zembla, which Kinbote apparantly told Shade a lot about before he died. Zembla isn't real. Kinbote uses the annotations as an excuse to infodump about Zemblan lore. He believes he is the king of Zembla and is pretty clearly delusional (although possibly aware of that? at the end he says that after writing the annotations he might end up in a madhouse). Also Kinbote might just be someone Shade made up after faking his own death to make a big statement. It's a little unclear. Sorry if this made no sense lol.

Nana Daiba Propaganda:

Okay, I have heard literally nobody else say she is an unreliable narrator and I'm not sure myself, but I need to get something out of watching that recap movie so hear me out. Rondo Rondo Rondo, as well as a recap, is Nana's perspective on the series as a whole, and I'm very convinced that the way it's told isn't just because they needed things to be shorter. A lot more emphasis is given to some scenes than others, and when this happens, a brand new scene plays out, putting equal emphasis on it, and all of these brand new scenes have one thing in common, beyond the revue component; Nana knows. She knows every detail shown, but doesn't acknowledge details which aren't, which makes sense for a recap movie, but the way she interacts with the plot is so distinctly different from the anime itself that I like to think she's leaving things out. We don't get a significant amount of the buildup to the revues, because most of that is interpersonal stuff which Nana simply was not involved in. But we do get a massive chunk of episode 7, the episode which, outside of the recap, is still from Nana's pov. Junna and Mahiru's respective revues with Karen and Futaba and Kaoruko's revue with each other are shown very briefly and divided up into sections which Nana is shown acting out with the Giraffe immediately after, but large amounts of emphasis are put on Nana's two revues, even if they're both kind of mixed together (which I think makes sense. Hikari and Karen were the two girls who brought about the end of her repeat performances, and she wouldn't have lost if Hikari hadn't arrived and Karen hadn't gotten the drive to stand on stage from her. Of course she'd kind of mix those two losses together. Though rip to the scenes in between because even though it makes sense that a lot of the stuff there would not matter to a recap movie or Nana I still think it's funny that Nana's whole big conversation with Junna where she reveals the time loops just does not exist to Nana or the movie. So sorry Junna). Certain small, emotional scenes ARE shown, like Junna and Nana's talk at the end of ep 9, but considering that Nana was involved in that and the immediate next scene is a new one where Nana discusses how Junna essentially saved her, yeah, that specific scene would be in her head. There's a lot of things which Nana wouldn't know, but since this movie is confirmed to be Nana's pov I do think that it could be both where the recap angle kind of takes over and Nana's general perception of Karen and Hikari's whole childhood friend thing. Also, since everything following this is very much recap-centric, aside from the additional scenes, which are 100% shown to be from Nana's pov, I need to address the scenes following the revues again, just because I think it's funny that, within Nana's pov, she gets to act out the previous revues in an even more unreliable way. I love this girl and I'm not sure how much Rondo Rondo Rondo counts as her being unreliable but I love her for whatever she had going on in this movie anyways.

[fierce-little-miana]

I have finally watched Hakuouki: Kyoto Ranbu and I had a surprisingly good time (I really thought I would mind the plot points they have cut out and how they rushed the story more). So, as promised, here is a list of things I found really great in the movie:

The opening being the destruction of the Yukimura village. I think it was really well done, but it was also the first time I saw it animated and it anchored the fact that Chizuru is the protagonist. Also, the transition from her running away for her life as a child to her running away for her life as a young adult ten years latter was great (can she catch a break? The answer is no).

Chizuru is undoubtedly the protagonist of the movie and I love how it focuses on her moral anguish, her determination to help the Shinsengumi, and her identity crisis. It was no small feat to do that in a 1h36 long movie that had to cover so much ground.

Speaking of identity, I love what they have done with the Oni. I love how menacing they are, I love how over-powered they feel, I love their gradual transformation that impacts even the environment around them, I love that it is made abundantly clear that their powers are influenced by their feelings, I love the tidbits of Oni worldbuilding they give... I love it I love it!

The way they depict Chizuru relating to her Oni identity is better than what they did in the anime. You can see she is very powerful but completely untrained hence while it only manifests in highly emotional moments and why Kazama can see her coming from miles away.

The fights are amazing: well animated, well choreographed and they take into accounts characters' abilities and personalities.

The violence is depicted very cleverly. The movie puts a lot of emphasis on blood, wounds and destruction. It is still esthetically very beautiful, but also has you recoil a little each time which, considering that Chizuru is the protagonist, is the good choice.

Speaking of violence, I know I will create disagreement with this, but I like that Chizuru was more proactive in fights. Hakuouki (the games, the anime and the movie!) takes time establishing that she knows how to use a sword and is serviceable with one despite being uncomfortable at the idea of using one/hurting someone with one (because of her healing abilities and because she doesn't want to kill or hurt someone, which, girl same). I never understood why she would not use her sword to protect the people she deeply cares about in situations that would require it. In this movie I think she unsheathes her sword twice, both time to protect people she cares about (even if "just" to protect their honor). Most of the time, she intervenes in fights by helping the injured and using her body as a shield. I think it is a clever way to reconcile the fact Chizuru's real strength is her inner strength and her will to care for the people around her without making her completely hopeless. Chizuru will stand for others in all the way she knows how.

Generally, the dialogues were quite clever and really helped the character's characterizations in a movie progressing with drums beating (special mention for Ito's "Very well, keep your secret and I will keep my scission" and Chizuru's "you are a doctor!")

Hijikata was really good in this. I get it now Chizuru.

Sannan's characterization was quite good too. I was so worried when I realized that he was hurt since his very first scene in the movie. Sannan is a massively plot important character but also a character I really like. But, despite the plot advancing at the speed of a mad train (to put everything in a 1h36 movie! as @flowerynameslover​ rightly put), he was given enough key scenes to have enough depth to still be Sannan. Phew...

Souji got really lucky in term of characterization. I think he was the most developed of all the captains (how come you get two full fights with thematically relevant opponents when some others did not even got one, a pretty long scene alone with Chizuru and several personal reaction shots when the rest of the groups gets to be that, a group?).

Generally, the movie was clever with how it used its time and what it showed us. For example, I really like that during Ito's meeting with the Satsuma they were sitting at an occidental table. Really good details to remind everyone of Satsuma's historical position at the time.

While Chizuru saved 0 damsel in distress (NOOOOOOOO!!!!!!!!!!!!!!!!!!!!!!!) I felt her emit so much pent up violence when Souji's implied he was ready to use the ochimizu to cure his TB that it almost made up for the lack of rescue. Please stop using/talking about using that stuff in front of her, she is traumatized.

The music was good too.

*Souji and Kaoru are of course still my poor little mew mews. There is something wrong with them and there is something wrong with me.

[autisticempathydaemon]

Hi Lexi! It's so much fun that you're doing match-ups! 💜 If I may, I'd like to ask for one, please?

To answer a few of your questions,

I have no idea what an Enneagram type is. All I know is I'm an INTJ, a Scorpio, and a Slytherin. All of which makes me sound like a villain but I promise I'm actually ridiculously polite and friendly. Mama raised me right

My go-to way to fall asleep has been listening to ASMR for 7 years now. Back in college, my apartment was literally right next to the freeway and it was always so loud that I needed to listen to something else. Which is when I discovered and delved into it for the first time and have stuck around ever since.

I have so many different names I'd consider changing mine to but I really like Aurora "Rory"

My brand-new favorite Redacted audio is Avior's S1 finale. I've been waiting for so long. Hopefully that doesn't give away who I am lol. Other favorites include all of Elliott's happy ones, the Elemental boys non-canon confessions (Huxley's is my favorite of the three), and almost all of Caelum's playlist. My son

I don't really get the hype for Yanderes in general but Blake in particular, like, I got nothin'.

I could literally stand in front of you and quote The Incredibles front to back, doing Very Bad Impressions of all the character voices, and bad vocal renditions of the soundtrack. I watched it every day when I was like 8-9. I love that movie.

I would also like Cam and Caelum to be my best friends.

Fun fact: my go-to ramble is also space! I watched one (1) Bill Nye video on the sun when I was like 8 or 9 and I was hooked. Fast forward to college and I got a 97% overall in Honors Astronomy my freshman year and my honors program advisor looked at my transcript and went, "How did you get that high of an A in Honors Astronomy?" and I was like, "It wasn't hard???" And my advisor goes, "Yes it is! No one gets that high of an A in Honors Astronomy." And I'm sitting there like, "Well, uh... I did." Also, in said Honors Astronomy class, the professor put up two nearly-identical graphics (emission spectrum of hydrogen) and asked what the difference between the top and bottom ones were and I raised my hand and said, "The bottom one is red-shifted" (not knowing he was about to introduce the Doppler Effect but already knowing what that was) and my professor stares at me for a solid 10 seconds in stunned silence and said, "I've been teaching this course for 20 years and you're the first one to get that question right on the first try." So... yeah. Big space nerd. 🌟

One other thing that says a lot about me is that I adore that the Redacted d(a)emon aesthetic is music and stars. Music was the first thing I was taught to love by my musician family, and the stars were the first thing I loved for myself.

Also if I were an Empowered race, I'd definitely be a Freelancer, but one with a heavy emphasis in Dreamwalking, Psychokinesis, Fire Elemental Command, and Electro Command. I'm not cool enough to be a specialized race. Oh man I'm a rambler. I'll stop now.

Don’t stop the rambling; I think it’s wonderful, and you know what? So would Lasko.

I think it’d be so cute to have a thoughtful and rambly partner for Lasko. Conversations are a push and pull, and I think Lasko is too often one or the other, trying so hard. Because of that, I imagine it would be so peaceful and quieting for him to not feel like he has to talk or contribute and to be able to just listen and be there for you.

Overall, Lasko is uniquely situated to uplift and care for you. INTJs (and Slytherins to an extent) are characterized as intelligent, ambitious, and virulently independent. Lasko, who strikes me somewhere on the brink of an ISFJ, would be a lovely partner for you in that his hardworking nature and ambition would not combat or stifle yours but would support it.

Song:

What's the hurry/ When you know that you've got me/ Don't you worry, I've nowhere to be/ Other than right next to you

I went looking specifically through my Lasko/OC playlist for this one, and I was not disappointed. Lasko is such a ride or die dude, you feel me? He’s so dedicated to the people he loves and the family he’s chosen, so once he chooses you, there’s nothing stopping him.

Runner-Ups:

Anton also strikes me as a wonderful listener; I can easily picture him tinkering with some machinery while nodding and humming and listening to you wax poetic about the music playing in his workshop. Vincent would also be a good listener, not by his own virtue but just by being a fuckin simp. He’s the type who’d have his chin perched on his hands, starry eyed and mooning as you infodump and trying his honest to god best to understand what you’re saying even if he has no clue.

Note: I don’t think you sound like a villain! I’m an INTJ, and my boyfriend is a Slytherin, so you’re in fantastic company in my opinion 💜

Want a match-up of your own? Read this post, and tell me about yourself!

[todayisafridaynight]

THANK YOU SO MUCH FOR TRUSTING ME BRO I COULD CRYYYYYYYYYYYYY 😭😭😭😭😭I hope it does not disappoint... REAL THOUGH about the drama you mentioned in your tags, that's exactly how I felt reading If My Wife Becomes An Elementary School Student's title, for example, but I'm told it's wholesome☠️☠️I would love to hear about the one you were thinking of though!

I WILL BEAR IT IN MIND TO PREPARE FOR ARACHTAGON WHENEVER THE TIME COMES... totally understandable to get frustrated with RNG on top of that, RPGs can be so evil 😭😭😭still, again, I'm glad you're back to it! Also totally understandable to want to play on the original consoles... NOTHING beats the experience... the availability of playthroughs nowadays is nice for sure to be able to experience the series without investing that much!

I would LOVE to see more Normal interactions between Ichiban and Jo for real😭they have so much potential for silly moments... ever-thankful for your content and I Can't Say Enough always looking forward to whatever you might have in store :] whether it's that or something else :]

I EXPECT YOU'RE DONE WITH EPISODE EIGHT NOW AT MINIMUM SO I WILL JUST SAY the Ohashi arc and Episode Ø [<- why the hell is ep eight called this] are peak to me I am soooo glad you enjoyed the arc... LOVE the OST too, Yugo Kanno is a legend. HOWEVER all the songs on it are titled words that start with S and P so you get titles like Scarlet Pussy 😭

OH BUT SPEAKING OF SP'S WACKASS STRUCTURE pleeeeeaaaase consider watching SP: The Motion Picture and SP: The Motion Picture: The Final Episode after you finish the show... there is A Cliffhanger and those are the true conclusions to the story... and SP Final In Specific is what blew my nuts clean off...

STOPPP NO THAT'S EXACTLY THE DRAMA I WAS TALKING ABOUT BUT I DIDNT WANNA SNITCH ON MYSELF 😭😭 it really is a cute show..... im ngl it has some of my fave tsutsumi scenes/performances like it TRULY blew my expectations out of the water. i just feel SOOO awkward about it cause.. with a title like That and a premise Like That i wouldnt blame a single person for giving me a weird ass look so i generally try not to talk about it ☠️ its my guilty treat so to speak and i cant even tell if im making it sound worse than it actually is (╯x╰ )

in any case... i finished Security Police SO !!! onto After The Rain for me when it comes to Media Thats Awkward To Talk About But Please Believe Me When I Say Its Not What You're Thinking :]

LMAO PLEASE like... so long as you have the right equipment you don't even really have to do much extra grinding by the time you get to him... it truly is just hoping RNG doesnt dick you over ☠️ i've been cruising through the game since tho ! i dont expect myself to get into anymore awkward blockades anytime soon and then i can finally say i finished this game (●ˇ∀ˇ●)

THANK YA THANK YA it aint much but its honest work..... i have been real dead this week tho and i always get scared if ill draw again durin periods like this- i HOPE to come up with something soon cause there really is an untapped well of Good Stuff to be explored :]]

THE SOUND DESIGN OF SP WAS REALLY GOOD IN GENERAL THOUGH LIKE not just music wise was it good but i really loved hos inoue's migraines gave me migraines... immersion... but also just knowing when to keep things dead silent (like finding nishijima's corpse) did SOOO well to put emphasis.. the weird as hell names are just bonus points by now like. Gotta Let Bro Have SOMETHING As A Thank You For The Sound Design (╯▽╰ ;;) OH BUT IM GLAD THERE'S MOVIE TIE-INS CAUSE THE LAST SCENE HAD ME CONCERNICUS LIKE 👁️👁️? i was only able to find the first 2010 movie on the site i usually go to but its somethin...