#first thing i've ever written for this fandom

[shiplessoceans]

Hen saw it on Eddie's face when he turned his back on the happy throng of well-wishers in the firehouse. Watched the way his easy grin vanished, replaced by a grimace as his jaw tightened and eyebrows furrowed downward.

She jumped into action the moment she realised that his stricken expression was morphing into one of terror and that he suddenly seemed to be having trouble catching his breath.

In four quick strides she got an arm tucked around his waist, quickly and quietly ushering him away from everyone unnoticed. Eddies complete lack of resistance firmed her resolve that he was in trouble.

---

Eddie broke from Hen's hold, leaning against the wall inside the door of the captains outer office and felt his body succumb to the waves of wrong washing over him. His nerves felt like they were on fire, his mind raced and his chest heaved as he struggled to get enough oxygen while resisting his mind command to yell or hit something or run as far as his feet would take him.

He barely registered the press of fingertips against the side of his throat as he squeezed his eyes shut tight, god why wasn't there enough air? He was going to pass out if he couldn't catch his breath soon...

It took him moment to realise Hen was speaking in a low commanding tone, distracted as he was by the sound of his own heartbeat pounding in his ears...

"Eddie? Eddie listen to me. You're having a panic attack but you're gonna be okay, okay? I promise. You are safe right now. Nothing bad is gonna happen okay? Eddie? Eddie I need you to look at me."

Eddie registered Hens words and worked to open his eyes.

Hen looked focused, not worried. And Eddie would trust Hen with his life, so if she said he was going to be fine? Then he would be. Simple as that.

Hen now had her hand on his chest, grounding him and she continued speaking in that same calm tone.

"It's okay, Eddie. It's gonna feel better in a minute. Take your time, you just have to wait for the adrenaline spike to wear off and it'll be over, you got this. Hey, would I ever lie to you?"

Eddie felt his heartrate slow and heaved a few shuddering breaths, each one a little deeper than the last as he managed to get the words out between gasps:

"Not....not about.... about this... I hope."

Hen chuckled and nodded.

"Theeere you go. Try to hold each breath for a second as it comes in, it'll help slow it down. Remember your jello technique?"

Eddie nodded and closed his eyes again, focusing on taking deeper and slower breaths. Tried to remember allowing his body to feel like soft jello and willing it to relax, body part by body part.

Time passed and sometime later Hen had taken her hand off his chest and his breaths began to even out again and Eddie opened his eyes to look at her, mentally preparing to put the wall back up. To reassure her that he was fine and this was a little blip, a simple backslide, that was all. Christopher being gone had obviously taken a toll and having Buck come in and announce that he and Tommy were moving in together must have just taken him by surprise but not to worry, he'd be just fine.

But the words die in his throat, he feels his adrenaline crash and seeing the compassion and sympathy and complete understanding in Hen's face breaks something inside him. The weight of the world falls back on his shoulders and he crumples.

Hen catches him in a hug as he breaks down crying, silently shaking and weeping into the shoulder of her shirt. Hen rubbed his back reassuringly.

"Shhh... It's gonna be okay."

He didn't respond, but Eddie knew she was wrong.

He had been an idiot and waited too long.

He loved two people more than anyone else in the world. His son and his best friend. His son who had asked months ago to be taken away from him, and the best friend he had only just realised he was hopelessly in love with.

And now, he'd lost them both.

[nyxypoo]

i need to stop myself

[stardustandash]

How many fics have you worked on since January?

Worked on about 55? I think? Its hard to calculate as I posted whumptober and febuwhump as individual stories but they exist in one doc each on my computer. I've worked on 6 fics that are either as of yet unposted, unprinted in a zine, or just lost unfinished limbo (I need to work on my merrin-focused post nur fic omg)

2. What’s something new that you tried in a fic this year?

I guess I've tried to play more with present vs past tense, and finishing multichapter fics before posting. Did try out a time loop for the first time during whumptober and had fun with that!

3. What piece of media inspired you the most? (This can be the fandom you wrote the most for, the one that spawned the most ideas, the one you thought about the most, etc.)

I feel like Star Wars is the pretty obvious answer, though right at the end of the year here comes Dragon Age with a steel chair after 4 years of not really being involved in the fandom

4. How many fandoms did you write for this year?

Seven, I think! Jedi Fallen Order & Survivor, The Bad Batch, Dragon Age Inquisition & Veilguard, FFXV, FFXVI, Horizon Zero Dawn & Forbidden West, and Twisted Wonderland

5. What ships captured your heart?

As a gen writer its rare for ships to catch me, but thank you Veilguard for giving me Rook x Harding, and M!Rook x Emmrich. (Not a fan of F!Rook x Emmrich sorry yall)

7. What characters captured your heart?

As always Cal remains number 1 in my heart. I love him so much, along with the whole Mantis crew <3 For new this year, I am bewitched body and soul by the Veilguard crew. The writers were cooking with all of them, they're all amazing!!

8. Did you write for any new fandoms or ships this year?

...Does Veilguard count lol? For new fandoms I wrote one FFXVI fic early in the year.

I've got two fics for Rook x Harding and one wip for Rook x Emmrich as new ships!

9. What fic meant the most to you to write?

That's a hard question!! I think I poured a lot of my own personal emotional anguish into a lot of the fics I wrote this year. It's been a rough year for many reasons, and writing out all that angsty hurt/comfort helped a lot

10. What fic made you feel the happiest to work on?

I think finishing 'what makes a family' was honestly one of the best feelings ever! And the fact that I still get comments on it from time to time about people binge-reading it.

11. What fic was the most satisfying to finish writing?

I guess I could go with the above, but actually completing whumptober was pretty satisfying.

12. What fic was the most difficult to write?

'i do not love the bright sword for its sharpness' is at the top of this pile. i think about it constantly but actually writing it is proving super difficult, and it remains unfinished...

13. What fic was the easiest to write?

The one for the Pabu Days zine!! I wrote the first draft in just over an hour, and it was about 1k too many words lol

14. What were your shortest and longest fics posted this year?

of the ones written entirely in this year, 'take a breath before the plunge' wins with its 11k words. If we count just completed this year, 'what makes a family' wins at just shy of 70k

The shortest was one of the whumptober fics, 'where flesh and metal meet'

15. What were your go-to writing songs?

The Horizon games' soundtracks! Less of a song list, but there's too many to put in here.

What was the hardest fic to title?

...all of them. Titling things is the hardest part of writing fics

16. What's your favorite title of the year?

Love and Blood Both Run Red, or maybe Cold But For Your Company

17. Share your favorite opening line

In some way, Tech thinks, it is poetic to die for his family.

From here, at the bottom

18. Share your favorite ending line

He turned, and came face to face with a skull staring back at him. There were holes through the skull, and though everything had been decayed by time, Cal could still see that the skeleton wore Jedi robes.

From then there was nothing

19. Share your favorite piece of dialogue

ooh i don't know! If its humorous then assume its one of my favourites

20. Share your funniest line

see above

21. What's something that surprised you while you were working on a fic? Did it change the story?

I think being able to slip back into old fandoms and characters for whumptober was a surprise. it didn't change the story but it was surprisingly quick to get back into things i hadn't touched in years

22. What writing programs did you use? Did you write by hand?

I use microsoft word for all my fics. which isn't great for longform fic and probably why i don't write too much of it

23. If you had to choose one, what was THE most satisfying writing moment of your year?

Again, actually managing to complete whumptober felt really good!! I've never managed to finish a writing challenge like that so it was a really proud moment

24. Did you do anything special to celebrate finishing a fic?

I don't think I've ever done anything?? Though I am thinking about starting a lil scrapbook of comments or smth like that

25. How did you recharge between fics?

what is this recharge you speak of? I am either possessed by ideas that demand attention or left in a drought of creativity

26. Did you create fanworks other than fic?

I do playlists for myself sometimes. I have ones for Cal, Crosshair, and Omega right now. I constantly wish i had the patience to improve my art skills to do fanart

27. How many events did you take part in? (bangs, exchanges, ship weeks, zines, prompt memes, they all count!)

4 if you count febuwhump and whumptober. I'm in a Bad Batch zine that's in preorders right now - Pabu Days, and participating in a fic/art exchange for new years for Twisted Wonderland

28. If this were an awards show, who would you thank?

firstly I'd like to thank my cat for being the one to hear me talk out plot points and details. I'd also like to thank @pennflinn and @breakfastteatime for being both supportive of all my j:fo fics as well as being inspirations themselves in that fandom! And the whole j:fo fandom at large for being awesome and supportive of each other's works. And I need to mention @fanfoolishness for joining me in not one, not two, but THREE! fandoms here!! As well, shoutout to @shadowcrow for yelling on my rook x harding fics! it's a small corner of the fandom but at least it's got you there!

29. What's left on your to-do list for 2024?

Finish this fic for the new years exchange, and get another chapter of Blood and Love Both Run Red up! Though it may only be one of those that happens...

30. What would you like to write next year?

I wanna finish bright sword and get that post nur Merrin fic postable! And since I'm currently consumed by Veilguard I wanna write more of that next year too!

A slightly revised version of last year's questions! Two ways to play: Reblog and have your followers send you numbers, or answer the whole list!

How many fics have you worked on since January?

What’s something new that you tried in a fic this year?

What piece of media inspired you the most? (This can be the fandom you wrote the most for, the one that spawned the most ideas, the one you thought about the most, etc.)

How many fandoms did you write for this year?

What ships captured your heart?

What characters captured your heart?

Did you write for any new fandoms or ships this year?

What fic meant the most to you to write?

What fic made you feel the happiest to work on?

What fic was the most satisfying to finish writing?

What fic was the most difficult to write?

What fic was the easiest to write?

What were your shortest and longest fics posted this year?

What were your go-to writing songs?

What was the hardest fic to title?

What's your favorite title of the year?

Share your favorite opening line

Share your favorite ending line

Share your favorite piece of dialogue

Share your funniest line

What's something that surprised you while you were working on a fic? Did it change the story?

What writing programs did you use? Did you write by hand?

If you had to choose one, what was THE most satisfying writing moment of your year?

Did you do anything special to celebrate finishing a fic?

How did you recharge between fics?

Did you create fanworks other than fic?

How many events did you take part in? (bangs, exchanges, ship weeks, zines, prompt memes, they all count!)

If this were an awards show, who would you thank?

What's left on your to-do list for 2024?

What would you like to write next year?

[jessamine-rose]

/obey me! vent/

[itstimeforstarwars]

Some of my favorite stories are the unfinished wips in my drafts folders. One day I'd like to share them with people. Probably not today tho.

[bittersweetresilience]

i've been thinking about beyond ascension again, since i've been rereading. like most of the other things i posted more than a year ago, thinking about it is incredibly embarrassing. but objectively i know i'm happy with it. posting things just has a way of making them seem cringe. anyway i still find it funny that i watched this terrible show, became irremediably gripped by these terrible villains, wrote this entire thing, and completely totally forgot temutai existed. sorry. that guy can just stay unredeemed.

[gracemisconduct]

This has been a strange Christmas. The first without my dad. I've always struggled with being explicit about emotion; this is the second major grief in my life, and the first nearly killed me. This time, I'm trying to be open, less self destructive, but man, it's hard work. My mother, still here, is...someone who loves me better from afar. She also struggles to accept that this has happened to more than her. And yet, Christmas, funerals, and the time of year forces proximity, and forces everything that comes with it.

He died in increments, then all at once. I first saw him die a little ten years ago, getting a pacemaker. Then a little more two years later, when he was so breathless he couldn't walk across the small medieval town I lived in. I saw him die a little bit when he was diagnosed with cancer, and when he broke down crying at my wedding. I saw him die most and fastest this year, when he went from visiting China to not having the strength to sit up in bed by himself. And then, all at once, he died.

I never knew there was so much admin involved in death. People would ask how I was; I had no idea. I was too busy sourcing a death certificate, arranging a funeral, writing a eulogy, telling friends and family he'd died, sorting my mum's finances. Every now and again I'd burst our crying. Then I'd stop.

Through it all, two things kept me just about sane; walking, walking everywhere, and fantasy. Good fantasy, bad fantasy. Smut and angst and fandoms and AO3 and all the wonderful ridiculousness of it that teen Grace loved and 20s Grace tried to pretend she didn't. Now I'm in my 30s, no shits are given. It was a balm, a source of humour, a relief. A place of happy endings of all kinds. A lot of BG3. It even made me think about doing a little writing of my own, though we're far from there yet. Thanks, hellsite, for the wonderful wildness of this place. Thanks, makers, for putting your work out there into the world for me to get lost in and cling to like a life raft.

____________

So, who was my dad? He was the most accomplished man I ever knew; nearly 40 years curating Japanese art and metalwork at internationally renowned museums, published books, honorary positions, a photographer, a ceramicist, a singer and more. His eulogy took days to write just to remember everything he did, and we still missed things.

His curiosity for culture, his love of learning, his collecting of obscure facts and bizarre stories, was infectious. It was the golden thread of my brother and I’s upbringing, with weekends and holidays punctuated by museums, bookshops, National Trust properties, standing stones and sci-fi movies, and everything in between. It was this same passion and curiosity that meant his list of friends and admirers was longer than your arm. He was a G.I. and so am I. Yes, I stole his badge.

When we were looking for readings for his cremation, we came across this poem. It's a later addition by Tolkien, written by Bilbo as he travels to the Grey Havens, thinking about his life and what comes next. I think that dad - LOTR narrator, deliver of funny hobbit voices, old hippy - would appreciate it. I hope you do too.

Day is ended, dim my eyes,

but journey long before me lies.

Farewell, friends! I hear the call.

The ship's beside the stony wall.

Foam is white and waves are grey;

Beyond the sunset leads my way.

Foam is salt, the wind is free;

I hear the rising of the Sea.

Farewell, friends! The sails are set,

the wind is east, the moorings fret.

Shadows long before me lie,

beneath the ever-bending sky,

but islands lie behind the Sun

that I shall raise ere all is done;

lands there are to west of West,

where night is quiet and sleep is rest.

Guided by the Lonely Star,

beyond the utmost harbour-bar

I'll find the havens fair and free,

and beaches of the Starlit Sea.

Ship, my ship! I seek the West,

and fields and mountains ever blest.

Farewell to Middle-Earth at last.

I see the Star above your mast!

- J.R.R. Tolkien

notes on grief - chimamanda ngozi adichie

[neil-gaiman]

hi neil! big fan! first time i've mustered the courage to ask you a question, haha.

it's good omens related: i've heard a lot of people (and been infuriated by them) over the past nine months saying that you only did the kiss because of the fan pressure. i want to know whether this is true or if you still would've done the kiss had the fandom not been begging you.

tysm for reading this! can't wait for season 3!

No, I came up with the kiss in December 2019 because John Finnemore and I had spent a day talking about the general plot of Season 2, when, late in the afternoon, sitting by the Regents Canal, John asked how it was actually going to finish, because, he told me, he is the kind of writer who needs to know how something is going to end before ever he starts. (I'm the kind of writer who normally finds out how things end when I get there.)

And when he asked, I thought for a bit about where I wanted to be at the start of Season 3, and then I described the last ten minutes of Episode 6 to John, including the kiss.

Given that we wouldn't tell anyone that we were doing more Good Omens for another 18 months, the daily asks saying "THEY HAVE TO KISS IN THE NEXT SEASON OTHERWISE YOU ARE QUEERBAITING US" had not started to come in yet, and by the time they did, the kiss, along with the rest of the scripts, had long since been written.

(And at no time has any fan ever pressured me to write a kiss at the end of Episode 6 that would break their heart.)

[three--rings]

One thing I haven't seen a lot of talk about in the fandom so far is about the financials of this season.

It took us two whole months to get a confirmation of renewal from Max, and I talked at the time that I think there was probably a lot of heated negotiations going on at the time with contracts and that's why it took as long as it did.

I think we see a huge number of indications of the compromises that were made in order for S2 to be made. One obvious one that has been talked about is being making in in NZ instead of LA, to save $.

But there's also the eight episodes instead of ten. And then the cast aspect. One downside of moving overseas was having to fly out and house the cast, not just pay day wages.

We knew immediately about Guz Khan not coming back, losing Ivan as a character. At the time I was sad but I thought it had the air of a pretty harshly practical call. If you went through the main recurring cast and said okay which character will affect the fewest things, has the least character interactions of anyone? It would be Ivan. (With the only competition being The Swede IMO, but he's Stede's crew and therefore a little more central.)

And then this season started and we got first The Swede sidelined and taken out of major scenes. And then I noticed that different members of the crew were simply absent for long stretches, like Wee John isn't around for ep 5 at all. And then Buttons takes flight.

Lucius and Pete aren't at the party for most of it. Fang isn't in the torture scene. Roach and Fang aren't in the bar. Etc. SCHEDULING IS HAPPENING.

The new characters are almost entirely played by NZ local actors, which is great, but also...cheaper.

In other words there are big signs that they did everything possible to give us a giant cast of almost everyone we love from S1, and cool new characters, in the most economical way possible.

And I'm grateful for it. I'm grateful we got S2, and it looks great, and it's well written, I'm having a blast, and we get to spend more time with this awesome cast.

But I also kinda think it needs to be said that the cost-cutting shows. That it shouldn't have been only 8 episodes, the pacing is off. That we miss every time someone from the ensemble isn't on screen.

That despite what they've put on screen looking very good, there's far less costuming budget, there's less elaborate sets, and it's a little disappointing. And it's clear it's not a lack of will or talent or vision but blatantly lack of money.

Look, streaming networks want brilliant shows that people love (that will get them to subscribe) but they very don't want to pay anyone to make them. That's like, the whole moment we're having right now.

Max puts out promos about how great it is to not have unions messing shit up in NZ. Well I have friends who are union costumers in LA and guess what union costumers did amazing last season. This season, well, I guess Stede got three whole shirts, so that's cool.

So I dunno. It's just stuff I think about. I'm not trying to be negative about the show in any way. I'm extremely happy with this season; I love it more than well, possibly any show I've ever been in fandom for.

But I see you, Max. You're cheap. You weren't that cheap when you were called HBO.

[yandere-wishes]

⋆｡˚ ☁︎ ˚｡Acolyte⋆｡˚☽˚｡⋆

𐙚Yandere! Qimir/The Master x Reader

˚ʚ♡ɞ˚ Plot: Your loneliness is suffocating, engulfing. Qimir is the only one who seems to subdue the pain. But every forbidden fruit has its price.

⁀➷Warnings: Yandere behavior, gore, angst (at the end), author having an anxiety attack over this fic  

🪐Note: Why is the longest thing I've ever written for a fandom that barely exists? Anyway, here's the long-awaited Qimir piece!

⁺₊𝄞₊⁺ : Disturbia - Rihanna, Dark Vacay & Motion Picture Soundtrack - CAS

⁺‧₊˚ ཐི⋆🍓⋆ཋྀ ˚₊‧⁺

Your master's anger is tangible. You harbour it stubbornly on your tongue. Relishing in the frustration. You aren't sure how many times you've cut out your soul to place at a master's feet. Gnawing on perfect lips to keep quiet during another scolding. Your new master's disappointment reverberates through the room. Thick and oozing like an infected wound.

You messed up again.

"We do not injure other padawans during training. We do not lash out and attack, especially when your training partner has fallen. How have you trained for so long without comprehending these basics?"

The rage that boils inside you is not Jedi in nature. It's something else, a bizarre second, something ancient, ghoulish. An all-consuming fire that burns inside your veins. It shouldn't feel so welcoming, so familiar.

You roll your eyes.

"With all due respect master. How is one to win, if they do not strick when given the opportunity? That too should be a basic notion, no?"

You see the anger snake across your master's face. A defeated, disgruntled, glance that you've become a bit too acquainted with. This is the look that all your previous masters give you. And yet none have yet to master its eeriness quite as well as your first master. Master Sol.

Your master sighs, a piercing noise, deflating every ounce of his willpower. You are exhausting to be around, his annoyance is becoming discernible. "Master Sol is coming by the temple to check your...progress. He's requested a few items to take back with him. Please go fetch them from the apothecary."

Progress is a gentle word and Jedi love using gentle words. It's easier to say than the full truth. Sugar-coated things always taste better.

But the sugar refuses to stick to you.

It burns away in your bitterness.

Coruscant is a distant memory, it was never your home to begin with. But the high bustling volume is something that is hard to forget. Here things are quiet, you slip through the bazaar undetected. Small basket clutched tightly. You wonder what's dragging your former master halfway across the galaxy. You wonder if it's really just to see you.

You gaze blankly at the holographic list. A few rare herbs and some medical roots. This planet grows them in abundance, and the local apothecary carries more than its fair share.

The apothecary is an old, disheveled thing. The older Jedi say that its presence is as old as the temple itself. Odd how some things have a will of iron. You gently rap at the worn metal door, waiting for an invitation to enter. The hinges cry as the door opens ever so slightly. You squeeze in, surveying the cluttered den. Careful to avoid the half-empty bottles and neon puddles scattered across the floor.

"Excuse me" your voice holds an urgent annoyance. Where is the pharmacist? What kind of store owner abandons their shop in the midday? You run your fingers across the strange bottles, letting your nails pick at the murky glass. The colors flash, begging to be freed, strange space pinks, and summer oranges all trapped inside square prisons. Baby poisons dying to taste the world, burning it if they must, but experiencing it nonetheless, tasting their own form of freedom. Funny, they almost remind you of yourself.

Trapped and fatal.

"Hello?", the voice behind you is languid, dozy. Mirroring a late afternoon nap. When the man next speaks you notice a lyrical lint "What brings you here little lady?". You turn to see it, the voice, or rather the man harboring the voice. He's loosely robed and shaggy in the way that only the most spirited vagabonds are. He smiles tenderly upon seeing your face, strange red fruit caught between his teeth. "I um...I" you click your tongue anxiously against the roof of your mouth. Feeling around for those pesky words, in the end, you just shove the hologram holder forward, hoping he'll understand.

"Oh, I see, out here doing some chores?" You nod, mind preoccupied with the otherwordly fruit. "what's that?" you ask, schoolgirl curiosity lacing your voice. "What, this?" he asks holding the freckled thing between his fingers, it's only in the mild light that you notice the shimmering gold scattered across its red skin. The stranger laughs, walking closer, he places the hologram base on the black table, clicking it on as he studies the list. "They're called strawberries. They're from the forest planets, not many grow here in the mid-rims." He's nimble as he packs the herbs and roots, fumbling with the straw ties. "care for a bite" he asks, handing you the bitten fruit.

Hesitantly you bite.

Letting the sweetness erupt on your tongue.

"Thank you" you mumble trying not to moan at the foreign taste. The stranger laughs, it's a cheery noise like birds chirping in first bloom tress. "you're a Jedi, aren't you?" he asks stepping around the table, eyebrows furrowed, caught in a dream he doesn't seem to understand. You choke on the rogue static as he steps closer, eyes half-lidded dreaming of nothing. "Here..."

"Wha-" your voice catches in your throat, it's getting harder to breathe.

"Your supplies" He hands you the brown paper bag, motion a little too phlegmatic to be right.

"Oh, right...thanks" You anxiously shove the bag into your basket and scurry out of the shop. Holding your breath.

"Come back soon." the voice chirps behind you.

Your old master arrives by spaceship, a newer, albeit worn model. The landing pad ejects to reveal a small escort.

Master,

Knight,

Padwan,

Apostate,

You stand still watching as they descend. Bits of envy bubble in your throat watching your former master and his band of little heroes. You wish you had their belonging. Forgoing the loneliness to find kinsmanship with your coterie. You swallow down the bitter thoughts as they finally approach you.

Master Sol's smile reaches his eyes. Gentle and wise. The true epidemy of a Jedi in every sense of the word. Funny how he now has two failures under his belt. None of which are capable of scratching his shining repute.

His hands are on your shoulders, bright smile. "My padawan, it's been too long." You try to bow, awkwardly and stiffly. "Mater Sol, I'm grateful you've come to asses my progress". If he hears your doubt he doesn't show it. Instead, he reintroduces you to Yord, Jacki, Osha.

You try to be polite. Gulp down the awkwardness

You imagine the taste of strawberries on your tongue.

Remember their stiff sweetness and prickly tasteless freckles.

You smile. Easier this time.

They'll stay here for some time. Hunting assassins and documenting progress in their free time. Jacki seems more invested in your training than you are, trying to teach you everything she knows. At least she doesn't mind the rough play, the violent strikes, and sloppy prideful defenses. She speaks in pointers and parries. She's the one to drag you along these assassin hunts. Welcoming you...or at least trying to.

But there is something else at play. Darker, broader, Sol and Jecki welcome you into the fray. Yet you still feel your old master's hesitance, he's still wary of you. Worried about your anger, your defiance.

The distance grows, some icy void.

Sol used to tell you fairytales. This was back when you'd been young and bright-eyed. Freshly welcomed into the order and still overflowing with artless hope for a colorful future.

But even back then, he had known there was something wrong with you.

Looking back it was evident.

Every story started and ended the same. Little princess against the big bad world. Holding out until her prince came along. Only problem was the morals never registered right in your little messed-up brain.

Why didn't the princess fall for the dragon, the wolf, the tyrant king with a crown of bones? Why didn't she swoon and sigh over someone rousing, compelling? A paradox wrapped in black ember? Why settle for a sun-painted prince, with no complexities, no mysteries to unravel?

You would have married the dragon, or the wolf, or the tyrant king with a crown of bones.

Even back then, it was evident something was wrong.

The temple's roof isn't restricted per se.

It's rather abandoned as opposed to forbidden.

Maybe that's why you find solace here. The abandonment feels familiar, similar. The chipped cement kisses the soles of your feet, you imagine it's something like walking upon the rough terrain of a star.

You breathe in the night air deeply.

Expecting the fragile scents of moonshine and star glitter.

Instead, you choke on heavy mist and blood-drenched air.

The thing standing in front of you isn't human. It can't be human. It's created from the blackness, ebony in all the ways a living thing shouldn't be. For a second you think you're staring at a black hole. No doubt this creature crawled out of one.

What sheer willpower one must need to drag themselves out of endless nothingness?

"Little Jedi should not brave the night alone."

It speaks

"There are far too many monsters roaming in the dark"

Its face never moves, statue in all the ways the figures towering over the entrance aren't. This statue is something else, a lost page to some forgotten epic. Carved from gems born in darkness. Evil and rotten.

"What are you?" your voice susurrate, quivering in this surreal scene. The air is thicker now, overflowing with raw static.

Your fingers itch for your saber. Only when the cold metal kisses your palm do you regain some semblance of reality.

The hiss, the green light.

The figure chuckles.

Its voice bouncing from every direction. Everywhere all at once. When it speaks the air cackles, raining as if it were a frightened child.

"I am something akin to you, another child of the force" His voice comes out distorted, uneven in tone. "I am what's birthed when one learns of the true strength of the force."

Your body moves on its own, feet kicking the ground sprinting faster and faster before the final leap. You aim for the helmet, for the morbid toothy grin permanently etched within steel. In a flash the word stills, floating around you like fluorescent bubbles, the rain tumbles around you, curving and diving for the wet ground. It dares not land on something within his grasp.

You feel the slithering across your body. They start from the ground, summed from the unknown depths. Clinging firmly to your ankles before inching up your knees, your hips, your neck.

long, slipper tendrils curling around your body. The figure watches, bare arm outstretched. You should probably be focused on how the unseen things are inching closer to your mouth. Not on the toned muscles and limber fingers of the monster. Not on how, for a fraction of a heartbeat, his smile appears genuine, caring, aimed straight at you.

Only You

They finally reach your lips, prying your teeth ajar and flooding your mouth. Sinking deeper and deeper into your soul, your mind, you.

The smile grows.

In a blink you're suspended in the space between worlds, dark damning thing cradling your body.

"The dark side once belonged to the Jedi, yet they chose to discard it. Deeming it malignant, ungovernable."

Your weightlessness unnerves you. You're malleable in this void.

"Those few who embraced its calling were dubbed Sith." He says the word with such fervent pride. Devoted to it's weight and all it carries. You try to roll the word off your own tongue only for it to burn the roof of your mouth.

The stranger stalks closer, lethal and lithe.

The void vibrates, the darkness bends to his will.

He reaches down to cup your face. His fingers feel warm, welcoming. You nuzzle into his palm, fighting the urge to kiss each finger and suck on the dark force they emit. "You..." he starts, his voice shakes you to the core. Its horror amplifies with the proximity. You wonder if it'll cut through steel, armor, flesh.

your flesh.

"You aren't like the other temple dwellers. You have potential."

His thumb presses your lower lip, demanding entrancing. You comply, needing to feel something solid.

Something you've been denied your whole life.

"They keep you locked away. Trading you between craven masters. Seeing who can tame you first."

He nicks his thumb on your teeth,

Pressing bone into dentin.

His essence drips into you.

He tastes of power.

Of dark, dreadful things you can not name.

"They do not know how to train you. How to use your power..."

The world crumbles, ebony midnights giving way to reality. You feel yourself fall, plunging through the air like a comet bent on destruction.

"They only break you further"

Your knees collide with the harsh ground. Skin splintering in the aftermath giving way to bruises and bloodmarks.

The ground feels too solid beneath you.

A poly, a ruse.

You all but expect to melt through it. Slipping and falling into the vacuum, into him, once more.

He hovers above. Absolute in his strength. You're beginning to believe that blackholes birth divinity. Eyes shimmering with fanatic fidelity, staring up at the holy creature commanding the storm.

"Teach me..."

You've never begged for anything so terribly in your life.

But you need this.

this power

this control.

him.

Sol never told just how the princess met the villain.

He never said it wasn't love at first fright.

Sol insists that the local apothecary knows the truth behind the Jedi-killer. Definite that the unseemly man can tell you something important. He sends Osha inside to play Mea. To get the man to talk.

You crowd around the communicator urging back giggles. Yord's chin is placed upon your shoulder and Jecki's cheek rests against yours. Their touches come so early. And yet they are utterly alien.

"He will be so pleased." No sooner have the words chime from the corroded speakers that Sol is ushering you all towards the small metal hut.

Yord entwines his fingers with you as he runs.

Jacki wraps around your arm.

You feel at times they are trying to tame you.

Befriend the feral puppy they found in the backyard.

The apothecary's face is utterly stunned. He's stammering over his words fear glistening in his eyes as he stares at Sol. "Please, please don't wipe my memories. Or whatever it is you Jedi do." A rosy blush colors your cheeks, at his terror. It's terribly amusing seeing someone so carless, anxiously list off everything he knows. You almost feel bad for the poor scared man.

There isn't anything important here. But Sol decides that you will all return at midnight. The Jedi-killer will be back. Apparently, Qimir -that's his name, that the strawberry-eating, disheveled pharmacist's name- is holding something of value for her.

There's a tug on your wrist as you go to follow the others. Gentle and firm as he pulls you to his chest. "Come by tonight. I'll have some strawberries waiting for you." why does he feel too genuine? When you turn to look at him, he's painted in his usual sweet carefree smile that tugs at your heart.

He looks so innocent...

Starlight really brings out his eyes. He's laughing with a nervous smile,

School-boy crush on full display. You're licking strawberry juice from your hands as you listen to him talk. Backs pressed against the rusty wall and bodies half sprawled in the dirt. He's telling you about the first time the Hutts made him retrieve a plushie for their son from another solar system.

Qimir's voice feels like rose peddles melting into your skin. Sweet, jejeune, free. You offer him a berry from your pile. Watching tentatively as he submerges the red fruit into his mouth. Missing your fingers by an inch. He's laughing after the fact, head thrown back as if he's about to engulf the stars. You decide to laugh too.  

"Are you really that lonely," he says in a voice that's almost not his own. You're not expecting the invasive question, although you guess he means well. The words still cut deep. Piercing through the laughter, stunning you for a breath too long. "No...I'm a Jedi, we do not-"

"Form personal connection. I know...But you just look so lonely." He shuffles closer, the dirt particles almost look celestial in this light. Your fingers pitch a civil war. Pinching and clawing at each other. "No, yes. I don't really get along with the others." He rolls his eyes, bored and amused in the same breath. "Yeah, no wonder your money." He's picking at another strawberry, letting the crunch fill up the silence. You're beginning to think he just likes having something to chew on. Gulping down the anxiety with something toothsome.

He's a little closer now, fingers gingerly tucking back your hair. His fingerprints reverberate across the shell of your ear. Lips gliding against yours. You swallow as his lips fall across yours, pushing sweet stars past parted lips. He tastes of odd things, whimsy things. Everything you'll never come to understand. Xeno fruits and asteroid fields. His fingers glide up your arms, leaving moondust in their wake. He slowly parts, holding you softly with his soulful dark eyes

"You taste so sweet"

Strawberry, Starberry, You kiss him a little too deeply.

Maybe your new master is right.

Maybe there are other ways of being a Jedi.

The movie playing is doused in shades of rose and lilac. Gentle in all the ways. Everyway. The twi'lek girl is in love with the zabrak boy and their families do not approve. You think you remember Sol telling you a similar tale.  

The makeshift auditorium is cozy. Brown couch housing the three of you and your armada of blankets and popcorn buckets. Jacki's head is in your lap, you're playing with the end of her braid imagining the hair to be the lace of a Love-sick girl's ballgown. Yord's arm traverses the length of your arm, absentminded as he studies the motion picture, poking holes in the lose rose-tainted plot. Your head rests against his broad shoulder taking in his new cologne.

Maybe you really did miss them.

Jacki reaches for the popcorn, offering you some before shoving a handful into her mouth. You think the little symmetry-less kernels would taste better with a strawberry glaze. Qimir flashes across your mind, smiling sweetly as he tilts his head.

You think you're a little too similar to the star on screen.

Pinning after forbidden love,

Forbidden power.

Master Sol is growing acutely aware of your drastic improvements. He's noticed the betterment in your offense, your defense. To the way, you wield your saber, your techniques, and yourself. There is esteem in the way he smiles. In the words of praise, you've longed to hear. But you notice the lingering glances, the undertone of skepticism and worry when he asks about practice. He doesn't need to know of the black-glad creature that trains you in the unholy hours.

He doesn't need to know how beautifully your new master sculpts your rage into lessons. Teaching you how to wrangle the force and control it. How to use it to make the world bow.

These things will remain secret. For you fear Sol and the others will strip them of you. Strip them of the new master you've come to worship.

"Do you think people glow when they fall in love?" Jacki's voice is filled with sleep. Eyes closed as she murmurs remnants of movie memory. "No, I don't believe they do" you answer. "too...bad" There was a yawn there darling and vigorous like the rests of her. She looks so sweet like this, infantile in all the ways she can't be. Little girl dreaming of something impossible. You wonder if Sol's told her the fairytales too. You kiss the crown of her head, your baby sister you think. And big brother Yord, snoring with his head thrown back.

Maybe you should test her theory. rising softly from the couch you make your way to the door. Throwing one final glance at your sleeping siblings. Before going to find Qimir.

His lips ghost over yours, spilling star-clad secrets between each kiss. The apothecary has never been so dark, so secret, so secluded. Qimir's lips glided across your neck biting the flesh and licking the little diamond droplets of blood. Your nails rack across his spine, the wool of his throw-over itching the backs of your hands. "So precious" he mumbles, voice ridden with want, need. it's criminal how desperately he needs to feel you. You writhe under him, "Qimir, kiss." you whine. His lips feel like a lifeline, something keeping you sain. He pushes fireflies and lava pearls inside you, carving you open and enjoying you

He always enjoys you.

It's foggy outside when his tongue clashes against yours. A thick unsettling mist banging against the darkened window. "You're custom-made for me" Qimir mumbles against your lips. "Custome tailored" you boldly correct. "ummm, sure" his hands pinch at your hips, clawing mindlessly and leaving tails to your thighs. But the sensations are growing distant, you hear the heavy hum of saber activation. You psyche cracks

The world is dark,

He alone is absolute.

Your master's mask flashes dangerously across your mind. "Master Sol would be disappointed". You've heard that line a million times. Still, the words cut a little too deep coming from your demiurger. "Gullible" you don't understand, what have you done to earn his rage? He's gone, leaving you in the emptiness, you taste the charcoal from the landscape under your tongue.

Still, you long to call after him.

"Master"

The darkness subsides with the feeling of softness across your muscles. A breeze stirs you from the clutches of slumber. "Good morning" Qimir chirps, soft smile greeting you as you open your eyes. "Qimir, when did I?" he laughs, it's such a pretty sound this early in the morning. Sweet like caramel tea. He kisses your forehead. His quietude is commendable, he tries to calm you with feather-light kisses. You laugh pushing the covers away and still. Frozen.

What's this

The nightgown is lacy and short. It drapes expensively against your skin. Marring it with its tenderness. "Qimir, what's this!" he chuckles, "I couldn't let you sleep in those robes, they looked uncomfortable." You want to argue, to scream, and be angry. But the rage boils down slowly as you notice something dangling around your wrist. A bangle, and an anklet you notice later, black and gold entwined in patterns mirroring lighting stricks. "They're from Korriban, I had some relatives there." oh, why does that planet sound so familiar? "Thanks, but ask me next time before you go playing dress-up doll with my sleeping body" He pouts and can't help but trail a string of mouthy kisses across his neck. Qimir shuffles pulling you onto his lap. Pushing his nose under your chin. His eyes are honey-deo, adoring and scheming. "But you're mine." The possessive ness that flesh across his face is alarming. So is how tightly he grips your waist. It's only in this state of half-undressed that you begin to notice the taut muscles of his arms.

During your most recent lesson, your master gifts you a ripe juicy strawberry. He says it'll focus you, replenish your wither strength. You eat it a little too quickly, forgetting to savor the pink blush within. You believe too ferociously in everything your master says.

He can never be wrong.

You love the way your new master splatters blood across your sleeves. Be it yours or his enemies. He's started taking you out on his kills, having you watch as he hacks and mauls. His enemies must die, no one who doubts such marvels should be granted the privilege of life.

He's only ever spoken in half-riddles.

"Unfortunately legacy is a fickle thing. Tenacious, fervent, yet frail and erratic. No matter how hematological, we all read our bones differently."

The rain falls to your ragged heartbeat. Fast one minute and slow the next. You stick out your tongue desperate for a few drops. Your body is on fire, every muscle pushed to its limit. But the Force is screaming inside you, thumping dangerously between your fingers. You're ready for the next round. Saber ready and only half mesmerized as your master pulls out another blood-red saber. You charge, rage pumping deliciously through your body.

You forget to ask him where he got the berry from.

The next Jedi to die will be Kelnacca. That's why Sol is dragging all of you to the forest planet of Khofar. You think the name is utterly hilarious, the others don't understand the mirth.

Between briefings and Jacki and Yords packing quarrels. You sneak out to say goodbye to Qimir. Scribbling a half eligible not to leave for your master. But the apothecary is deserted upon your arrival, only a taped note on a half-full mortar.

'Gone to get more Strawberries.

Be back soon.'

You wonder if Khofar has strawberries.

Strawberry, Starberry, you're falling between the cracks of so many.

The Sun on Khofar is red, barely breaching the thick canopy. Maybe it's for the best. This scene is not one to remember, but how can you make yourself forget?

Death looms.

Permanent, Eternal

The fighting began in twilight.

The sky has grown two shades darker since.

He had floated in from the high reaches. You'd almost called out to him, 'master', the words die bitterly on your tongue. His saber ignites in the carnage, light growing redder after each kill. The bodies fall haphazardly stirring the quiet night.

Your saber falls onto the woodchip ground. No sound. He has followed you here. Yet it is not you, he seeks. Your master mask is haunting, in the dark the silver mouth glows bright white. Even against a massacre

the smile never relents.

He twirls the red saber with lethal accuracy, red arc severing another life. 'Take the right!' Jacki screams through the force, her eager voice bouncing inside your cranium. 'Don't' you scream but she's already attacked.

Saber sings saber.

Golden light flickers.

Forward. Backward. Lunge. Parry. Flunge.

Just like you practiced. Back in the quiet of the training room. Is it too late to return to the matted ground and wooden swords? Too late for safe comfort?

You won't take it for granted this time you swear.

Your master attacks with vicious zeal, cutting through the light. His black robes bleeding into the night. Jacki, scurries backward, trying to block with every ounce of strength. In one swift move, she spins freeing herself and assaulting his head with the metal of her weapon.

The mask clutters to the ground.

You scream.

He looks every bit the villain here. Blood drenched, water drenched. Smiling like the wolf in a child's picture book. Qimir's face stares back at you, hair matted to his forehead. He's panting, spent. You've never seen him toil. Dreaming him incapable of harm.

Yet he stands above the corpses. Wolf's teeth bared as he slices through the little girl.

It's been years since Master Sol tucked you into bed. Years since he's read you a story and listened to your baseless questions about romances.

You've finally gotten your answer. Painted in a shade of red indistinguishable from black.

Because the villain is too vile to be loved.

You run, catching the limp corpse before it joins the rest, you cradle her close. Tears landing on the orange of her face. There are no strawberry romances here. No sweet forbidden fruits. Just pain, hollow, empty, rotten. "Jacki" your voice muffles into her robes, rain-soaked, tear-soaked.

"Was that its name?" his voice doesn't sound right. No cheerful hellos or drowsy laughs. It's all menacing now, grating and hollow lilt. "Qimir" you wail, sob half caught in your throat. "It can't be you." He shakes his head, smile crooked and maniacal. "I'm afraid so, little one." The force pushed you up, pulling you to him. Qimirs head tilts, his fingers dancing around your throat. Squeezing squeezing squzing. Your glossy eyes take in his unruly appearance. Even now your master looks utterly perfect. Muscles relaxed as he steals your breath. "Master" you whine, your heart shouldn't be hammering like this, leaping through beats like something lovesick.

"(Y/n)" golden light fills the clearing. Yord runs, Prince Charming in every way you should have loved.

Qimir releases you, only to nestle your neck in the crook of his arm. "Don't worry darling. I'm almost done." He blocks the first attack.

Second, third. Yord scrambles to pull you away, missing each time. "Let her go" The urgency in his voice rattles you. He did love you.

Little sister, little princess.

Why is only starting to make sense now?

There's a crack, so loud it echoes across the woods.

"NO"

Yord's body joins the rest.

no no no

"Where were we?" Qimir is every bit the villain.

The dragon, the wolf, the tyrant king with a crown of bones.

"You lied to me, you killed them. Why, why would you do this."

"Because the Jedi say I can not exist." Sith, right those things were supposed to be evil. Hailing from Koriiban, the evil Jedi forced to flee. And here you were having so readily given yourself to the enemy.

The blood flows free in the rain. Dozens of bodies drained.

There's a river of blood. You kneel by the holy thing, dipping your cupped hands into the crimson. You drink deeply from the massacre thinking it'll taste sweet. Qimir pulls you in holding your throat as he submerges you.

Baptized in blood

The world flashes red.

It feels so free here. Floating weightless, letting everything be. The rage can not find you in these depths. Free like an adrift astromech. Free to float amongst the stars.

When you emerge again. The world has grown brighter. You see the wide-eyed bodies, even Sol is among the dead, you swear you see disappointment in his lifeless orbs. You gulp, swallowing the euphoric faint. You see your new master before you. Swimming to him carefully, following the gentle tug of the force. Prey meets predator. Qimir chuckles, the water is shallow by the banks. He sits awaiting, on his makeshift throne.

There is no sympathy here you should know better

"You took adorable" Qimir rasps. Hot breath fanning your ear. "Master Qimir" you mumble shifting as he pulls you onto his lap. He laughs this is submission, a breath away from grasping his desire. He cups your cheeks, drifting his hands to your shoulders. Pulling you closer, bodies melting into one.

His kisses still taste like strawberries. Sweet and metallic. All possession and domination. Biting lips and tongue and flesh. Spilling fresh poison with each snip of your neck. He licks the blood from your fingers with feral pleasure. Swirling his tongue around each digit and pulling it further down his hungry mouth. You swallow the darkness from his tongue, letting him snuff out the little embers of light. The stars are burning away bit by bit. He pushes you under again.

Mornings on Khofar are dark, caught in a perpetual twilight. Qimir wraps his robes around you letting the midnight sink into your bones. "The ships a bit of a walk. But we should be there before noon." You paddle after him. Fingers lashing awkwardly at his hand. He turns and offers you that tilted smile once more, mask bouncing in his free hand.

"Master qimir" you confess, it feels so light on your tongue. Like clutching dying white-dwarf-stars behind your teeth. He chuckles, snapping a berry from a nearby bush. His smile sings of triumph, victory, earned in blood. He places the fruit amongst your teeth. You, his little war prize.

"My little acolyte"

ᯓ♡ : @feedmestraycats @moonlovefairy  @wicked0clouds @phoenixes-and-wizards @peridedarling @morax-on-my-mind @magikmaik @lov4gor3 @manchuria @bucksdonkey @embersofimagination @hauntedhedgehogs @peter-laufeyson @papitas-con-sal @f0odie @boredtone @bluechissbrain @yourfilthydevil @n0t-skywalker @xsister-serpent @gabriqllas @zionysuss @i-love-my-babygirls @pagingoswin @jxp1ter @faebirdie @deezhutts565 @thesithdiaries @pagingoswin @hauntingwolf @scentedbanditlampwobbler @uwingdispatch @mask-knife-is-buggys-girl @lunarsvertigo @scintilla-morningstar @carpinchootaku

[nny11writes]

Let's Try This Again: 79,560

A Hunter is a Hunter, Even in a Dream: 24

Difference of 79,536 hits from most viewed to least viewed.

As you can see, I only ever write fics that are universally loved and are never self indulgent 😌

Fic writers, put in the tags what the difference in hits is between your most and least viewed fics. Mine is 7,720 (7,779-59).

[kerink]

in light of people's confusion over cecil's longevity in @sexymanotd i wanted to document a bit of his history for those unfamiliar or nostalgic

welcome to night vale is a podcast written by joseph fink and jeffrey cranor. cecil gerschwin palmer is the main character and voiced by cecil baldwin.

it debuted on june 15, 2012 it reached its peak in popularity in 2013-2014

despite this, wtnv has been one of tumblr's top fandoms since staff started tracking fandom-related data in 2014

for the longest time the only thing we knew about cecil's appearance was: "He is wearing a tie. He is not tall or short. Not thin or fat." and that wasn't until episode 19 which aired march 15, 2013. for almost a full year we had no idea what cecil looked like. so tumblr's collective unconscious kicked into high gear and we did what we do best

we created a tumblr sexyman

from know your meme: "Defining traits of the archetype include skinny body type, trickster or villain role and dapper clothing."

know your meme identifies wheatley (portal 2, 2011) and the onceler (the lorax, 2012) as being likely tumblr's first sexymen. and the onceler fandom was at its peak in 2012-2013, the same time as wtnv. in addition to this, the hannibal fandom has been cited as one of the contributing factors to wtnv's success on tumblr.

so tumblr had created an archetype that worked and the wtnv fandom was made up of mostly hannibal fans - the foundation for putting cecil in a suit was there. and honestly? cecil's at work in the show, why wouldn't he be well dressed?

however, while this explains his attire it doesn't explain some of cecil's more unique sexyman features, namely the tentacles. for this we have to return to the 2014 fandom review analysis where you can see the most popular fandom at the time: homestuck

haven't you ever wondered why almost a quarter (189/923 at time of writing) of E rated wtnv fics on ao3 are tagged tentacles or tentacle sex? why cecil having tentacles for a dick is such a seemingly popular headcanon? well look no further then homestuck cultural hold over.

throughout all of this, the development of the sexyman archetype on tumblr and the rise of homestuck, one creator really stands out: kinomatika

kino was one of the most popular homestuck artists on tumblr at the time, popular for their eridan fanart. if you google image search "welcome to night vale" kino's art is still one of the first results you'll get

their design was so popular in fact it was featured in wtnv related articles from the time

and yes there were absolutely other artists giving cecil tentacles and moving tattoos at the time, but it can't be understated the reach kino had and the influence their homestuck roots had on their design choices

i recommend going through the archive of @nightvaleartclub to see how cecil used to be portrayed back in the early days. unfortunately the earliest fanart i've been able to find is july 2013 and i find it hard to believe it took tumblr a year to draw him. although, i started listening at episode 5 and didn't start drawing him until then myself so who knows...

cecil has had tumblr's heart in a vice grip since episode 1, with "20,000 posts, 183,000 blogs and 680,000 notes using the #Night Vale tag" during its first week. tumblr's love for wtnv has always been fairly genuine, from the impact the writing has had on tumblr humor and future story telling, to how wtnv paved the way for lgbt+ representation in indi media, to how it popularized podcasts as a medium for story telling, to the little comforts some of cecil's quotes still bring people today

cecil is not only a founding father of tumblr culture, but also a blorbo of the people. cecil the character in canon has a tumblr account where he posts his art and slash fanfiction.

although cecil's character has developed over time and we've come to see what a ditzy, eccentric, brat he really is, changing his status from sexyman to babygirl, cecil is absolutely a character you should embrace. and you know what... despite what i've said in the past

#cecilsweep

[ID: Images one and two are Google analytic graphs for the search terms "welcome to night vale" and "wtnv" between June 15, 2015 and January 27, 2023. They both depict very sharp spikes around 2013-2014 until the lines decrease greatly over time.

Image three is a drawing of Cecil from Welcome To Nightvale. He is white, with white hair, glasses, a third eye on his forehead, and he is wearing a suit. In the background is the silhouette of a neighborhood from the WTNV official art, a galaxy, and a moon. It is tinted purple. Image four is the always has been meme. Instead of the earth is the tumblr logo, and the text is: “a wtnv fansite?” “Always has been”. End ID] id thanks to @princess-of-purple-prose

[thewadapan]

So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

Budiansky quit the comic after fifty issues, allowing Furman to take the reigns as sole writer, and Furman basically got the final word on what the Transformers are. They did not evolve from naturally-occurring gears, levers and pulleys. They were not designed by a supercomputer, or built by an alien race. They are the chosen sons of God. The Thirteen are, of course, an invention of Furman's. And Transformers One is perhaps the most Furmanist story ever told. It's the culmination of years and years of lore building up, ossifying into something you can no longer describe as the history of a universe—no, this is a mythology. It's the most perfect form of brand alignment imaginable: this is not an origin story, this is the origin story. It's been the origin story for a better part of the decade—and now that everyone's seen it in theatres, it will be the origin story forever.

It's not just the fiction, either, by the way. These days, if you go into the store to buy a Transformers toy, chances are it'll turn into some misshapen made-up futuristic concept car with unpainted windows and wheels that don't even roll—and that's terrible.

There's truly a lot to hate about Michael Bay's Transformers films, but with each new entry that's released following his departure from the franchise, I feel like I only find myself appreciating them more. In the 2007 Transformers movie, we see the Transformers crash-landing on Earth in their "protoforms", and their movements are animated like they're shy, like they're naked until they scan an Earth vehicle and adopt a disguise. The visual impact of Megatron, meanwhile, is that he doesn't adopt a disguise in that movie: he's a horrible metal skeleton that turns into a jet made of knives. It's weird and alien and it rules.

In the 1980s Transformers cartoon, and in the last-minute Cybertron-set prologue added to Bumblebee, and now in Transformers One, the Transformers look basically the same on Cybertron as they eventually do upon their arrival to Earth. Optimus Prime turns, unmistakably, into a truck. He has windows on his chest, and smokestacks on his arms. He doesn't have these features because he disguises himself as an Earth truck. He has those details because that's just what Optimus Prime looks like. They're his "essential brand elements", or "trademark details", which "identify the must-have elements in character design to be carried across all creative expressions". Prime may take any form he wishes, so long as it looks exactly like himself. A mask of my own face—I'd wear that.

What I find fucked up about the reception towards Transformers One is that a lot of people seemed very invested in its success—and not its popular success, certainly not its artistic success, but rather its commercial success. They wanted this to be the first film to make one bumblebillion dollars. They wanted Hasbro to line its fucking pockets and make movies like this forever. So if you express any kind of negativity towards this film online, which might theoretically affect some other person's decision of whether or not to go and see it, which might theoretically affect the profit it makes at the cinema, which might theoretically affect the future of the franchise in some unknown way, then you're some sort of fandom traitor who oughta be executed.

If you're so worried about the future of the franchise, the fandom really isn't where you should be looking. Like, c'mon, the Transformers fandom has been good as gold, we buy so many toys. Meanwhile, Hasbro just got finished laying off around 100 employees with no warning to make their books look a bit better. Transformers designer John Warden—who'd worked at Hasbro for 25 years, is widely credited with inventing the modern paradigm of Transformers toylines, and ultimately became the creative director of both Transformers and G.I. Joe—was on assignment to a convention in the UK with the rest of the Transformers team when he heard the news. Suffice to say, he did not end up making a public appearance at the convention. With his work's health insurance snatched away without notice, he's had to resort to crowdfunding to pay his family's medical bills. As a well-known figure in the toy industry, he will presumably find a new job and land on his feet, but the same cannot be said for all 99 of the remaining employees we're told have been unceremoniously dumped.

The Binder of Revelation, which has been something of a holy grail of behind-the-scenes material for over a decade, has finally been leaked—presumably by one of these guys, presumably out of spite.

Now, I'm not going to pretend to have been paying particularly close attention to Hasbro's financials, but from where I'm sitting, it sure seems that ever since the sudden death of then-CEO Brian Goldner in 2021—credited for saving the company in 2000, and overseeing the explosive growth of its intellectual property ever since then—his replacement, Chris P. Cocks (or "Crispy Cocks", as we're all now calling him), has been dead set on gutting the company for all it's worth. The Power Rangers franchise, which the company acquired for $522 million in 2018, is dead in the water, with huge quantities of physical assets being flogged at auction for quick cash. In 2019, they acquired the entertainment company eOne for $4.0 billion, and now they're selling off the whole shebang (except the cash-printing Peppa Pig franchise) for just $500 million. I guess maybe they just fucked it big style?

Because now, Crispy Cocks has proudly announced that Hasbro is going to stop financing movies altogether.

I'm sure that in the wake of this announcement, many of those aforementioned fandom pundits will be drawing a correlation between this announcement, and the box-office figures for Transformers One, and the fact that you personally failed to convince your Mom to go see it with you or whatever. "Ah, you see! They didn't make enough of their money back, and now they're consolidating. Simple economic cause and effect. Market forces." And look, I'm not going to sit here and claim these things are wholly unrelated. Of course they're very related. But I am going to make the case that, in truth, nobody at Hasbro really cared how Transformers One did. Unless it turned out to be some pie-in-the-sky runaway hit, I don't think the future of the Transformers film franchise would've been particularly different if only the film had done better.

With Paramount, Hasbro has been making these movies and having them underperform ever since 2017's The Last Knight—which apparently lost Paramount $100 million—and that's because at the end of the day, what they're most interested in isn't making movies. It's making toy commercials. And on that level, the Transformers films have clearly been a success so far.

Now, Crispy Cocks' skinsuit fashions itself as a gamer, so he can personify Hasbro's hardcore pivot towards digital and tabletop gaming. While we await the release of the assuredly-dogshit, assuredly-hell-to-have-worked-on, assuredly-never-coming-out Transformers: Reactivate, the brand has been whored out to a procession of mobile games you've never heard of, glorified gambling machines designed to hack the monkey part of your brain with bright colors and Things You Recognize. The exact content of these games is irrelevant; all that matters is the announcement, on every single pop culture news outlet simultaneously (naturally—they're all owned by the same company, talk about Monopoly), of New Collaboration Between Transformers And Goon Warriors Free To Download Now. Your daily, weekly, bi-annual reminder to think about that thing you can buy.

That's all any of this stuff is.

All these words spilled about what a good movie Transformers One is, and how bad it is, and why the marketing failed it, and what the next one might be like, and- none of it mattered! It does not matter. From the beginning, this movie was always going to be too preoccupied with its own mercenary interests to be something anyone would ever be able to seriously talk about as a work of art, even corporate art. The actual content of the movie is irrelevant; I've spent very little of this review talking about it, because there's nothing there to talk about. It is the mere fact of the movie's existence that serves its purpose. Like the Optimus Prime Fortnite skin, it's enough for it to occupy our attention.

Maybe that's why they staggered the film's release date: because some marketing exec watched the rough cut and realised, if everyone saw it at once, we'd be done talking about it within a fortnight. And in ten years' time, after it has been paraded around whichever streaming services survive 'til then, and nearly every last cent of revenue has been squeezed out of it, the kids will be able to watch it on YouTube with ad breaks, and decide what they want for Christmas.

To the Transformers fans reading this, I am begging you, unless you happen to own shares in Hasbro for some fucking reason, to disabuse yourself of the feeling that you owe any kind of loyalty to a toy franchise. It shouldn't matter to you one jot how Transformers One did in theatres. The people who actually make the product you care about, the friendly faces paraded before you on livestreams and press tours, don't see this money anyway—they too are merely assets, who can be fired and replaced with cheaper, inferior equivalents.

I'm sure many of you will have, from the very start, seen this review for the foolish endeavour it is. I've wasted all this time criticising Transformers One for its lack of artistic vision, when the truth is, Transformers One is playing an entirely different game. Like the Disney Channel running "Fishy Facts!" segments to subliminally get kids interested in fish a full year and a half before the release of Finding Nemo, this is not a product—it's an ad for a product.

...

Okay I'll be honest, I don't entirely love where this review has ended up. It ends on kind of a "bummer note", I guess you could say. Flashing back to sections I. and II., I feel like things started out so fun. We had that whole bit at the start where I was telling you about the Transformers, remember that? We learned so much together. And there were even a few moments where I was able to express some kind of sincere joy and appreciation over this thing that I supposedly adore so much. Sure, I did a lot of complaining, but it was fun complaining, right? It had like, a sarcastic edge to it, sort of.

What happened? Why am I suddenly talking like I want to cut someone's head off? As I grow more bitter, I type this essay with increasing difficulty. The massive gun that's sprouted from my forearm keeps colliding with my monitor.

Hasbro descends from on high to reward @TFHypeGuy, a grown-ass adult who has spent untold unpaid hours fearlessly replying to every single viral tweet to tell people to go see the film, somehow netting himself 80,000 followers in the process, with a crate of toys, which was probably his end goal from the start. He and I duel. We trade blow after blow. Finally, he clobbers me with a Walmart-exclusive light-up Ultimate Energon Optimus Prime figure. "It didn't have to end this way," he says. Then he banishes me to the surface world to think on my sins.

VII. The Wrong Trousers 👖 | Train Chase Scene 🚂 | Wallace & Gromit

When Eric Pearson came onto the project,

It was late middle of the game. They had a script that had the outline of the story, which is still very much the structural bones of the story now. But what I found interesting about animation is there are certain things that were far along in the process. The train escape to the surface was very far along, so that was just kind of locked. Maybe you could change a line here or there. Meanwhile, the opening, the whole first 10 minutes, was all storyboards and sketches, which changed a bunch of times.

And I do think that's a really difficult position for a scriptwriter to be in. Sure, the parts of the screenplay I feel able to attribute to Pearson, I wasn't particularly impressed by. But I think this anecdote goes to show how unnatural the constraints can be on a story like this. When you think of like, a scene that's key to Transformers One, you're probably imagining something like the Megatron/Optimus fight, or the scene in the mine—not the train scene, which is basically a bit of arbitrary connective tissue bridging the two main locations in the film.

Josh Cooley, the film's director, the face of the film on the press circuit from a creative standpoint, came onboard after five years of previous development work was already done. Writers Andrew Barrer and Gabriel Ferrari, who originally pitched the film and presumably wrote the early drafts of the story, might have already left the project by that point. Aaron Archer and Rik Alvarez, the creative forces behind the Binder of Revelation, left Hasbro years before the film was even pitched. It's no wonder to me that the final result feels incoherent, disjointed, and oddly stilted. It's certainly no wonder that nobody at Hasbro today really seems to care about the film; it's not their baby. If any of the people credited with bringing the project to completion had been given full creative freedom to make whatever Transformers movie they wanted, it would've looked completely different.

Luckily, there are still plenty of areas of the franchise where creators have just been allowed to go ham. Over in Japan, TRIGGER has taken a modest budget for a music-video and produced one of the most visually-striking bits of animation in the franchise, a true love-letter to all the weird parts of its forty-year history. And in America, comic creator Daniel Warren Johnson is halfway through his Eisner-winning new run on the title, which is the kind of thing I would basically recommend to anyone without caveats as being a phenomenal story, period. If that comic can be said to be an advert for anything, it's for Skybound's other, nowhere-near-as-good comic series, or for the unofficial unlicensed copyright-infringing Magic Square Optimus Prime toy Daniel Warren Johnson apparently used as reference the whole time.

I dunno, maybe Hasbro stepping back from financing these films is a good thing, in the long run. Maybe we can do without Transformers movies for a while. And however many years down the line, maybe Paramount or some other studio will put together a new team of talent, and they'll get to do whatever it is they want. And maybe the movie they make will be the one that knocks everyone's socks off.

Truly, I don't know where the road leads from here. It hasn't been built yet. It could turn out to go anywhere.

If you made it this far, I hope some of what I've said has been entertaining or interesting. Thanks for reading!

Time to for me to come clean. There is one other reason why I've waited so long to release this review... and that's because I have a special announcement to make. Last month I set myself a little challenge: to write something that's at least as long as this review, but which isn't another negative-nancy tirade. It's a story.

The working title is "Ice Road Transformers". It's like an episode of that one reality TV show about Canadians driving trucks across frozen lakes—except the truck is Optimus Prime.

Early reviews say it's good! It'll be going through several rounds of revisions, to turn it into a well-oiled machine, hopefully in time for a seasonally-appropriate wide release in February. I'm very excited for you to be able to read it. You can follow me here or on Bluesky to be the first to find out when it's ready!

I'd like to thank my friends Jo and Umar for their work interviewing Cooley and di Bonaventura during the film's press circuit, along with Viv, Callum, and Omar for allowing me to enjoy this film much more than I otherwise might have. I wouldn't have been able to express many of my feelings about this movie nearly so cogently if not for the conversations I had with them. Additional thanks go to Chris McFeely, as his Transformers: The Basics videos (linked throughout this essay) refreshed my memory on a lot of the Aligned stuff, sparing me from having to read The Covenant of Primus again.

[dduane]

Hi! I'd love to hear ur take on the whole Spirk Canon discussion going on right now as someone who's written licensed Trek books. Like besides the whole "did Unification 765874 make spirk canon" thing, is it even fair to talk about spirk being canon or not? What would it take for spirk to "be canon"? It strikes me as a very fandom-y (positive) way to interact with media, which is funny since k/s invented fandom culture. But at the same time ur Supernatural comparison was right on the money and paramount has been VERY weird about addressing their relationship in nutrek. What are ur thoughts??

First of all: Despite the excitement of any given moment, people need to be careful about mistaking anything I reblog without further-amplifying comment, on any subject, as necessarily implying agreement or approval. Lots of times I reblog things just to direct attention to them (and sometimes because I think they're funny).

"ur Supernatural comparison" was not mine. It was somebody else's. I reblogged it to direct attention to it. (And maybe I thought it was funny.)

...Also, wut iz dis "nutrek" u speak of? When you've been working in this universe for long enough, with the necessary perspective to look up and down the length of it without idiosyncratically-added heat... then all Trek is Trek. The spectrum along which its varying species all coexist is ever more complexly and interestingly braided than it once was, sure. But that's all. I've got enough on my plate at the moment not to have time to waste trying to force different aspects of Trek into cage fights with each other.

And: "Paramount"? Who is that, exactly? At the pointy end, all corporations are made up of people. Which ones are we talking about? Which production entities? Which creative teams? Which execs, working under whose supervising auspices, and when? Working with whose (character/worldview/policy) decisions, and for how long?

None of this stuff is simple to work out, and it's not helpful to try to come at it as if it's necessarily going to be easy to tease out who's doing what to whom. Briefly: it's normal for it to look weird. But don’t mistake a Big Corporate Monolith for something actually monolithic.

Also, for the moment, ffs, let's all just step away from the business of defining what K/S and/or Spirk actually involves. Enough ink and electrons have been spilled over this whole spectrum of character relationship since the 1960s, and frankly, life's too short. Definitely too short to be trying to resolve it all in terms of something that dropped...when? About this time last night, or the night before? :) Jeeeez, people. Take a breath or three and let things settle.

So I don't think anybody needs to be hearing my deep cogitations about the new short film right now... because there aren't any. No question, Unification's beautiful to look at—and I've told Dave Blass he did nice work, about which i don't think there can be any possible doubt. (Not to mention the high-end technical aspects dealt with so seamlessly in such a small tight package, which have left my jaw on the floor.) The Giacchino score's also quite lovely, but that also is more or less a given.

As for everything else: I decline to spew opinion all over the joint until I've had a chance to assimilate what I've seen, and actually acquire a useful opinion from somewhere or other. Meanwhile, y'all just keep doing what you're all doing, and I'll go make some more tea. :)

[adventures-in-mangaland]

Dead Boy Detectives: Fic Recs

My latest hyperfixation is Dead Boy Detectives, so oc I've been reading and commenting on a ton of fic. And it's been really nice because the response of the authors has been so warm. I don't think I've ever gotten so many replies so quickly! Also, the fandom has inspired me to actually start writing again for the first time in two years and I've got a great idea for a fanvid. (Any tips on how to make one would be appreciated! 😅)

So in tribute to the lovely fandom, here's a fic rec post (nearly all payneland):

in this city there's a thousand things I want to say to you by laiqualaurelote

Edwin has a sexual awakening and it blows Charles' mind. And other things. Very funny and well written. Also features minor Edwin/Cat King and Edwardian flirting.

I also highly recommend the saviour of the broken, the beaten, and the damned by the same author, which is a kind of multiverse!Edwin fic? Featuring Edwin dying? And Niko time travelling? Trying to save time? Anyway, interesting to see Edwin alive, ageing and in different periods of time/his life.

For the First Time Twice by LikeMmmCookies

Amnesia fic! Charles loses his memories and thinks he and Edwin are married. Very cute (tandem bike date!) and well written, though Edwin's point of view still manages to be angsty. Also, the yearning is off the charts and the most recent chapter turned up the heat.

I guess you're stuck with me by Punny_Puck

AU in which Edwin and Charles actually got married pre-show. Funny, cute with a sweet marriage proposal prequel. Instant comfort fic.

Dance the Night by Gruoch

The gang are hunting an energy-sucking vampire that targets beautiful people, so naturally Edwin MUST disguise himself as the hottest girl in London. This one starts out fun and campy then takes a hard left turn into Serious Business. Prepare yourself for emotional moments, worldbuilding and some really excellent horror.

Long Past Time by sanctuary_for_all

Charles proposes to Edwin post canon. It's a short and sweet established relationship fic with some cool worldbuilding about ghosts and their ability to shape their clothing/appearances.

lay my hands on heaven by Opossum_Subatomic

I had to include a PWP and this is a great one. Extremely well written, in character and romantic. And explicit, obviously.

Data Points by Asidian

Edwin learns to cuddle. It's a production and completely adorable. I love a fic that explores the difference between the boys' physicality and this one's really on point. The writing and characterisation are great and it's nice to see Edwin taking care of Charles.

I also recommend Lanterns In the Dark, which sets the scene for Charles and Edwin's first meeting with some gut-wrenching details about Charles' homelife and Edwin's escape from Hell.

When I Was a Young Boy by flowerbritts

A Good Omens crossover and AU in which Aziraphale is Edwin's adopted father. Family reunions and revelations abound. Also, Edwin gets to be a teenager and slam doors while shouting, as he deserves.

The author has also written Wait, I'm Coming Too, which is a very sweet post canon 'Charles Worries About Edwin and Realises His Feelings' fic inspired by that 'Edwin reading Heartstopper' fanart. Both fics deserve more love!

A Slight Miscalculation by kantigone

Idiots in Love and Didn't Know They Were Dating. Crystal and Niko are the real MVPs, for real. A treat.

Terrible at Keeping Secrets (5+1) by ASingularSadSoggyPringle

Interesting demon!Edwin AU. Charles is a precious cupcake in this fic and Edwin is mostly the same with some Darker moments. I loved the concept and the author adds in some great, creepy details.

somaesthesia by perexcri

Edwin's journey from being touch-averse to touch-starved... at least when it comes to Charles. Palmistry is involved. I loved Edwin's characterisation and the unresolved sexual/romantic tension was on point.

And possibly I like the thrill (of under me you quite so new) by Leandra

Edwin explores his sexuality and re-negotiates his relationship with Charles. Meanwhile, the gang take on the case of a ghost who wants them to matchmake his still-living lover. Crosses over with The Sandman. And Edwin gets to be confident and flirty as a treat.

Always by How You Doing (FancyMeetingYouHere)

Hurt/Comfort fic in which Edwin has a traumatic flashback to the doll-head demon spider and Charles looks after him. Charles reading Good Omens to Edwin is a nice, meta touch.

Made You Look by Baby_Spinach

The agency are hunting an incubus that decides to take on Edwin's appearance. A repression explosion ensues. Fun fic.

Shape Me by dearheartdont

This one's actually a character study of Charles and his mixed race Indian heritage (so no Edwin) and it's so well done. It's also part of a series in progress about Charles growing up in the 80s with all the racism and homophobia that that entails. I look forward to seeing where it goes.

The Most Tender Place In My Heart by coloursflyaway

Edwin shares memories of how he fell in love with Charles, who figures out his own feelings in the process. It's super sweet and involves fun pre-show flashbacks and defintely deserves more attention!

I also loved Won't Fear Love by the same author, in which Charles takes Edwin out on dates and breaks the cuteness scales. And shout out to Good Enough which is the first fic I bookmarked for this fandom! 🥳

Anyway, thank you to all these amazing writers for making this fandom so special! 🥰

[ravensmadreads]

Unhinged totally unasked for thots about Riding Pedro Boys

Authors Note: So this came from me chugging entirely too many energy drinks and then projectile vomiting in Taylors inbox. I'd like to warn you that: English isn't my first language, I have never written smut before, I'm not a real writer, and also I'm trash goblin levels of unhinged about this. That being said; Enjoy and uhh. Forgive me Fandom

JAVIER PEÑA

Javier Pena doesn't let you do it.

Don't @ me LISTEN! (YES I STARTED OFF WITH A CONTROVERSIAL THOT FUCKING BITE ME.)

That man does not have the time, or the patience, or the good sense (the sense is at the other end) to let you ride. He needs the control okay? And sometimes it's not even about the control ! It's the frustration. It piles and piles and piles until he snaps. He needs to do. He will bend you over and work his frustration away until he has had enough and you let him because he needs it. (And lets be real he makes it worth your while every single time)

BUT. When he finally fucking retires, and gets a ranch, and breaths air not tinged with the smells of death, cigarettes and guns for the first time in however many years, and maybe drinks some fucking water, he takes you out on a date. He fumbles through the entire thing, panics because he thinks he blew it, still manages to get you home, gets ridden for the first time in like 6 years, and can't walk straight for an entire day and stammers every time someone asks him why.

JAVIER GUTIERREZ

Javi G loves it. He loves watching you. Gets all puppy dog wide eyed (remember the pool scene face??? Thats it.) and you have to really focus because his look of straight up wonder and awe and bright eyed eagerness makes you want to cry. He's panting like he's running a marathon, running his big hands EVERYWHERE he can reach. He makes you feel worshipped and adored and so very very loved. Thanks you after. For being so amazing, and so wonderful to him, and thanks the universe that he found you. Cause he's sap. You definitely cry after.

JOEL MILLER

(Watch me be controversial again) Joel is fucking tired okay? He has old man bones and creaky joints and his back is achy. Patrol was agony, Jesse wouldn't shut up the entire time, and Tommy was giving him shit, and he has no energy to drill anyone into the mattress (as much as we all want him to). He's just plain tired. He likes you on top. Likes it slow (like a roast chicken on a sunday slow). Enjoys the gradual build up, likes to lean back, watch with half open eyes as you take your time. Wants to indulge in something beautiful at the end of the world, and that something is you. He makes sexy grunting noises, mutters a whole lot of praise ~and filth~ and just y'know. Savours it. 🫠🫠🫠 savours you. 🫠

DIETER BRAVO

Dieter is a maniac. (Leave him alone he has adhd!!) He can't still still for the life of him so you best believe he changes positions 6 times and the only way you're getting to ride is if you're also putting some weight elsewhere. To hold him down! You squeeze his neck once and he MELTS. INSTANTLY. Loses all sense. Starts babbling and whimpering and making extremely pathetic noises. Will definitely buck up and whine. PRAISES YOU. BEGGING. LOUD NOISES.

MAX PHILLIPS

Max is a heathen. He just likes watching you bounce. That's it. That's the post :p

MARCUS PIKE

Marcus P is a romantic. He will be doing the whole "lean forward and try to get kisses in between" while also "moaning and maintaining eye contact" and he's holding you so tight , squeezing your sides and also muttering declarations of love. About how he wants a life with you, and a family, and a home, and a future. How he's going to "make you so happy baby, I promise I will, I swear to you". Doesn't let you off for from on top of him for atleast a half hour after; kissing all over your face and rubbing your back and petting your hair "I meant all of it sweetheart. I want all of you." shsbzgwgsvsg ilovehimsomuch and I've only ever seen gifsets of this man what is wrong with me

MARCUS MORENO

Marcus M is A MENACE. He wears his stupid glasses, and has his stupid shirt off, while he does stupid taxes/meeting plans in bed. You keep throwing side glances and getting increasingly wound up and he just has this gentle smirk but he's mostly ignoring you. You sidle up to him and maybe start kissing his jaw, laying gentle pecks down his neck, and he's still fukcungh working "Baby. I need to finish this. I'm sorry, you need to wait." But that smirk is still there and it's driving you crazy and maybe you keep kissing until you reach his *coughs* and then you're working on getting him interested. You can still hear the fucking pen scratching though and so you go deeper, and he raises an eyebrow. "be good now honey" You're settling in his lap and he has you sitting there until he has finished his paperwork with you whimpering and trying not to squirm because you want to be good you really do and you know he'll make it so much better but he feels so good and when he's finally finally done you get to move but you're so wound up you can't pull yourself together enough to find a rhythm and you're nearly in tears and he has to grip your sides and murmur instructions in your ear and help you until you're satisfied and just when you think he's done, and about to flip you over, he adjusts his grip and starts moving from underneath you until you're crying and he's finished ~which doesnt happen until you've come 2 more times~

DAVE YORK

Dave. Oh my gosh Dave. Dave is a strict dom if ever there was one. With him it's a punishment. He'll tell you to hold off until he's done which is freaking impossible with how deep he gets, and how he likes to warm up his hands on your butt while you're trying desperately to hold onto that last thread of control. He is muttering absolute filth, holding your arms behind your back with one hand while the other is either laying smack after smack or rubbing you furiously all the while he's got the smuggest look. "Don't you dare baby. Be a good girl now. Listen and obey for once". But you can't because he's not fair and he knows it. And when you do finally fall apart he's clenching his teeth trying to hold back himself and his hands are holding you up as you gasp his name like it's the only word you know. He's running his hands down your back and kissing you softly and helping you catch your breath and when you finally get your heart to stop pounding and look up at him, he's watching you with this dangerously soft smile and he goes "oh you're in for it now aren't you honey?" and kisses your forehead while you try not to whimper.

FRANKIE MORALES

Frankie is a soft boy. He loves it. Craves it. He loves giving up control. Wants you to tie him up and have your way until he has no thoughts left in that pretty little head. He is swearing like an absolute sailor the entire time, calling you ma'am, begging to be released so he can kiss you and touch you, absolutely nearly breaks the head board once he was so desperate. Wants to be edged but also is the biggest WIMP about it. Will pout and swear and beg and plead but then want you to deny him again. Will definitely be mumbling absolute nonsense once you're done. Needs all the aftercare. Blushes pink when he gets it. Wraps himself around you like a HUGE koala bear after. ~and returns the edging favour 3 times over when he gets in his Captain Francisco Morales Mood~

JACK DANIELS

BONUS TWO I KNOW NOTHING ABOUT and tumblr won't let me put gifs for:

Jack makes every single cowboy joke known to man. You have to put your hand on his mouth to get him to shut the hell up. His eyes get all glassy when you do. He puts his hat on top of your head and busies himself in your neck (dual benefits: A. He shuts up and B. HICKIES) will definitely drag you on top of him in his Bronco (he likes to show off) will pull up on the side of the road almost 70% of the times you drive together. Bites you over your clothes. Loves the way you grab desperately at this leather jacket. Definitely makes you bend over and 'clean up the mess sugar' before driving like the hounds of hell are after him all the way back home and doing it all over again because "we gotta make you a mama now love"

PERO TOVAR

Pero got married after he came back and retired as a sell sword. His wife is a soft but sassy thing who's a little (read: not at all, she returns his snark twice over) intimidated by him but also thinks he's a good man because he saved her village from raiders. She has seen him grumble and snark at but then also share his food with the orphans who works at the village inn. She's inexperienced (let me live my victorian life) and he doesn't really think he deserves her but also he's not so much an idiot to say no to someone like her. She's the village "healer" and he met her when he got stabbed by one of the raiders (arm wound: not serious.) He has to teach her. She gets shy and flustered, which is a total 180 from her sassy self, and Pero loves it. She makes the most amazing sounds that have him thinking that maybe he did something right in his life to end up in her arms. She wants to please her new husband and asks her married friends for advice and they tell her about this new position. So she asks him, stuttering and tripping over words, if she could try something she heard about? From a friend? She straddles him and Pero loses his mind. He's closing his eyes and clenching his jaw so hard and she's whimpering in the most DELICIOUS way and he's trying so hard to hold back and let her take her pace and she's so worried "am I not doing it right?" Pero has to take 3 deep breaths before he's centred enough to answer and then he helps her. Puts his hands on her hips to guide her. Puts one of her hands on his shoulder "steady now pequenita" and puts the other low on her belly and presses in so she can feel him. Loves the way she cries out. Bends forward to leave little marks everywhere he can reach. She's scrambling at his chest, leaving nail marks he loves, and finally grabbing his hair and pulling until he groans. And when they're both done and sated and sweaty he kisses her, looks her in the eye and winks. "I'm going to have to go thank your friend now, mi esposa."

DIN DJARIN

Din and you dont have time. The razor crest is finally in hyperspace, you got shot at for the 50th time in 2 weeks, (because Murphys Law seems to be the only law Mando never breaks), you're exhausted, sweaty, and the giggly green monster of chaos only made you chase him down from the top of a weapons cabinet twice before he finally decided to take a nap. You're frustrated, and in desperate need of a shower, and a nap, but also you can't get the image of Mando fighting out of your head. Before you know it, the hormones have taken over and you're attacking him in the pilot seat. The bucket is off (I refuse to look at my own reflection in the tin cans helmet while we do the do), he's got you arching into him, your shirt is half torn from the top because Din refuses to wait for "so many fucking buttons Meshla" the gloved hand is squeezing the back of your neck, his mouth is on your chest, his other hand (you only managed to get one glove off) is splayed out on your back. You're riding him like you're trying to break him and his thigh holster? thing (do i look like i can figure out what they're called?) is digging marks into your skin but you're too turned on to care. It's frantic, it's messy, you're PRAYING the tiny green menace stays asleep as you do your best to muffle your sounds. The refresher isn't big enough for a round two, (you still do your best), and your legs feel like jelly, when you finally pass out; curled up on top of the human space heater while he hums Mando'a in your ear.

*****

TAGGING: @chronically-ghosted (you are a menace but ily)

@fuckyeahdindjarin (here I go trying that writing thing again, stop me pls)