#i really am trying to get things written but its been a bit of a struggle

[illfoandillfie]

okay so, with a week to go until the end of the month it's not looking like i'll get a full advent calendar's worth of fics/blurbs ready. I have a lot of things started and half written half plotted out, but not a lot finished.

Instead, I'd like to post a few alternative ideas for when to post what I can get written and then a poll so you guys can vote on the best option. I'll detail all the options first and then put the poll at the end of the post.

Options

Countdown to Christmas I spend the first part of December finishing what I can and then post however many that is in the lead up to Christmas Day. So, if I had 5 things finished, they'd start dropping on the 20th of December, if I got 10 things finished it would be the 16th, and they'd post one per day until the final one on the 25th.

Countdown to New Years Similar to the last except they wouldn't be tied to Christmas, but instead to the end of the month. The final one would post on 31st December. I'd probably give myself until about halfway through the month to finish as much as I can. If that was 5 things, they'd start posting on the 27th, 10 would start on the 22nd.

New Years Celebration We do a week long 'welcome to 2025' celebration. I spend all of December writing and then during the entire first week of January I post it all. If I finish 7 things it will be one per day, if I finish 10 (or 12 or 15 etc) things I will post all of them within the same week. (Depending on whats happening in my personal life I may also be able to do some other fun things like ask games and tarot readings but thats not 100% guaranteed.)

Birthday Bash I save everything and keep writing right through to April next year which is my birth month. And then do some sort of celebration for a week to a month depending on how much I get written in that time.

Other things to Consider

Couple of other things that might influence your decision:

I have 2 weeks left at work and after that I'll be on holidays until sometime in January next year.

One of those weeks is a staff only week where I will have a lot to do but I'll also have a lot of time to myself while my boss is in meetings and i'll be able to leave work earlier than normal most days.

I have not yet moved house (divorce proceedings that A While to sort out) but it is very likely I will be looking for somewhere to rent after Christmas.

Poll

Now that you have all the info please vote in the poll. It'll be up for a week.

[talkorsomething]

want to cut my hair again like you wouldn't believe. What are the possible consequences of going bald

[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.

[mydarlingclaudia]

every word I meant to say

note : ermmmm hi. don't ask where I went for like almost a month work is eating me alive and I was sad. this was inspired by that the unsent project thing andddd idk if I really like this it's def ooc but I was thinking about it again today and this has been in my drafts since September so I figured why not

wc : 2.1k

tags : @luvrgreyy @clitorphosis @sonya-semyonova

desc : letters that went unsent. kind of unrequited love, angst (???), more Leon focused, re2r!Leon - DI!Leon, fem!reader, ooc, not proofread

"I meant to write sooner, I really did. I know it's been a year, my life is so different now, I don't think you'd even believe me if I tried to explain it. I hope you're doing better than I am, I'm happy you weren't able to move to the city with me."

Leon hasn't written a letter since, what, his first few years in the academy? Maybe the end of his senior year of high school? He can't really remember, but he knows that this letter is important because it's to you, his friend he hasn't seen since the night he left for Raccoon City. This isn't even an actual letter, he's scribbling out what he thinks might be good excuses as to why he hasn't talked to you in a year on the back of pieces of scrap paper he took from the office.

He's supposed to be asleep right now, same as everyone else in boot camp, but it's been a year since Raccoon City and he's wondering if you ever tried to reach him. Maybe you tried to go to Raccoon City to look for him, only to see the pile of rubble that stood in its place, sectioned off by the government. Maybe you thought he was dead, he wouldn't blame you.

You and Leon had stuck together all throughout high school, even managed to stay friends when he went off to the police academy and you moved a few hours away for college. He doesn't even know if your address is still the same, he really hopes it is, there's no phone-books in boot camp if he wanted to try and call you, you're supposed to have your loved ones numbers memorized.

The last time Leon saw you was the night before he was supposed to move to the city, before he got a letter in the mail the next morning telling him not to come in, he really wishes he had listened. You were so happy for him, starting out as a city cop was a big deal and he had worked so hard to get there, you and a few friends had thrown him a going-away-party, telling him not to forget you once he got to the city. Leon couldn't forget you if he tried.

You had talked about moving to the city with him for a short period of time, it was really just ramblings the two of you kept bringing up. "Oh, when we live in the city..." "I can come visit you at work..." "I'll handle dinner, you'll handle cleaning..." Nothing ever really came of those ideas, but it gave him a warm feeling in his stomach knowing you wanted to come to the city with him.

He hopes you’ve been well, that life has been kinder to you than it has to him. Leon hopes you got that job you were gushing about the last time he saw you, he hopes you still think of him on his birthday because he thinks of you often.

He shouldn’t have gone to Raccoon City, he should’ve stayed home the day he left and instead stopped by your house to bother you about going to see a movie. Or he should have taken you to lunch, anything would’ve been better than walking into a city that was beyond saving.

"I’m not really sure what I’m saying, but I know I miss you. How have you been? I hope I’m able to come and visit soon, everything’s been moving so fast, but I’ll figure something out. Maybe we can get dinner, or something. Whatever you want, I’ll pay for it, don’t worry."

Leon's hands shake a tiny bit when he thinks of you, it's that school boy nervousness that movies portray whenever there's a boy with a crush on a girl who he knows is probably too out of his league. You were friends, at least.

"You're done with school now, right?" He knows you are. "I wish I was there for the graduation ceremony, I know your parents are proud. Do you remember my graduation party? Someone spiked the punch and we both ended up passed out in the bathtub at your house, you looked really pretty that night. I hope your graduation was better than mine. This would probably have been better as a phone call, but I don't know, you said letters were always more thoughtful.

– Leon"

–

That letter never got sent. Every letter needs an envelope, Leon just never got around to finding one, but he kept that scrap piece of paper tucked inside his pillowcase on the odd chance that he got his hands on one. He had stricter rules to follow than the other recruits, being legally dead and all.

But even after he got out of boot camp, he kept the letter. It's hidden away in some drawer in his house, he's not sure where, though.

He didn't make it into the army, he's not sure if that's a good thing or a bad thing, but being in the position he was in now wasn't much better. He's stronger now, hardened, more mature.

Leon's written a few more letters to you over the years, ones that still never got sent because he either deemed them unworthy or because he became unsure of himself halfway through writing it. But he hasn't thrown any of them away, he'll send them one day, he swears it.

Leon's not using you as a way of journaling, either, even though he should find some way to actually write down his thoughts to get them out of his head. What he writes to you is mostly memories, telling you that his life keeps changing and that he misses you. He knows you're different by now, too. You're both grown, no longer in high school, no longer in college or the academy. If he could turn back time, go anywhere other than Raccoon City, he would. He thinks that's selfish of him, him not being there would've left Claire and Sherry in that city, but how would he have even known?

"Me again, hope you're doing better than I am." Leon's way with words gets worse and worse by the week, not that he cares. "I met someone who kind of reminded me of you, she's a sweetheart, like you. You'd probably become fast friends if you were ever able to meet."

Leon's not allowed to tell you about his mission in Spain, or about the president's daughter. President Graham is putting more body-guards in place for his daughter once she steps foot in D.C. again, Leon's sure the president considered appointing Leon as one of them at some point since breaking the news that she was going to be coming back home safely.

Leon should stop thinking about you so much, it's not like you were his only friend in the world, you've probably forgotten him, anyway.

"My life is still different, but yours probably is, too. This probably sounds stupid, but I miss being in high school. You probably don't, your mom was up your ass all the time and you worked yourself to the bone. Has that changed at all?

I remember that one year I went to Thanksgiving at your house, your uncles were all drunk and your cousins kept trying to get me to come sit with them, your grandpa was trying to get me interested in football. I haven't had a holiday like that since then, your family was always really nice to me."

He's not sure what to say anymore, these letters always just end up dragging out, but Leon has a lot of memories and he hopes you think of them as often as he does.

"I'm sorry I haven't visited. It's harder for me to get time off of work these days, even though I could really fucking use it. I promise one day I'll come back, it's just not going to be for a little while. Just don't do anything dumb.

– Leon"

–

Those letters he's been writing you have piled up in the drawer of his nightstand.

He's definitely sure that your address has changed by now, you're probably not even in the same state anymore. He could always try to find you on Facebook, explain everything that's been building up over the years in a simple text, but there's still rules he's supposed to follow even in his personal life.

Leon didn't stop writing, though. The letters did eventually get shorter, he's not sure if you like the same things anymore or if you'd even be interested.

He writes now mostly about how different his life would be if he was with you, if he had just asked you out in high school or kissed you the night he was supposed to leave for Raccoon City. It almost feels real to him when he goes to sleep, but that might just be the alcohol numbing his brain, not the dream of you sleeping next to him or the feeling of your breath on the back of his neck, not even the little pitter-patter off tiny footsteps coming from down the hallway.

It does make him feel a bit pathetic, dreaming of a life with someone he hadn't talked to in years. Leon can't help but think of you, he always thought you were pretty, and the past always lives in the back of his mind, but it comes alive late at night.

You're an entirely different person by now, someone who he hasn't had the opportunity to meet yet. You're probably married, maybe you even have a few kids running around, Leon's jealous of that. That could've been him, but it's not. But he's not even sure if you'd recognize each other if you passed by on the street, so is it even worth it to dwell on all the maybe's?

"I'm not sure I'll get to visit you for a while, not without a lucky fucking twist of fate, anyway."

All these letters are starting to sound the same, but Leon clings onto the thought of someday sending them to whatever corner of the country you were hiding in and hoping that there's still room in your life for a stranger.

"Do you still want me over for dinner? You don't know what I'd give to just eat a shitty meal with you right now."

You don't know what he'd give to do anything with you, really. He knows that there's a lifetime worth of things he's missed out on and that maybe every once in a while you think about him in the same way he thinks about you.

"I don't know how to ask this, but are you married? I know you'd look stunning in a wedding dress." You probably are, you're a catch, who wouldn't want to put a ring on your finger? Your husband's probably a better man than he is, too. One who hasn't had years worth of trauma jammed into his brain with the proof of it marked across his body, your husband probably takes you out on a date every week, maybe even surprises you with breakfast in bed and kisses the nape of your neck to gross out your kids. "I really hope you're happy, in my head you are.

I wanted that to be us, I never told you, but I was a chicken-shit kid and didn't know how to say it. You show up in my dreams sometimes, you deserve nothing but the best. I meant to get back in touch with you forever ago, but I think it's probably too late.

– Leon"

–

Two years after his last letter and Leon's still thinking of you, seventeen years after Raccoon City and the image of you sitting across from him for the last time still loops in his mind. He doesn't really remember your voice but he knows that you thought handwritten letters were romantic, and he still reads over the ones he meant to send to you but kept avoiding.

He's done with the letters, hasn't written one in a long time. But he just got back from California and your old favorite song is playing on the radio, and he's remembering how in love he is with your memory.

"I don't know what I'm doing. I'm too old for this and I'm sure you'd tease me if we had somehow kept in touch. I don't blame you if you thought I died in Raccoon City, I hope you're still alive and that life is good to you.

You were always important to me, I think you've given me something to cling to over the years. This letter won't find you and I'm not even really sure if I want it to, but I hope you'd still call me if you were able to. You wouldn't believe the things I've seen, but I'm happy you never got to see them.

Love, Leon

p.s. I'd say I love you but it feels like something you'd say in person"

[arlowthenacho]

that funny feeling

(carmen berzatto x reader)

summary: you thought carmen berzatto was just a hookup. a fuck-buddy. key word, you thought.

warnings: cursing, allusions to sex but not really? its only mentioned a couple times. no smut, intended lowercase, if theres anything i missed plz let me know !!

wc: 1.1k

a/n: arlow thought about carmen spoon feeding them and made it angsty lol. this is rlly short but fret not !! i think this is gonna be a 2 parter, possibly 3 parter? idk, but i think its gonna be a series lol. anyway, enjoy my lovelies !! 🫶🤍

it started as a one time thing. a one-night-stand. a meaningless hookup. something that would and could only happen once.

until it happened again. and again, and again.

because carmen berzatto was a drug, and you were addicted to him. you craved him like lungs crave oxygen, but you weren’t sure that the feeling was reciprocated.

because if carmen berzatto was a book, he’d be written in code. scrawled in a language you didn’t understand, in writing to confusing to decipher. because carmen berzatto was nothing if not confusing.

a sudden vibration on your nightstand pulls you from your thoughts as you swipe open the screen. a text from carmen. shit.

carmy 🧑‍🍳

you up?

fuck. shit, shit, shit.

you quickly sit up and type back a response.

yeah.

you hold down the backspace button. too simple.

i wasn’t until you woke me up

pop. too accusatory.

i am now. whats up?

good enough.

you click send and set your phone back down on your bed, waiting for a response.

bzz.

the reply was almost instant. maybe that scared you a little bit.

your finger hovers over the screen, debating whether to open the text now, or just forget about it until the morning.

the former won.

carmy 🧑‍🍳

can you come over?

oh. oh.

you don’t know why you expected anything different. it’s not like you were dating him. even though you wish you were. in his eyes, you were just a casual hookup who he occasionally called for something not relating to sex.

you heave a sigh and shift your eyes back over to the phone in your hands.

yeah, ok.

sent.

you don’t really care if it sounds passive aggressive, or angry, or disappointed or whatever else it could sound like to him. to be quite honest, you just want to get this over with.

you quickly change out of your pajamas into something more presentable. a white sweater, blue jeans, throw in some lacy undergarments and you’re heading out the door and into your car.

you turn on the ignition and start the short drive to carmy’s apartment. you have his address memorized, (which you will deny is creepy until your dying day) so you don’t need to use a gps.

you turn on some music and try to distract your racing thoughts. its not like this is the first time you’re meeting him. no, far from it. but you don’t think your brain has processed that yet, because your heart is pounding and fluttering like a bird caged within your chest.

you finally make it to his apartment after what feels like an hour, and you’re standing—quite awkwardly—at carmen’s door, your fist hovering over the wood hesitantly.

after a full minute of standing at the door with your arm raised, you decide to bite the bullet and knock on the damn door.

so you do.

and he answers instantly. like a fucking gentleman.

his hair is tousled, and he runs a hand through it nervously. his eyes somehow look even more blue in the shitty light the hallway of his building provides, and it’s driving you crazy.

he is gorgeous. he is perfect. he’s all the synonyms for beautiful you can cram into one human being.

“hi,”

carmen’s voice is deep and gravelly, still thick with sleep even though he’s probably been awake for some time now.

“hey,”

a beat passes.

“can i-?”

he jolts up from the doorway he was leaning on.

“oh, yeah. shit—yeah, come in. sorry.”

an apron is tied around his waist, a gray sweater fitting loosely around his frame. it makes his eyes appear bright, like gleaming pools of sapphire that you want to spend every pretty penny on.

nonetheless, you smile politely and step into his apartment.

no matter how many times you’ve been here, the first thing you notice is always his bookshelves. more so, the books. cookbooks, magazines, culinary textbooks and newspaper articles litter his floor and decorate his walls.

the second thing you always notice is his ever-growing collection of denim. jeans and jackets make up most of his wardrobe, and are crammed into whatever space he could find.

after looking around his small apartment, a smell hits your nose.

its…pasta?

no, that can’t be it. you were just here to fuck, right? the food was probably for someone else. for work, or somebody he wanted a real relationship with. not you.

the thought left a bitter taste in your mouth.

you sigh, disappointment crashing into your heart like waves against rocks for the second time tonight.

despite that, you’re the first to break the silence.

“aren’t we going to your room?” you cringe at the tone of your voice. it sounded exactly how you felt. disappointed, hurt, maybe a little bitter.

“what? sorry, couldn’t hear you.” carmen leans down to you to hear better, his breath a faint whisper against your skin. your breath hitches.

“aren’t we going to your room?” you repeat, a tad louder than before.

“oh. no, no, no. no, that not—that isn’t—” carmen seems to be at a loss for words, and he feels like a total dick.

“we aren’t?” you’re confused, but hide it well. you raise a brow pointedly. “then why’d you ask me to come over?” for the first time in a couple of minutes, you notice where you followed him.

“i—just,” he searches around for something.

a spoon, full of some kind of red sauce. he cups his hand under the utensil to catch anything that drips, and urges you to come closer.

you’re in his kitchen. his safe space. his fucking sacred space.

and suddenly a wave of confusion and frustration and hope is erupting within you. so many emotions and so much fucking hope. hope that this could be something more. hope that maybe you were wrong. silly, foolish, childish hope that enthralls you completely in its deceitfully warm embrace.

he’s still holding the spoon to your mouth when he speaks.

“can you try it? it’s something for the bear. for the new menu. wanted your opinion on it.” he looks nervous, like he wasn’t the one who invited you over. like he isn’t currently the one lighting your cheeks ablaze and causing your to heart implode under the sheer force of your adoration for him.

“oh, um, yeah. of course.”

he smiles. a close-lipped thing that makes you want to kiss it off of him.

you move to take the spoon from him, but he gently shoves your arm down against your side, says “open up,” and puts the spoon in your mouth.

the food is great. more than great. but you’d be lying if you said you were paying attention to that.

because carmen fucking berzatto just spoon fed you. like a couple.

and now the domesticity is crushing you, mind, body and soul.

because you’re in love with carmen berzatto.

and by some miracle, he might be in love with you too.

[rosiescrypt]

Doctor's Visit | Implied Harvey [Stardew Valley x Reader]

Word Count: 847 Warnings: Mentions of fainting, no name used Pairing: Harvey x Disabled!Reader implied

A/N: Written in 2nd Person because I am cringe but I am free. This is not proof read at all.

Three, two, one. The way that you blacked out wasn’t too unexpected, it started happening a lot since you started to live in Pelican Town. It did come unexpectedly this time, well not really, but at this point you would like to pretend that you only passed out when you were up too late on the farm, or out in the mines, but you knew that wasn’t true. 

Waking up on a hospital bed was something you had became familiar with, but not something that you had let yourself grow accustomed to. The hum was the first thing you let yourself tune into, having been out a lot longer than you were used to since they had time to move you.

“Harvey,” You called out, your eyes landing on the doctor, who was only a few feet away, reorganizing a few things.

“You’re awake,” He said, his voice cheery as he turned to look over at you, but his eyes held a deep bout of worry. You didn’t let yourself think too much into the look in his eyes as he walked to be by your side as you sat up. “Easy does it,” He said, moving his hand to give you a small bit of help to sit up.

“I’m alright,” You assured him, your voice gentle as you took his hand to help you sit up all the way, letting your feet dangle over the side of the exam table you woke up on. You didn’t say anything about how you having been asleep up there was dangerous, there were only so many resources that this small town clinic could have.

Harvey’s brow furrowed as he looked at you, his arms crossing for just a second. His mouth opened and shut a few times, like he was planning how to speak, what to say to you as you sat there, looking at him expectantly. 

“You passed out in the town square,” He said after a moment. Like this was somehow going to convince you that you weren’t okay.

You couldn’t help the laugh that pushed past your lips, your head shaking gently. You knew he was telling the truth, you were there when it happened. The look of confusion that shot over Harvey’s face made you take a deep breath, clearing the laugh from your throat before speaking.

“I’m alright, I just,” You paused, thinking of how to say it. Your last job didn’t have the best health benefits, and then this one the only clinic was ran by the doctor before you. “I’m disabled.” 

That was how you decided to say it, it made it a lot easier than to explain all of that. 

“In your files-” Harvey started, but you promptly cut him off.

“I was unable to get a proper diagnosis before moving here,” You explained, trying not to let yourself get red in the face. You always had this small habit of second guessing yourself, why you couldn’t get a diagnosis, even when symptoms were right there. 

Harvey stayed quiet, taking a moment to process before moving to pick up a clipboard, jotting a few notes on there, you watched him, confused by the man’s actions. 

“What are you..” You asked, a small pause as you tried to move to see if you could read the clipboard. “Doing?” The final word came out of your lips as he set the clipboard back on the counter. 

“Making a note,” He said, walking over to you, pressing the back of his hand to your head, just to make sure everything seemed fine without making it too professional feeling.

You just nodded, you didn’t seem too bothered by it, you were used to that, the notes, the comments, the “What if you’re making it up?,” all the “What if it’s just in your heads?” So in your mind, Harvey was doing the same thing.

“I can recommend you to an out of town doctor, to see if they can help you,” He said, his eyes locked on yours. “Also, I do believe you need to take it easy with the physical strain you’re putting on your body until its figured out.”

You let those words settle in, the care in his voice, the way that he was taking you seriously, you couldn’t help the large smile that came over your lips.

“I will, thank you, Harvey,” You said, you did move to hop off the examination bed. “This means a lot.” 

To you this meant the world, the urge to hug the man was strong but you were fighting it off. It wouldn’t be too odd since how close knit the town was, how close you’d grown with him over the year.

“Of course, I care about you,” He said, his hand reaching to gently set on your shoulder, so you used this as a chance to push forwards to give him a hug. 

You then stepped back, both of you a bit red in the face before you said your goodbyes and headed out, back to your farm, a grin on your face.

[kwanisms]

Kinktober 「10:09」 — k.seungmin

» stray kids menu | seungmin menu | kinktober masterlist «

➮ fallen angel!Seungmin × fem!Reader wc: 4.5k summary: His fall from grace had been due to his hard headedness and Seungmin’s status as a fallen one never really crossed his mind. At least until he met Y/N. He’d been dejected and grown disillusioned with life but upon meeting her, he started to see some meaning to life again. To put it simply -- Y/N made him feel alive. genres/themes/au: angst/fluff/smut; supernatural, horror, thriller; non idol au, monster idol au warnings: adult dialogue, female reader, supernatural and horror themes, mentions of: past bodily harm (seungmin had his wings literally cut off), not-so-high-speed collision of person on a bike with an angel (Y/N runs Seungmin over with a bicycle lol), one baseball reference (cause I couldn't help myself), past crime life/criminal activity (glosses over it but its there); sexual content (18+ mdni), see smut warnings under the cut! taglist has been moved to reblogs join my taglists! kinktober taglist is closed! Strikethrough means I cannot tag you.  MINORS WILL BE BLACKLISTED & BLOCKED. AGELESS BLOGS WILL ALSO BE BLOCKED.

a/n: i thought about revisiting vampire!Seungmin for kinktober but I changed my mind for fallen angel Seungmin. I like the direction I went with this and I tried to keep the wordy bits down so it wouldn't be too long. So far I've written a total of 45k for kinktober not including this piece so, words are wordin'. anyway, next piece is Yunho which I am very excited for so stick around! thank you for reading. if you liked this, pls consider reblogging so more people will see it and as always, this is a work of fiction and all characters are not reflective of their respective irl counterparts. for entertainment purposes only.

smut warnings: teratophilia (aka monsterfucking), impact play (f receiving; spanking, pussy slapping), begging, unprotected sex (use condoms! ):< ), oral (f receiving, m receiving), fingering (f receiving), use of pet names (hers: kitten, baby, angel; his: Minnie, sir), dom!Seungmin, sub!Reader, and that should be everything but if I missed some, let me know! kinks: Impact play + begging dialogue prompt: ❛❛ Oh no. Not until you beg. ❜❜

═══════════════════════════════════════════════════════

Falling from heaven is not as graceful or as ethereal as one might think.

For Seungmin, it was painful, bloody, and nightmarish. The process is one no one could ever fathom. Being cast down from all you’ve known, thrown into a cruel, dark world with nothing and no one. The only thing more painful was having his wings removed. Even now, years since then, he could still feel the burn of the hot steel as it sliced through tendon and flesh.

When he first arrived on Earth, Seungmin had nothing. He had his name and his memories but a drive to survive and so he did, albeit not by the most legitimate of ways and he did fall into the wrong crowd but it was so much easier to climb the social ladder of the underworld than to try things the proper and legal way. After all, he didn’t even have a social security number, a line of credit, or even a last name.

Seungmin realized he was caught in the wrong crowd when the hideout he was in was raided. He barely managed to get away and broke into a convenience store to hide from the cops. He was confronted by the owner and instead of alerting the authorities to his location, the man took him in, giving him a place to live and a job.

It wasn’t much but it was something and it allowed Seungmin to start over. His old crew were all rounded up and seeing as no one knew who Seungmin actually was, they were never able to turn him in. He was safe. For now.

Seungmin ended up taking the last name of the man who took him in, a man who simply went by Mr. Kim, and came to regard him almost as a father figure. Mr. Kim owned a small convenience shop off the beaten path. Seungmin was given a room in the small apartment above the shop where Mr. Kim lived alone. 

His life had gone quiet but a sort of disquiet had settled over him, not knowing where he was going or what he was going to do with his life. He simply was going through the motions of life.

Until he met you.

You had come crashing into his life. Quite literally.

He’d been walking down the sidewalk on a particularly gray and gloomy day, running errands for Mr. Kim, when he heard a high pitched scream. It wasn’t a scream of terror or fear. It was more like a shriek of excitement. It was playful in nature.

Seungmin didn’t have time to even respond when he heard a voice screaming at him to move out of the way. He turned, finding someone on a pink bicycle hurtling towards him. “BRAKES! HIT THE BRAKES!” someone had cried but despite the brakes being squeezed, you still managed to crash into him.

It wasn’t like you were going all that fast, but it was enough to knock the wind out of him as you toppled off the bike onto him, pinning him to the sidewalk as the bike flipped over without your weight on it. You let out a groan, pushing yourself up and glancing towards the mangled heap that was your bike.

Seungmin stared up at you, blinking as he tried to process exactly what just happened.

“Oh my god,” you gasped. “I’m so sorry!” You quickly scrambled up, pulling him into a sitting position. You panicked, inspecting him all over, asking a plethora of questions. 

“What hurts?!” Nothing.

“Are you bleeding?” No.

“Did you hit your head?” Yes.

Your introduction to him was as violent as they come but his life completely turned around after meeting you. He finally had someone else to talk to. Someone he could spend time with outside of the convenience store and upon meeting you, Mr. Kim urged him to spend more time with you.

Your friendship grew, blossoming naturally over a short period of time and after knowing you for nearly a year, Seungmin couldn’t imagine his life without you.

You were vibrant, full of life, eccentric, and ecstatic about everything. You never seemed to have a bad day in the entire time Seungmin knew you and he found your optimism a refreshing new outlook that he started to adopt into his own life.

Of course, while you were very bright, bubbly, and vivacious, you were also extremely bratty. Seungmin often had to argue with you about things he thought he’d never have to argue with anyone about. Making sure you took medicine when you were sick was a chore and Seungmin came to realize you were only a brat because it pushed his buttons.

Especially today.

Mr. Kim had given him the day off and so he was at your place, a cute little studio apartment on the 14th floor of your building. It had an exposed brick exterior wall and floor to ceiling windows that spanned almost the entire wall. Outside the window was a fire escape where you had lots of plants as well as smaller potted plants sitting in the window. Your bed was sectioned off with a large cube storage unit and sheer curtains.

The living area was small and cozy with a flat screen television, a cream colored loveseat with lots of blankets and pillows. A coffee table that doubled as a dining table stood between the couch and the media center where you kept your gaming consoles and collection of games and movies.

The kitchen was also small. White cabinets hung on the walls where you kept your dishes. An island with a sink separated the kitchen from the living area and at the bar of the island stood three bar height chairs. Seungmin had arrived early, bringing food and drinks but they had long run out and you were whining at him to get more.

He sat on your couch, feet resting on the coffee table despite your insistence to remove them. You sat on the other cushion, next to him, wrapped up in your favorite blanket. Seungmin had arrived as you were opening your windows, saying it was a nice day out — it wasn’t, it was freezing — and that you and your plants needed the fresh air.

Despite insisting it was a nice day, you had immediately wrapped yourself in your blanket and curled up next to him on the couch, sapping the warmth from his body, not that he exactly minded. You had exhausted your movie library, picking the things you either hadn’t seen in a long time or at all which wasn’t much. 

Streaming services didn’t provide much of a difference in options so for the last hour, you’d been playing games on your phones, showing each other silly videos while enjoying the other’s presence. You’d finally grown bored of your game and were now pestering Seungmin into leaving to go get more snacks and drinks. 

“Why don’t we get food instead?” he asked as his little avatar died on screen and he shut the game off. “I think we need actual food, Y/N,” he added, locking the screen of his phone and turning his head to look at you. The urge to smile came over him because you looked sort of ridiculous wrapped up in your blanket so only your face was showing.

“But I don’t wanna!” you protested. “That means I have to get up.”

Seungmin rolled his eyes, throwing his head back against the back of the couch. “You’re so impossible,” he sighed before getting up with a groan. “Come on,” he said, holding his hand out. You shook your head, pulling your blanket tighter around you.

“Yah,” Seungmin said, giving you a playful but stern glare. “Get up,” he said, moving to stand in front of you, towering over your seated form. You shook your head wordlessly, staring up at him. He grabbed your blanket, tugging at it in an attempt to get you to listen. “No!” you squealed as he tried to pull the blanket harder. “You’re gonna rip it!”

Seungmin tugged harder. “Then let go so it doesn’t rip,” he countered. You glared at him. “It’s my blanket!” you reminded him. Seungmin tugged harder and you could have sworn you heard the material start to rip and so you let out a panicked whine and let go, allowing Seungmin to pull the blanket away.

“Alright,” he said, wading up the blanket and throwing it onto your bed. “Let’s go!”

You shivered, your once warm skin now exposed to the cool air filtering in from outside. “It’s cold!” you whined, curling in on yourself. Seungmin rolled his eyes and walked over. “Then get up and get changed,” he said, holding out his hand. You hesitated before taking his hand and then quickly tugging him towards you.

Unprepared, he lost his balance and fell onto the couch on top of you as you giggled, immediately hugging onto him like a koala. “So warm,” you murmured. Seungmin groaned trying to pull away from you but unsuccessfully. It wasn’t like you were all that strong, he just liked to indulge in some skinship with you from time to time.

“Okay,” Seungmin said. “You warm?” he asked. You nodded, smiling contentedly at him. “Good,” he said softly. “Now get up.” He tried again to pull away but you whined, holding onto him tighter so when he tried to get up, you moved with him.

“Y/N,” he scolded. “I’m not going to ask again. Get up.”

You looked up at him and he could see it before you even replied. A defiance in your eyes. 

“Make me.”

He didn’t know if it was because of your continuance to press his buttons mixed with the obvious tension between the two of you, but your resistance and disobedience made something in him snap. He quickly pulled your arms from around his neck, pinning you under him on the couch.

Your giggles died immediately as he leaned over you. Your eyes widened as you stared up at him. This was a side of him you hadn’t seen before nor had he planned on sharing but you really, really liked to push his buttons. 

Seungmin hesitated as he looked down at you, assessing whether or not he’d taken things too far but the look in your eyes, while being one of surprise, was also a look of eagerness and he could tell then that you wanted this as much as he did. 

He leaned in closer, testing your reaction, wondering if he should stop and when your eyes dipped down to look at his lips, he closed the distance, pressing his lips to yours for the first time. 

Your stomach fluttered as his lips moved against yours. It was entirely new but it felt completely right. Your lips parted at the same time, his tongue slipping into your mouth. You let out a soft moan, muffled by his mouth, as his thigh pressed against your cloth covered crotch.

Seungmin pulled away, lips ghosting over your ear. “Do that again,” he whispered, pressing his thigh against you again. You muffled your moan, biting into your bottom lip. Seungmin scoffed as he reached up, using his thumb to gently pull your lip from between your teeth. “You’re such a brat.”

You opened your mouth to respond and at that exact moment, he grinded his thigh against you, making you whimper. “It’s so much nicer when you listen to me,” he sighed, nuzzling into your neck. He let go of your wrists, moving his hands down to your sides.

“Are you still going to be a brat and fight me or are you gonna let me make you feel good?”

You whined in response as his hands cupped your chest over your shirt. “I take it that’s a yes?” he asked, a hint of amusement in his voice. You nodded eagerly. Seungmin let out a low chuckle, hands sliding down your stomach until he could curl his fingers under the waistband of your shorts.

“Then these need to come off,” he murmured, pulling them down slowly past your thighs as you lifted your hips. He discarded them on the floor behind the couch, eyes drinking in your naked lower half. “Lace?” he asked, looking up from the crimson material to meet your gaze.

His eyes were dark, pupils blown as he moved his hands up your thighs towards your hips. “Be honest,” he said as he leaned over, pressing a kiss to your stomach. “Did you wear these for me?” You giggled as his tongue traced a line up your skin. “No,” you giggled. Seungmin pulled away with a slight frown.

“You mean you just wear these for no reason other than to wear them?” he asked, raising an eyebrow. You nodded silently, letting out a gasp when Seungmin delivered a sharp smack to the inside of your thigh. “Don’t lie to me,” he snapped.

“You don’t wear anything uncomfortable for long periods of time without a purpose,” he continued. “You told me so yourself.” A small smile spread across your face as you looked up at him, hands still resting by your head where he left them. “You always listen to everything I say?” you asked as his eyes wandered back down to the red material that barely covered anything.

“Yes,” he said simply, moving his hands up your sides, pushing the hem of your shirt up to just under your breast. He met your gaze once more. “Are you wearing a matching set?” he asked, tilting his head like a curious puppy. You giggled, shaking your head. His eyes narrowed. “If you’re lying to me, there will be consequences, you know that, right?” he asked. You nodded. “I know.”

Seungmin held your gaze as he pushed the shirt up over the swell of your breast, exposing the incriminating evidence of your red lace bralette. He made a tsk sound as his eyes fell to your chest, taking in the sight of the red contrasting with your skin, your nipples visible through the sheer material. He looked back up to meet your gaze. “You lied to me, again,” he muttered.

You watched with excited eyes as he sat back on his heels, looking down at you. “I told you there would be consequences,” he added. “I know,” you said softly. Seungmin sighed as he shifted on the couch so he was sitting before holding out a hand for you to take. “Are you going to be good and take your punishment or am I going to have to force you?”

You took his hand, allowing him to pull you up and over his lap so you were lying on your stomach. You felt one of his hands move to your ass, fingers skimming over the lace as he inspected the sight. His other arm held you down. One of his fingers slid under the material of your panties, sliding it over to expose your cheek.

“I want you to count,” he said softly as his hand returned to your bare cheek. “How many?” you asked, glancing over your shoulder. Seungmin looked up from your ass, meeting your eyes with his. He had a dark look in them, something that both excited and sent a chill down your spine.

“Until I say so.”

By the time Seungmin finally did tell you to stop counting, your ass was sore. The skin burned and your body was aching, as was your cunt. You needed release and you were practically dripping. “Seungmin,” you whined. “I need release.”

Seungmin scoffed, moving his hand to pull your panties aside while he traced your folds with two fingers, spreading them slowly. The cool air against your hot cunt felt both foreign but oddly wonderful. “So needy,” Seungmin murmured, sliding the tips of his fingers between your lips, gathering your wetness before slowly pushing them into your hole.

You let out a pornographic moan, the sound resonating around the apartment. Seungmin felt his cock twitch in his pants, straining against the material of his underwear and aching to be freed. ‘Not yet,’ he told himself. ‘Not until Y/N proves she can behave.’ 

You moaned loudly as he pumped his fingers in and out of your sopping cunt, lightly scissoring them and curling them against your walls. “Seungmin. More,” you gasped, making him chuckle. “More?” he asked. “I have two fingers stuffed in you and that’s not enough?”

You shook your head as he sped up. He delivered a sharp smack to your sore ass. “Words, kitten,” he cooed. “N-no!” you stammered. “No you don’t want to use words?” he asked. “No!” you said quickly. “It’s not enough! I need more!” you clarified. Seungmin shook his head. “Such a greedy little baby.”

He obliged, giving you a third finger, opening you up to take his cock easily but he wasn’t about to give it to you that quickly. Your moans grew in pitch and volume as he fucked you with his fingers. He could feel you start to shake, your walls clenching rhythmically around him. “Don’t you fucking cum yet,” he growled, pulling his fingers from your hole, making you whine in protest.

“But Minnie!” you complained. He nudged you, signaling you to sit up. “Do you want me to fuck you here, on your couch, or over there,” he asked, jerking his thumb over his shoulder towards your bed. “Where I’m sure it’s much more comfortable.”

You grumbled softly as he got up, grabbing your hand and all but dragging you over to the bed, stepping up onto the small platform upon which your bed stood.

He turned your back towards the bed, moving his hands to quickly strip you of your shirt and bralette. “Sit,” he instructed but you didn’t listen, instead trying to pull at his clothes. He grabbed your hands, bringing your wrists together to hold with one hand and grabbing your chin with the other.

“If you don’t listen to me, I won’t let you cum at all, understand?” You nodded quickly and as soon as he let go, you sat on the bed, looking up at him. “Good, kitten,” he said, cupping your chin, moving his thumb to brush over your bottom lip. “I need you to do something for me,” he said, moving his hands to undo his buckle. “And then I promise I’ll make you feel really good”

You nodded, keeping your eyes locked on his as he unzipped his pants. “Do me a favor and put that mouth to good use, yeah?” he asked, pushing his jeans down past his hips. Your eyes roamed down his body, taking in the outline of his hard cock behind the dark blue color of his underwear. 

You could see it was straining against the fabric, begging to be freed. Your hands trembled slightly as you reached to pull the front of his boxer briefs down. Seungmin quickly grabbed your hands, stopping you. “Are you okay?” he asked softly, the dominant persona he’d taken on dissipating for a moment as he gave you a look of concern. You nodded, giving him a smile.

“Just nervous,” you whispered. He caressed your cheek gently. “You don’t have to be nervous,” he said softly. “It’s just me.” You nodded, swallowing thickly as you returned your attention to the task before you.

Your fingers snuck under the waistband of his underwear, pulling it down in one swift motion and freeing his cock. You stared at it in awe, saliva starting to pool in your mouth at the sight of it bobbing before you. Wrapping your fingers around the base of the shaft, you looked up at Seungmin for confirmation to keep going. He merely nodded, watching as your lips parted and you gave the tip of his cock a kitten lick. He let out a hiss but was unable to catch his breath as you immediately went back in, tongue swirling around his cockhead.

“Fuck,” he hissed, eyes fluttering shut as your mouth enveloped his cock, taking it as far as you could in one go. “You’ve done this before,” he groaned as you pulled back, cheeks hollowing as you sucked. Seungmin let out a sigh as you took him back into your mouth, the tip of his cock barely brushing the back of your throat.

“Keep going, baby,” he murmured, resting his hand on the back of your head, pulling you closer. You gagged as the head of his cock tried to push into your throat. “Shit,” he gasped as he let go and you pulled back, coughing. “Sorry,” he murmured. “We can stop if you’d — oh fuck!”

His words were cut off when you took his cock back into your mouth, keeping your hand firmly wrapped around the base as you started to bob your head, taking everything up until you hand. Seungmin let out a choked moan, throwing his head back as you continued to suck him off, now moving your hand as you pulled back.

You let his cock fall from your mouth, continuing to stroke him quickly. Too quickly. He had to stop you before he came. He didn’t want to cum on your face or chest or in your mouth. “S-st-stop,” he stammered, moving his hand to try and grab yours but missing. “Y/N,” he said, a little more firmly. “Baby, stop.” You finally looked up at him, hand stalling but his cock still firmly in your grasp.

“Did I do something wrong?” you asked as he pulled your hand off him and slowly knelt down at the edge of your bed. “No,” he murmured, pulling you into a kiss. “You were perfect. I just wasn’t ready to finish,” he added. “Lay back,” he instructed.

As you laid back against the soft material of your comforter, Seungmin took that opportunity to rid himself of his clothes. You started to scoot back towards the middle of the bed but he stopped you. “Here,” he said softly. “I want your ass hanging over the edge of the bed.”

You pouted at him. “But I’ll fall,” you protested. He shook his head as he knelt down. “Just trust me, angel. Do as I say or am I going to have to punish you again?” You shook your head, moving until your hips were hanging off the edge of the bed. You watched as he slipped your panties off before he shrugged your legs over his shoulders, his hands grabbing your hips and holding them in place as he licked his lips.

“Minnie,” you cooed, reaching down to comb your fingers through his dark hair. He looked up at you, his dark gaze meeting yours and making a fresh wave of arousal course through you. “Can’t you just fuck me?” you asked as sweetly as possible. Seungmin chuckled, shaking his head. “No,” he answered. You frowned at him. “Why not? You’ll find I’m more than ready to take it,” you answered.

Seungmin merely chuckled again. “No,” he answered again. “I want a taste first.” 

The words on the tip of your tongue died as you felt him spread your folds and his tongue run from your hole to your clit. The moment his tongue met the nub, he sucked on it, making your thighs involuntarily try to close around his head but he moved his hands, wrapping his arms around your thighs to hold them open and keeping you firmly in place.

You were left to the mercy of his tongue as his mouth ravaged your clit. One of your hands moved to grab the bedding by your head in a tight fist while the other combed through Seungmin’s hair, grabbing a handful of the locks. Each time he flicked his tongue, your body jerked and you cried out. 

“M-Minnie. M’gonna cum!”

Seungmin pulled back and you whined only to receive a slap to your pussy which made you gasp, thighs twitching. “You don’t cum until I say so, understand?” You nodded quickly, your orgasm slowly slipping away. Seungmin’s mouth returned, attacking your clit with quick flicks of his tongue until the sensation started to rise again, tension building in your stomach.

“Minnie, I’m close,” you warned him. “Hold it back,” he retorted. “Don’t make me punish you again.”

You bit your tongue, trying to will away the tension and the building orgasm. “I-I don’t think I can,” you sobbed. Seungmin pulled back, delivering another slap to your sex. “Such an impatient and greedy kitten,” he snapped. “Can’t even wait a minute more.”

“Just fuck me then,” you retorted. Seungmin scoffed, almost mockingly. “Oh no,” he said, landing another slap on your clit. “Not until you beg.” You whimpered. If that was all he needed, you could do that. “You should have just said so,” you gasped. “Please Seungmin. Please give me your cock. I want it. I need it.” 

“You need it, huh?” Seungmin asked, brushing his fingers over your clit languidly. He wasn’t trying to bring you to climax, simply giving you some friction while he listened to you. 

“How bad do you want it?”

“I want it so bad, please,” you sobbed. “I promise I’ll be good. I’ll do everything you say but please Minnie, please fuck me.” You needed him inside you so bad and you weren’t above begging if that’s what he wanted you to do. “One more time,” he cooed. “What do you want?”

“I want your cock, Seungmin. I want you to fuck me!” you snapped. Seungmin moved quickly, letting your legs fall back as he climbed over you. “Middle of the bed, on your hands and knees, now,” he growled. You scrambled to get up, moving into place and presenting yourself to him. He kneeled behind you, hands grabbing your ass and kneading.

“I’m going to fuck you how I want to,” he started as he leaned over your back, the tip of his cock brushing against the inside of your thigh. “If it’s too much for you, say ‘pitcher’s mound,’ understand?” he asked. You nodded. A smack rang out as he landed a slap to your ass over the same side he’d made sore earlier.

“Words, kitten. We use our words,” he snapped. “Yes, sir!” you gasped out, your backside burning. He gently ran his hand over the spot soothingly. “What do you say if you need me to stop?” he asked, leaning over your back and whispering in your ear. “Pitcher’s mound,” you replied softly. You felt him press a tender kiss to your shoulder. “Good,” he cooed.

You felt the tip of his cock press against your entrance and without any resistance, he pushed into you. Once the head was firmly lodged inside you, he snapped his hips, pulling you back to meet his thrust and filling you with one stroke.

You cried out in both pleasure and pain as he buried his cock to the hilt inside you. Seungmin still, thumbs rubbing circular patterns into your skin as he held your hips. He waited for the spasming of your walls to cease before he pulled back, giving you a shallow thrust which made you moan softly.

“Any pain?” he asked quietly. “No,” you replied, shaking your head. “Good,” Seungmin said simply, tightening his hold on your hips. “Remember your safeword,” he reminded you. 

“Cause I’m not stopping until you’re screaming.”

©️ kwanisms 2024 | all works on this blog are protected under copyright. Do not repost, continue, or translate my works. All graphics made by me.

[beautouslysandy]

a pretty little valentines for you and me

by: sandy

dallas winston x gn!reader

word count: 380 words

warnings: mushy, lowercase intended, lovey-dovey things, super short, basically just love in one big bucket :)

a/n 💌: i am back!!!! this is super late but a fellow fanfic author invited me to write a fanfic for valentines but um..your girl kinda forgot. so here it is! enjoy! sorry its so short, i am trying to get back into writing! i hope y'all like this, its been a hot minute since i have written fanfic!

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

"so, do you like it doll?" dallas asks nervously, he is rarely nervous

you and dallas were currently at y'all's favorite diner. in y'all's booth. dallas had just given you a promise ring. you were shocked. you didn't think that the dallas winston would be into this kind of thing.

you look up at him and nod, smiling. your eyes are a bit watery, you think its just from the overflow of emotions you have felt all day.

this had been the best valentines day ever.

"i really like it, babe," you say smiling then you glance back at the promise ring on your left middle finger. its an infinity sign ring and it fits you perfectly.

"its my promise to...." dallas began, he cleared his throat and his face grew red ever so slightly, then he proceeded to look down. he mumbled. "you know love you forever or whatever, doll."

you were grinning from ear to ear now, partly because of how sweet the gesture was but also because you knew that meant a lot coming from him.

"i love you more." you joke

dallas looks at you with his goofy grin you have grown so fond of.

"no way in hell is that possible doll." dallas says chuckling

the waiter finally brought your food to y'all, you had been waiting thirty-five minutes. far too long for a local town diner.

"what took so damn long?" dallas said to the waiter, returning to his old self and not the lovey dovey mess he was only a minute ago.

"sorry, the kitchen is really backed up." the waiter says handing us our food.

"sure it is, this place is packed." dallas says sarcastically as he bites into his burger. you hold down a laugh, as you didn't want to embarrass the waiter further.

the diner was empty besides the normal 8 o'clock crowd, which was just a few young adults and old people.

the waiter walks away, and you start laughing, you catch dallas looking at you with seemingly stars in his eyes.

"what?" you ask, your laugh dying down

"nothing, doll" he says smirking then goes back to eating

"happy valentines" you say grinning

"happy valentines, doll" dallas says and he bends over the table and kiss you softly

p.s. sorry i am so late to this @rumble-aint-a-rumble-without-me

[rosenclaws]

Hi love, I hope you’re doing well! I’ve been a fan of (stalking but let’s not talk about it) your blog for a little while, but this is the first time I’ve sent in a request for you! Your writing for Leopold is literally the sweetest ever and you’re the only writer I know of that actively writes for him, it’s so dry out here!! I was wondering if I could request something fluffy with Leopold x fem!reader where is like the most tooth-rotting fluff you can think of. I’m talking him trying to court the reader even though it’s the modern day and that’s not really a thing anymore and shes a bit confused but loves it, a super touchy reader that loves to shower Leo with her affection, literally anything. Those are just ideas, feel free to be as creative as you’d like (and don’t be shy if you wanna make it a longer fic, I’ll take what I can get). This fandom (if I can even call it that) is such a barren wasteland for fanfics and you are such an amazing writer for him and just in general!!

Much love 💕

Courting || Leopold Mountbatten x Reader

a/n: Hi!! Okay I kinda took this in a slightly different direction so if its not what you wanted then plz feel free to send in another request (ik they're closed but I will make an exception) ALSO FUCK HES SO HANDSOME IM GONNA SCREAM

wc: 1.2k

warning: reader wears lipstick

The last thing you expected was to find a neatly written letter waiting for you when you got home. Pinned neatly to the door with a small rose attached to it. You recognized Leopold's handwriting immediately, no one else you know has such beautiful penmanship.

There’s a flutter of butterflies in your stomach as you open the letter. You and Leopold have gotten very close to each other. He’s unbelievably charming and so sweet and he’s just everything. The way he looks at you, it makes you feel like the only one in the world.

Hello my love,

I am writing to ask if you would do me the honor of accompanying me to dinner and a show this Friday night. I have found myself completely captured by your beauty, you live in my every thought. Every breath I breathe for you and every beat of my heart calls your name. I wish to court you and have the honor of calling you mine.

Your dearest Leopold

You read the letter once, and then again and again. Your fingers trace each letter. Never have you had anyone say something so precious to you before. The rose smells fresh and sweet, he must have gotten it this morning. You hurry to write him a reply, accepting his offer with great enthusiasm.

Folding the letter you press your lips the corner of the paper leaving a lipstick mark. Leopold lives just down the hall so you walk over. Just as you’re about to slip the letter under the door it swings open.

“Leo!” You squeak out as stand back up, almost knocking your head into his chest.

"Hello darling." He's dressed in casual clothes and my god you need to thank whoever introduced him to sweatpants. Anyways.

"I see you received my letter." You bite your lip as you hand over your letter. His name written as fancy as you can.

"Yeah, it was really sweet Leo." He takes the letter and you swear he blushes a little when he sees the lipstick mark. He stares at you for a while, with that perfect smile and gorgeous eyes.

"I uh, I'll see you Friday." His eyes light up at your words.

"I'll see you Friday my love." He takes your hand and kisses your knuckles.

You manage to keep it together as he shuts the door but once you make it back to your apartment you're melting. A giddy feeling you haven't felt in years. You have to wonder how he will attempt to court you in modern day. People don't really court anymore but all you care about is that you have a date with Leopold. Friday couldn't come fast enough.

You had never felt this nervous before. Spending way too long getting ready just to be done an hour early. It's just Leopold, you know Leopold. There's no reason to be nervous but you can't stop the tornado of worry brewing inside of you.

What if something goes wrong? Or the date goes horrible? What if he decides he doesn't like you anymore? What if this ruins your friendship. You shake your head and try to dispel any bad thoughts.

Tonight was going to be great. It has to be. There's a knock at the door and you quickly double check everything before opening it. Any worry still residing in your mind disappears. A beautiful bouquet of flowers is handed to you as Leopold is dressed to the nines. A crisp white shirt and black pants.

"They're beautiful." You say admiring the flowers. Fresh and absolutely gorgeous.

"Not as beautiful as you." Leopold says, barely at a whisper. Like he can't believe that you've even agreed to a date with him. He can't help but admire everything about you. To your smile, your beauty, your laugh, your voice. You're perfect.

You place the flowers in a vase and then the two of you are off. He rests his hand on your back as you walk through the city. His thumb draws circles in your back as you approach the restaurant. He's planned everything himself and he can't help but hope it's enough for you.

Dinner is lovely and the conversation flows without any awkwardness. You're talking to your friend Leopold but you know there's something more as you slowly get closer to each other as the night goes on. Hidden away in the corner booth you are free to get lost in each others eyes. Though you wish you could stay here all night he promised a show. Leopold loved the theater and he promised one day to take you and tonight was the night.

"How did you get such good seats?" You ask as he waits for you to sit before he does.

"I have my ways darling." You're hyper aware of just how close the two of you had gotten at dinner and how close you are now.

The show is interesting yes but Leopold was a very distracting man. Your hands inch closer together. Glancing over at Leopold you find him already looking at you. He waits for your silent approval, not wanting to cross an boundaries. So you take the leap. Intertwining your hands together.

A faint blush on his face and a big smile on yours. His hands are so warm and they fit so perfectly with your hand. When the show ends you reluctantly head back home. You don't want this night to end. Your hands swing together as you gush about the play.

"I had a wonderful night Leopold," You're leaning against your door, wanting so badly to keep the night going. His hair swoops perfectly in front of his forehead and he's got this pretty smile that you can't stop staring at.

"So did I, Thank you for accompanying me tonight." His eyes drift to your lips.

It's adorable seeing just how old school he really is. You know he's from 1876 but still. Modern boys pale in comparison to Leopold.

"You know you don't have to be so nervous Leo, I want to kiss you too." You say boldly.

He chuckles, ducking his head as bites his lip softly. He cups your face gently and you close eyes as he gently captures your lips in a kiss. He's gentle and sweet and you crave more. Still he pulls away much too soon. You pout slightly and he laughs.

"I know I'm much more traditional than you're used to." He traces your lips with his thumb. Admiring every little detail of your face.

"But someone as wonderful as you deserves to be treated with the upmost respect." He kisses your forehead gently.

"You deserve to be loved," Another kiss.

"To be cherished," Another.

"And to be worshiped." Words fail you completely. Leopold has rendered you utterly speechless.

"Did I overstep?" He asks, worried about you silence.

You shake your head. practically jumping into him as you kiss him. Passionately running your hands through his hair. He groans slightly as you tug on his hair. He pushes you against the wall, bracing your head with his hand as he kisses back.

"I'm falling in love with you." He whispers. A hopeful glint in his eyes.

"I'm already in love with you." You admit.

You become lost in his lips as he kisses you again. He just can't get enough. You blindly reach for the door handle and without argument pull him inside of your apartment.

Soft kisses and laughter are shared quietly between the two of you. Time ticks by but you have lost all sense of care in the world. All that matters to you is this moment. Your fairytale come to life. And it was just perfect.

[lovebvni]

The Star — An introduction to my Group Waiting Room

Finally, after months ( maybe even a YEAR ) of promising to make this blog, I am beginning it. I really wanted to make this blog a while ago to introduce this wr to so many people, but I haven't (OBVIOUSLY) but now, its here!

Let me start off with this, this waiting room is a waiting room anyone and everything who is a reality shifter has access to. Yes, there are personal invitations, but everyone has access. All you have to say is "I am going to shift to The Star." and you'll be there. The universe knows what you mean, and they wont wrong you and shift u to a literal star (unless that is what you want, obviously). But now lets get into what you will see when you get there

When first entering The Star for the very first time, you will be in a waiting room with "Welcome! Everything is fine." written in green paint on the wall. This is a reference to one of my favorite shows, The Good Place. Yes, I realize how ominous this may look or sound, but if you know me, I love being a bit creepy sometimes. The door to the left will lead you farther into the waiting room, the door to the right will lead you to a personal makeup/dress up room.

When going right, you will have the ability to change your appearance just like a video game character. You can change your height, weight, skin tone, whatever you want! Your desired body is yours to choose. This room is also fully customizable. For example, mine looks like the glitterizer from Barbie Life in the Dreamhouse (iykyk). I would always suggest going to your personal dress up room before anything else. But if you decide not to, there will be plenty more opportunities for you to change how you look and what you are wearing.

The next place you will enter is a long hallway, and ther will be almost a 'check in' when you get there. At the check in, there will be two dogs -- a yorkie and a chiwawa mix. These are my cr dogs that I love very much. They will give you a ticket and a pamphlet on where to go/the layout of the waiting room. In that card, there will also be a personal message to you from your spirit guides! Everyone has at least one, and they may be long, they may be short, but they will be for YOU and YOU only (unless you want to share with others, of course.)

After this, you have the ability to walk into the common area, which is just full of chairs and places to chat. There are many other things you can do here, but I will list the other rooms below.

a power testing arena -- simply a place you can test a power you want to have/do have and see how powerful it is. you can also train with other people/npcs :p

Deity worship/work area -- there is a hallway where every deity (from a to z) have a room that is just there's. you have the ability to go in and worship or speak with them there. they are not always active there, as they probs have other shit to do, but you can always leave a message and they can request your presence :D

Wild Shift/Teleport -- you will be sent to a random place in the universe that will entertain you. It may not be a dr you made, but it is always open to you to be there. You have the right to shift out any time if you do not like it (obviously)

A POOL ROOM -- ok i love pools, so obviously i scripted multiple pool rooms there. they are so pretty, and i have just been told some mermaids hang out there in their free time

multiple cafes/places to eat -- self explanatory. any food in the universe is accessible to you. these cafes/restaurants are run by helpers, lumas from Mario cart and Chaos from Sonic. They are so cute and sweet, they can also duplicate when needed.

MALLS !! -- idk man i love shopping and trying on clothes w my friends, stfu

Media areas -- there are two main media areas, a library and a theatre (both traditional and digital, also can be for multiple people or one person)

Therapy/talk with your guides/ a multidimensional therapist-- to do this, we connected with a reality where reality shifting is normalized, and there are therapist who work interdimensional. they are always willing to help. all meetings are confidential and will not be spoke about with any being

two 18+ areas -- i only call them 18+ because thats whats socially acceptable here. there is a topic area and an actual... yk.. LMFAOO

Those are all the like, public spaces! Now onto the ports.

A port is similar to an airport, which is why you got a ticket when entering. The ticket will have your port number and how to get there inscribed on it. I personally get to mine via an elevator. When entering your port, will be greeted with a personal waiting room -- one you can only access on your own unless you open it to other people. Just like with everything in this wr, you can change everything with intention and/or visualization.

The ports are usually two floors, these floors have secret hidden doors on the walls to your waiting room. On either side of the door, there will be a script to that dr that you have made -- either physically in a reality you came from or from your intention/imagination. On top of the doors, the place you will be shifting too will be written.

For example, if I am shifting to Alice in Wonderland, my script will be on the right (which you can grab and hold or just scroll through) and Alice in Wonderland will be written on top. The door will open when I step close, and I will be shown the exact moment I am shifting to.

In your DR port, anything is possible. You can manifest, enter the void, script, change the port appearance, whatever you want! Lumas and Chaos will also be at your service here :)

And, that's pretty much all I have for these wrs! I guess another thing I would say is you can shift to group drs/wrs from here but that is kinda self explanatory if you ask me.

I hope you all like this, and I am really excited to meet you guys there!!

Love and excitement

the abyss

(if u saw this already no u didn’t. tumblr was being weird LMFAO)

[brailsthesmolgurl]

WARDROBE MALFUNCTION!

A smol bird requested for this to be written and so here I am, playing fairy godmother! If any of you have any sort of requests, just drop me a dm as I am revived from my death and ready to write more delulus as your solulus!

Context: What happens when your outfit decides NOT to cooperate with you? What will the boys do for you?

Disclaimer: This one-shot is created with me studying their lore on various websites and social media so that I could get a better idea on what colours they like/represent and what style they lean towards. Some of you may disagree but its okay! You can read it as it is and add in your own imagery of a suitable outfit by your hubbies! Warnings: Fluff that might rot your brains.

RAFAYEL

"I am almost done with this piece," Rafayel spoke, eyes still glued to his canvas, one hand holding up his messily stained colour palette, while the other held the brush as he drew strokes across the canvas. "Why don't you go and get changed as you wait for me to finish off this bit, yeah?"

"Yes sir." You quirkily replied and you stood up, spotting him sending you a teasing look given the way you addressed him. Earlier on, some strangers had came by Rafayel's mansion with Thomas to deliver some clothes. Apparently, these clothes are custom made by those luxurious brands specifically for Rafayel. Thomas addressed it as this was one of the ways the luxury brands show their support towards Rafayel's works. ONE OF THE WAYS... At this point, you are convinced that Rafayel is a huge deal and having luxurious brands begging on their knees to work with him sounded like a dream that would never come true to you.

The dress that sat on the bed was delivered for you as well, as per Rafayel's request. There was objection amongst the team that were handling the sponsorship and ambassador deals for the brand. But Rafayel spoke through the phone like he owns the company. "If she does not get a gown, then our business ends. Right now." He hung up abruptly, and the next thing he knew, the dress showed up at his door in less than 30 minutes.

Any brands, regardless luxurious or not, knows the right way and only way to please Rafayel. One wrong move and you are off the chart and some other brand may easily replace you. Hence, nobody dares to mess with Rafayel. Except for you. "The dress on the bed is yours!" He shouted from the living room and you picked up the dress.

The chiffon textured dress is of a forest green colour, going all the way down to your ankles. The strapless design made you gulped as you are not used to outfits of this measure, given the nature of your work, whereas your attire has to be 'appropriate for work in times of need'. Touching the inner material, you sighed in relief as you realised that there was bra padding for you hence you do not have to go all the way out to get a new bra just for this event.

Putting on the dress and zipping it up was easy, and you fit almost perfectly into the dress. The keyword being ALMOST. As you lifted your hands up, the dress started sliding down like it is a floatie on a wet water slide and woop, off it went and onto the ground. You panicked, bending down in one fell swoop and trying to gather the dress so that you can pull it up to your chest again.

But it does not let you go past the waist area unless you unzip it. Groaning, you struggled to find the zip as the dress is really puffy and you did not want to ruin the designer dress. "Is everything okay?" Rafayel stood at the doorway, leaning against the side of his door, as he watched you with amusement written all over his face. He has been standing there for quite a while hasn't he?

You gasped, pulling whatever that is on the floor to cover your chest area and he walked over, analysing the dress and scowling when he found out the reason. "I should have gotten them to measure you instead of just bringing you a standard fit." He took his phone out of his pocket and tapped on the screen a couple of times. His eyes looked back at you and you bit your lip in embarassment. "Your curves are way too beautiful to be hidden amongst this pile of leaves."

His comment made you giggled. Guess he has the same thought as you. "Toss the dress aside darling, I will get you a new one." Another few taps of the finger, he shows you the dress he has in mind. A purple dress with extravagant sleeves, puffing out like how a jellyfish would and you instantaneously knew why he opted for this dress. "I like purple better anyways."

"But wait Rafayel... this dress is not entirely scrap, maybe I can sew a temporary knot on it to tighten the top so it won't fall off. And there is really no need for you to get another custom one for me as we are running out of time." Your suggestion made him stare at you, purple-blue pupils blown wide as if he has really just witnessed a shark eating grass. iykyk.

He walked over and grabbed you by your waist and pulled you close to him, so close that you could hear the sound of his heart against yours. But at this moment, maybe he could hear yours louder than his. "Nobody can put a price on your love for me. EVER. But, I can sure as hell throw out any price on anyone, regardless the amount, as a representation of how much you worth to me." You looked away immediately, eyes stared at the arms that were holding you in place. He kissed your forehead, chuckling, before he pressed his phone against his ear. "Now, let's see who can make this dress for the price I am willing to pay in 30 minutes time." he makes me feel something

ZAYNE

You waited on a bench in front of Akso Hospital. You figured it would be a great idea to wait for Zayne as he finishes work early today and you might be able to grab dinner with him. You were mindlessly scrolling through your phone, looking through your daily for-you-page before a shadow loomed over you. You looked up and no doubt, it is Zayne aka the great and almightly Elsa.

"How long have you been sitting here?" He asked you, before handing you a candy that he had fished out from the pocket of his trench coat. "I was planning to meet you slightly later at your condo." The thought of him initially wanting to surprise you made your heart fluttered. You see, Zayne is a more upfront guy so having him to plan surprises are one of the uncalled scenarios.

"I had only been here for a couple of minutes." You lied, taking the candy out of his palm and unwrapped it before you tossed it into your mouth. The raise of his eyebrow towards you made your breath hitched as he knew you too well that you could not lie to him in his face. "Fine, I had waited here since 5pm." This made Zayne looked down at his wrist watch.

"So it's been an hour and 15 minutes?" He side eyed you and you admitted it by nodding your head. "Next time, it would be better if you were to just wait for me at home. If it wasn't for a full deck today at the hospital, I might just be covering shifts for other people and that might be inconvenient for you." But, he himself actually noticed you exactly an hour and 15 minutes, from his office's window, before his upcoming surgery. He had another three surgeries lined up for the night, but fearing that you may end up waiting the whole night for him, he decided to cancel his schedule for the night and transfer the case to other doctors. Even workaholics take a break. iykyk

"But I just wanted to come over to check up on you. I even chose to sit outside so that you would not be distracted as you are working." You pouted, hands picking at the hem of your shirt. You felt Zayne's hand landed on the top of your head, a gesture of love and comfort. He patted and smoothed your brunette strands back and you stared up at him. "I shall wait for you at home next time okay?"

"Now that's a good girl." killmeplease Zayne smiled warmly. "Now, lets get you back alright? My car is parked right by the road side. Come on." Hands around your waist, he slowly walked you over to his car. The smell of his cologne lingered on your nose, the smell of mint and dashes of cinnamon. Just like his personality, icy as mint but warm and welcoming as cinnamon once you get to know him.

He opened the car door for you and as you walked over to get into the car, your shirt got hooked against one of the metal wires that went astray from the metal fencing and the next thing you heard was the sound of a ripping cloth. You yelped as you stumbled and Zayne slotted himself right in front of you, shocked as well and using his body to block you from falling further. "Oh my..." Your cursed under your breath as your hands were against his washboard abs, steadying yourself. doublekill

He guided you into the car slowly before getting into the driver side himself. When he had started the car and turned on the air conditioning, he turned to look at you. "How bad is the rip?" He asked and you lifted the hem of your shirt, showing the rip that is around 4cm long.

"Why does this have to happen to one of my favourite shirt?" You frowned, fingers won't stop touching and fidgeting with the ripped edge.

"Do they still sell this shirt?" Zayne asked, hands reaching over to tug against the shirt, as if to examine the material of the outfit. The shake of your head made him sigh and he gestured to the glovebox. "Open the glovebox and take out the black pouch please."

You did as you were told and you watched in confusion as he took off his trench coat and placed it onto your lap. The coat still radiating warmth that was collected off of his body heat. He opened the black pouch and laid it flat on the arm rest of his car, and inside of the pouch was an array of threads and needles. "Are these suture needles?"

"Yes." His response was prompt. "Take off your shirt and hand it to me please." He requested and you gulped. Using the trench coat to block his view, you slowly took off your shirt and then wrapped his trench coat around your whole front. You knew that he had probably seen many naked bodies given his line of work but something about this scenario, with you being with him only in a car, felt very intimate and it made you very anxious. "You know how to sew?"

"I am a doctor, I know how to suture. And it is the same concept as sewing, but only with different kinds of needles and threads." He then started sewing, his concentration a trait you find admirable. It did not took him long when he finished sewing your shirt and he handed it back to you, the thread sewed on has gaps of equal length and was tied off neatly. As expected of one of the top doctors from Akso Hospital. As he started driving, he added. "Although I had managed to sew the shirt for you, I believe with my connections, I would be just as capable to find you the same shirt. Then, you would never have to complain about this being your only favourite shirt."

XAVIER

You were going about your day in your own house before you heard your doorbell ringing. You placed your bowl of cereal down and took a glance on the clock on your phone. Who dares to threaten your peaceful weekend? You went over to the door and you opened it to reveal your blond hair lover. "Xavier?" You asked, eyebrows furrowed when he smiled at you.

"Good morning, I see someone woke up on the wrong side of the bed." He teased and stepped in, holding out a parcel for your. "I believe this belongs to you?" The small rip at the top side of your parcel indicated that he probably took a peek on what's inside. Acknowledging the parcel, you took it off of his hands and you blushed, tucking a few stray strands of hair behind your ear.

"Good morning to you too. I guess I might have accidentally wrote your level instead of mine." You bit your bottom lip and you heard him chuckle in return. "But thanks for coming down to deliver this to me when you could have just asked me to get it from you." "But I wanted to see you personally. And seeing the clothes that are in the parcel, I thought I could get to watch you try them on too." His blunt answer made you stare at him like a mad man. His blue eyes however, glinted with nothing but honesty. This guy may be mysterious but he sure is straightforward in stating what he has on his mind. He probably noticed the way you reacted and he took a step back, retracing his words and slightly coughing to ease the awkwardness. "I mean, I would like to see you trying out these new outfits that you had gotten for yourself. It would be a good past time for me."

You chuckled at how goofy this guy is and gestured towards him to go and sit at the couch. You went into the room to get yourself changed and it was as if today is your fashion show day. You strutted out in different outfits, layered against one another and watched the way Xavier would react to you, either fascinated, or straight down confused. There was even this one time, he would just have a blank expression where you wore an oversized shirt under your tshirt. Clothing trends on the streets nowadays baffles him and he wondered if he was the one that was left out from the fashion ring.

Your last outfit featured you in a semi see through tank top and a pair of cargo pants. Not to mention, the tank top seemed to be too small for you as the way the blond boy sees it, it was holding onto your figure for dear life and barely leaving anything more to one's imagination. And the thought itself ticked him off. When you looked over towards Xavier, he does not look surprised nor confused, but rather bland. "What do you think?" Your tone came off to be amused and you did a twirl in front of him before you took a seat right next to him.

Xavier anxiously gulped and looked away from you, his voice low as he muttered. "I don't think this outfit looks nice on you, girlfriend." The way he shifted in his seat made you cornered him against the couch even more, wanting a better explanation. "The top you are wearing. I don't like it."

"And why so?" You asked, looking down at your top and adjusting it. "This is the trend nowadays, they call it the Y2K trend I think. And this tank top was on sale, so I just got it."

"I can buy you some other clothes. Even the ones that are not going to be on sale." He retorted, eyeing the tank top you were wearing with an underlying anger. "I just don't think I would like to see you wearing this in public. It is too revealing, and I guess tight on your body."

His answer painted your cheeks red and you gasped. What were you thinking? Of course you had forgotten about his possesive nature. He does not show it much and having such a pretty boy face like him further disconnects the word 'possessive' from his character. He reached into his hoodie's front pocket and pulled out his phone, opening up an app and handed the phone to you. When you refused to take it, he lifted his torso off of the couch to 'force' you to take his phone. Just like how you had previously pressed your body against him, this is his turn to take his small and sweet revenge. You panicked as he closed the gap between you two and within the next minute, he was pressed against you, one of his hand at the side of your head and another still holding his phone up to you, his gaze intense. "Just choose whatever you want from my phone, my card information is all in there. And perhaps before you check out, you can let me double check on the outfits you are getting." He low-key demanded before he explained himself for such a decision. "I just don't like nor want people staring wrongfully at what I treasure the most."

Another fluff for another day. I already did my best in having to think of different wardrobe malfunctions as I did not want one theme of wardrobe malfunction to be stagnant across the whole story for all three of the boys. SO I hope you would understand my lovelies. :,) I am very very free so I will be posting more regularly for these few weeks. SO please do show me more love and support as that would aid me in my motivation in writing!

Do check out my other works as well!

HOW WOULD THE BOYS REACT TO YOU FORGETTING ABOUT YOUR DATE?

DAMNATION

Hope your Delulu is satisfied my lovelies <3

[angellissy]

Just a taste

Rupert Campbell Black x Taggie O'Hara.

In which an overworked, overlooked, underestimated, and exhausted Taggie finally gets taken care of <3 This is very short and might be shit but I feel like I need to be taken care of so this is what I wrote! It has been so long since I have written and so I am not really sure what I am doing right now. I hope it isn't horrible. I am open to taking requests if you have any :)

There was something wet on her face. 

Taggies eyes fluttered open and stared right into the gentle brown eyes of Rupert’s black lab. At seeing her finally awake the dog continued its harassing of Taggie’s face and only stopped when she gave in and started scratching it behind its ears. 

“Needy aren’t you?” Taggie said to the black lab, who just wagged her tail and tilted her head quizzically at Taggies word. Shaking her head with a laugh Taggie got up, pulled on one of Rupert's button-ups, and started walking down the stairs, the dog following dutifully. She heard him before she saw him, the sound of him humming to the tones of lady in red and moving around in the kitchen. The kitchen itself smelled divine and Taggie was quite sure she could smell pancakes on the stove. As she rounded the corner into the kitchen she stopped short and could feel the blood rushing to her cheeks as she took in the man in the kitchen. Rupert was standing with his back to her, his shirtless back, and she barely felt ashamed as she studied the way his muscles rippled as he lifted a pan of the stove. He looked glorious, his tan skin almost glowing in the morning light sneaking in through the windows. He was divine, and Taggie was sure that she was drooling. Gods, she would never get used to the sight of him. She was not sure she ever wanted to get used to anything that regarded him. She liked the surprise and the adventure that was Rupert Campbell Black. 

She must have made a sound because his head whipped back “Bloody hell darling, you scared me” He drew a long breath, and Taggie wasn’t sure if it was because of the scare or if it was because of the way his eyes raked over her body. His eyes glittered and his lips curved upwards in a grin, which made him look devastatingly handsome “Well you look ravishing angel, If I hadn’t just spent the last hour making you breakfast I might have considered changing the menu”. Taggies cheeks warmed again, both at the innuendo and the fact that he had made her breakfast. “You could have woken me, I could have helped you with breakfast,” She said whilst looking over at the countertop where he had created a buffet of pancakes, bacon, eggs, fruit, and, was that..? “You made jam roly-polys?” The surprised tone of her voice made him look at them a bit sheepishly “At the very least I tried, seemed fair to try and repay all the times you brought me food and cakes” He did not explicitly say it but what he meant was that he wanted to take care of her for once because the gods knew that she deserved it. 

She grabbed one, took a bite, and made a bit of a surprised sound when it just melted on her tongue, it was really good. “You wound me, Agatha,” He said in a playful tone as he took in the surprise on her face, but when she narrowed her eyes at him for using her full name Rupert simply held up his hands in surrender. He walked closer and took her face in his hands, leaned down, and pressed his lips against hers. He pulled away a little too soon for her liking making Taggie open her eyes to look at him. He was wearing that devilish smirk of his again, the one that made her heart thunder in her chest so loudly that she sometimes had to press her hand against it just to make sure that it wouldn’t actually jump out of her chest. 

“I just wanted a taste, and I agree it was absolutely divine” He said winking at her. 

What a wonderful thing it was to be adored and cared for. Taggie had waited and longed for this a long time. It was better than anything she had ever hoped for. This was the magnificent reality of finding a soul that cared for yours with tender hands, and Rupert Campbell Black had really good hands. 

[maybeelse]

(Previously)

"So," you ask, "why am I still alive?"

She's sitting at the little table outside your cell doing paperwork again. The Liberation has more paperwork than you ever suspected. "We disabled your mech's countermeasures," she says, not looking up. "About an hour before you spotted us, in fact."

"That's not what I meant—WAIT, an hour!? But I spotted you barely an hour into the patrol!"

"Yes," she finally looks at you, smiling, "your command/control system is full of holes, dear."

That's a vital piece of intel, for whenever you manage to escape. Hopefully she can't see that thought on your face. She probably can—if she can't just read if off your implants.

"Well, um. I meant. What do you want from me?"

"Aside from the obvious?"

You break eye contact. Stare at your cell's open door instead. At least you didn't look down, this time; you're not hungry enough to ~~ask~~ give in again. Not yet.

"T-there are easier ways to, uh," you don't know why you're being so bashful. It's just sex, coerced and nonconsensual as it is. "I mean. If that's all you want."

"Mmm, maybe I have morals?" She shakes her head. "You're an enemy combatant, dear, and your bunch kill us whenever they can get their hands on us. What's the thing they say, 'no civilians in the Liberation'? Something like that."

"I-I never," it's true. You never got a chance. "I wouldn't have ..."

"You would have. Maybe you'd have been reluctant, but half your training is about obeying the hierarchy. A general tells you it's a military target, are you going to object?"

She's right, of course, but you don't answer. You won't give her the satisfaction.

"Hell," she continues after a long pause, "you haven't even tried to escape. The implied hierarchy of the prison cell and the warden is stronger than whatever convictions you thought you had. You couldn't even starve yourself properly!"

"W-what do you mean? If I tried to get out you'd just ..."

"I mean, yes," she allows, "I would. But you haven't even tried. I never even had to lock your cell's door. Or those chains."

"... what?"

"Try it," she says, smiling. You are suddenly very, very aware that her handgun isn't in its holster.

She could stop you with a thought, of course. You're not sure how deep her control of your cybernetics actually is, but she's perfectly capable of fucking with your motor systems. But the chains come off your ankles with just a bit of force, and she just watches as you creep out of your cell, pausing for a long time just inside the door. Expecting your cybernetics to stop you with a flood of pain, like they would in an Empire prison.

Nothing stops you.

It's strange, standing in front of her. Upright. So much taller than her, when you're not on your knees. Her handgun is hanging from a hook on the wall, right outside your door. You could grab it, flick the safety, and fire in one smooth motion. Point blank; you wouldn't even have to aim.

It would be easy.

And probably she'd stop you—probably she's already written something into your cybernetics that would stop you—but at least you'd have tried, right? At least she'd know that you're loyal to the Empire. You'd know.

Standing up in front of her—looming over her, really—feels wrong, though. It's much more comfortable to be on your knees. A more proper height, for a prisoner before their warden. And her skirt's worn-leather scent is so warm and reassuring, so it would be a shame not to rest your head there, just for a moment. You're not giving in, of course, just ...

Just what?

Her fingers against your scalp ruin whatever justification was brewing in your struggling brain. Kneading, stroking, lingering on that sensitive place just behind your ear. Somehow more intimate than when she's grabbed your head before, to show you how to move or to encourage you as you labored to please her—not because you wanted to please her, of course! So that she'd let you eat. Only ever for the reward. Of course.

"Wow," she murmurs, almost too quiet for you to hear, "they really did a number on you, huh? Just a dog desperate for a new master ..."

---

Eventually she loses interest in you, which is just as well. You need time to put your thoughts back together, half-collapsed on the floor, leaning against her legs. Clinging to her. Waiting for everything to make sense again.

"Should I go back to my cell?" You eventually ask.

"Mhmm, if you want to. Anyway, do you know any words that rhyme with 'persimmon'?"

"Um," you blink, "women?"

"Already used that one. Damn, I'm going to have to start from scratch again ..."

"D-does the Liberation make you write paperwork in verse?"

"What?" She scoffs, "No! This isn't paperwork! Half the reason I joined was to get away from the damn stuff, your empire is drowning in it."

It might be the first genuine reaction you've gotten out of her since you were captured.

"W-what is it, then?"

"Poetry. Don't they still have that in the empire?"

"O-of course we do! It's patriotic. It tells us what we should be!"

"Not this kind of poetry."

[cheatsykoopa98]

1 AM ramble but someone just pointed out to me you can see zooble's room in their pin wrapping background

not only do we get to see what their room looks like, we also get an official look of the zooble box, and a mirror for them to look at themself. now I think this might be important. pomni had a scene in ep 1 where she looks at the mirror in disbelief that she looks like that now, and we know zooble changes their parts every day. I think caine did that to "help" zooble with figuring out their gender identity, which maybe or not be helping, considering what I hear of people experiencing gender dysphoria not liking to see themselves in the mirror.

and I do think the mirror is important, we get to see a little bit of the others' bedrooms as well, kaufmo, ragatha and gangle's, and none of them have mirrors from what I can see. maybe caine noticed pomni looking in the mirror and thought pomni might want one in her room just like zooble, not realizing pomni probably hates to look in the mirror and not see herself

also lets look at the other characters bedrooms

ragatha seems to be very tidy (assuming everyone has to clean up their rooms and considering how messy pomni's room is) and not have that much stuff. a box of toys that she might or not play with considering its positioned as a seat for the piano. we dont know if she knows how to play (according to goose she knows the cello, so she could know the piano as well) and having so little fingers in her hand might actually not let her play the piano properly. caine could have just heard she likes music and put a piano in her room. also notice the piano is in the middle of the room taking center stage and we cant see a bed (yet). ragatha has mentioned nobody needs to sleep even though they can. do you think she (tries to) play the piano at night while everyone else assumedly sleeps? there is a song sheet at the piano but I cant read if it has an actual song name written on it.

also she has a shelf full of things that might be of her interest or template things caine put there. like balls of yarn, books, a gloink (how did she have a gloink before ep 1?) and a framed picture, which if it has an actual photo of someone there could open up a lot of theories to who is there. also the gloink being there points to either ragatha having already lived through a gloink adventure and keeping one in her room or keeping one after an adventure where she was hurt by kaufmo and abandoned by pomni. why would she want to keep it if thats the case?

gangle's room is very dark with black walls. we cant see much but I believe she is in a really deeper depression than pomni. I believe to the point where she doesnt have the energy to try to escape, just mask as much as she can before her happy mask is broken again, poor gangle :/

we dont get to see kinger or jax's room, even though I think there is a kinger door in the corridor. maybe kinger is too paranoid to sleep in his room. jax's only shows his door with the void breaking into view. maybe we wont get to see his room until the very end. also I remember there was a theory jax knows where the exit is, but doesnt leave. I dont think its true considering goose said jax deserves to be stuck in the circus, implying he cant leave just like everyone, but since he "has keys to everywhere", what if he has been to the void without caine knowing? pomni never made it through the end but if jax did, maybe what he saw there pushed him to be how he is now. maybe he doesnt see hope in escaping and thats why he turns into such a bad person, he could be a nihilist in that way

anyway sorry for the long post, I just had a bunch of ideas popping up in my head from this little detail I should have noticed when pomni's pin was released

not only do we get to see her room but we also see the blocks spelling CBA, not sure if the B is supposed to count or not but its the second time pomni is associated with C&A, I do believe she was an employee there

[neppttune]

𝐌𝐀𝐊𝐄 𝐌𝐄 𝐁𝐀𝐃 | toji f

𝐈𝐓𝐒 𝐐𝐔𝐈𝐓𝐄 𝐃𝐄𝐂𝐄𝐈𝐕𝐈𝐍𝐆 𝐀𝐒 𝐈𝐌 𝐅𝐄𝐄𝐋𝐈𝐍𝐆 𝐓𝐇𝐄 𝐅𝐋𝐄𝐒𝐇, 𝐌𝐀𝐊𝐄 𝐌𝐄 𝐁𝐀𝐃

↳ ⭒—warnings: nsfw, addiction, bit of angst, toxic relationship(ish), reader feels used, size kink, praise, teasing, creampie, reader has female anatomy, babytrapping if u squint, breeding kink, mentions of infidelity

↳ ⭒—synopsis: tojis addiction feeds the toxicity in your relationship

toji who is absolutely in love with your pussy, the pretty flesh on the outside and god- the soft, warm flesh on the inside as well. constant praises of

"ah- y-you feel soo fuckin good doll... keep squeezing me like that i might have to- fuuckkk, make you a mommy... yer fucking sopping,, gettin it all over the sheets too, 's so pretty..."

with clear desperation in his voice at the best feeling in the world.

toji who always kept your sex life interesting when you two would suggest ideas and play around with them, him being the one with many many ideas already thought out about you

toji who leads you to believe that hes whipped, but when it becomes a constant thing to have multiple rounds of sex, even asking at the worst times, is when you ask him if he's serious about your relationship.

toji who has been and always will be all in, even when his fantasies and need of your touch continuously go off in his head. whether its grocery shopping, out on a job, or having a serious conversation with you. its a constant need for the hot pleasure only you can give him.

toji who seems incredibly shallow to your friends when he only ever really wants to have sex, or have his hands on your ass or lower stomach, even trying to justify it while simultaneously ignoring the voice telling him somethings wrong and his compulsive actions aren't normal.

toji who goes to the point of convincing you to have sex in a public restroom at a restaurant or park, because "we have a few minutes, babydoll, cmon"

toji who when you decide you need a break from, due to him destroying the relationship, masturbates until it hurts thinking about you but unable to get off. he even tried chatrooms, pictures, and videos (some of you from his ideas he just needed to try).

toji who you love and ultimately buckle for, in a dramatic moment of crying and explaining your feeling to him. how everything is in-genuine when he suddenly needs to have sex, how everything to consumed by sex, and almost pressuring you into giving him what he wants. all you get to this is a tight hug and

"cmon baby, you know I love you... 's been a week lemme make you feel good, please, 'can make it better"

toji who wonders: does it make me bad?

a/n: finished at 3:56 am LMAOO enjoy

©neppttune

all rights reserved

do not plagiarize, repost, modify, or translate my work without written consent.

[tripleglitchwriting]

Kinesthesis 3

Jazz/Prowl/HumanReader first contact AU

Part 2

I am so sorry this took so long 😭 but I finally got something out! This was written over the course of multiple months so if it’s inconsistent that’s why. Over my impromptu hiatus I’ve grown as a writer and as a person so that will probably change the way this story goes, but not to worry! I still plan on carrying on with this fic.

Be aware that I may not remember things about that last two chapters before this because it’s been a while. If you find any mistakes, let me know!

Also, thank you to the anons that encouraged me to keep going! This one goes out to you.

So, now you have quite a few problems. Not only were the ‘robots’ alive, they were also obviously damaged and asking for your help. Your help. Of all people. You still didn’t know where they came from, if someone was piloting them, how they got here, what that blue liquid was, or why one of them only made weird metallic scratching sounds. That one in particular really freaked you out when it first started ‘speaking’. At the time, you immediately assumed there was a metal demon somewhere coming to eat you.

Instead of that, they were just giant robots asking for your help in the middle of asscrack nowhere. Very simple. Foolproof, even. Nothing wrong there.

“I’m… going to get to work.” You told the one apparently named ‘Prowl’. He didn’t make any sputtering noises at you this time, so you took that as your go-ahead.

He was huge. Well, you knew that, but it was still jarring. You had to literally climb him to get to his wounds. Delicately placing your rag to the injured spot on his neck, you could feel the pump of something akin to a heart under the metal. Now that was weird. Wait, maybe it was just a fuel pump of somesort. He couldn’t… it couldn't have an actual heartbeat, right? Robots don’t have heartbeats.

That isn’t possible.

After a bit of cleaning up blue liquid and trying not to cut yourself on shards of metal, a realization dawned on you. These guys were more complicated than you thought. Really, a robot shouldn’t have this much… everything. They shouldn’t have half of whatever parts are in them. What kind of coding was driving them anyway? What fuel did they even use? The blue stuff?

Oh, who are you kidding. They aren’t robots. They can’t be. They can’t just be robots. They fell from the sky, of course they can’t be robots! Your heart picked up its already erratic pace, yet even with shaky hands, your work took priority.

Soon after there wasn’t a hole in Prowl anymore. Not one on his neck, anyway. You counted that as a win. But seeing as there were way more lacerations, dents, and cuts all over both of them, you definitely had the rest of your work cut out for you.

Simple. Foolproof, even. Nothing wrong there.

—---------------------

Jazz, with his sight still mostly busted, anxiously awaited some sort of indicator that the person helping them was actually patching up Prowl. They seemed pretty stunned earlier. Scared. He had assumed they’d run away and get help. That would be a more reasonable reaction, right?

Obviously it was probably better that they didn’t, this was a completely new planet after all. They’d be scrap if it weren’t for this random person helping them out. This person that is native to this new planet. With… no knowledge of Cybertronian biology- oh scrap. This person had no idea what they were doing!

“W – it! Wa– a - i!” Staticy, barely understandable garble came out of his vocalizer. He heard a tiny peep out of the little guy and a kind of ‘hrmph’ from Prowl.

“What? What is it? Did I do something wrong?” They squeaked in a comically high-pitch tone. “I- I’m sorry, I- know mechanics but this is kind of different and I don’t want to hurt anybody I just-”

“Y- yo- u kno- me- c– nics?”

“Um, yeah, it’s what I do. For school.”

“S- – -ry f’r t--e frig–t, I’m j-st co– m– in’ to–my–sen s- s- ses, an’ rel-i’ed wher– we ar’... an’ I don’ kn- kn- kn- – -w… ca—n– ya- re- – -y fi- x us?”

“O- oh, n- now yo- -y questi- on it?” Prowl commented from the sidelines. Jazz deliberately ignored him.

“I mean, I can, I just need some time to figure everything out… i- it doesn’t hurt, does it?”

“W- Wha-t’s’t sayi- in- ing?”

“A- askin’ i- if it- it- it- hu- – -ts.”

“O- of co- rs’ it h-urts!”

“Wait, what’s he saying?”

Jazz cringed for a moment, realizing just how taxing it’s going to be on him to keep translating. Of course, he decided to use it to his advantage. Why not have some fun in the face of certain death?

“H- he s’ys h’s t—ckl’sh.”

“Oh, um, okay. Does that mean you guys can’t feel pain? Like, can I go harder with this? I have some power tools I can use back in—” Okay. Bad plan.

“N- N- N-O we C- – -N Fe’L It!”

“Oh, um, can or can’t?”

“C- C- C- C- CAAIIIEEEZZZZzzzt!” His vocalizer gave off a pointedly unpleasant sound just before shorting out.

“Is that… should I know what that means?” Jazz took a second to reset his vocalizer.

“N- n- n- o… b- b’t w– fe’l pa’n… i–t h- – -rts…”

“Can feel pain, got it. Um, is your voice okay? I can try fixing it… if that’s a thing I can fix…?” As much as he appreciated the gesture, Jazz wasn’t ready for that kind of operation.

“N- n - o thn’ks.”

“Alright… I’m gonna keep going here then.”

It was then, nearly offline, cut off from most forms of communication, on a completely alien planet, that Jazz realized this might be a little bit too much to handle.

“Y- y- you—re an ‘di—ot.”

“M- ay’e… bu— ‘least I c’n t- t- ta-k to ou- fr’nd ‘ere.”

“It’s Wh—lja’k, o- of c-cou’se I d- di—-nnooowoowOWW!” Jazz heard a loud crash followed by a tiny scream.

“Oh my god I’m so sorry, what did I do? I- I didn’t know, oh my god…”

“Wh—t? —at ‘appe— d?!”

“I- I’m sorry, I think I hit something, I’m so sorry!”

“Pr—ler? P—owl!?”

He got a groan in response. A groan and a new, distinct, clear sound.

“—bbzzzt —- bzzzt ——tobots! This is Optim— —ime. If yo- can hear thi-, heed my call. The Arc is inoperable. Most of you are scattered across an alien world. While I do not know where the Decepticons have landed, I can confirm they are on the planet with us. Do not lose hope here, my friends. For the fate of Cybertron and the remaining Autobots rests in your capable servos. Attached to this message are the coordinates to the Arc, I will be waiting for you there. Good luck—- bzzzt —— bzzzt—-!”

The three sat in silence. While he couldn’t see the hologram that was most likely coming from Prowl’s projector, he heard what the message contained. They were safe. Optimus was safe. And he once again had a goal to achieve.

“Wh- what the hell was that!?”

“Th’nk Pri—us…” Prowl whispered.

“It -as… a- a- f- fri—nd.”

“Oh, okay. What did your friend say?”

“Th— w- we ha— so—me-here t- be.” Jazz attempted to move his body, but was once again denied. “W- we n- n- ne—d to g—-!”

“Hey, woah woah woah! You are not well enough to get up yet! I haven’t even started patching you up!”

“Aau—augh! I- I- kn— Ratc— uh, I- I- I kno—“

“Settle down. I- I’ll be as fast as I can, alright?”

Jazz huffed in halfhearted agreement. Prowl, on the other hand…

—---------------------

He thought this was an incredible waste of their time. Oh, sure, he needed to be fixed, but he was doing just fine now and he did not need help from a mysterious stranger he couldn’t understand. How could he, Prowl of Petrex, need the help of a tiny little creature like this one? There was no such need. The only need he had was to get himself and Jazz functional again, report back to Optimus, and win the war.

He tried to get up. After about half a second of metal creaking, unconscious groaning, and a little squeak from his benefactor, his body gave out. His spark burned with a searing mixture of frustration and stress as he tried to clench a servo. But of course he couldn’t. Of course he was stuck. Injured, vulnerable, and useless. But still, Optimus needed him. Needed them. So he needed to get up!

“C- cal- m d- do— n Pr—‘er… ye’ sca- a- rin’ ‘em…” He could hear panicked chittering from somewhere on top of him. He had half a mind to shoo the thing away, but even if he could raise his servo, he knew this was his only hope. He would never admit that, obviously, but deep in his spark he knew.

He didn’t respond to Jazz. He didn’t need to. He just focused on the little twinge of pain somewhere atop his chassis and a wound being sealed. A familiar feeling. Not too familiar, not like this, but enough to be comforting.

He imagined the medbay in the Arc. That time when they defeated the enemy and no one had to die. They won, and everyone cheered and celebrated and did whatever people do to express joy during a war.

He was unconscious for cycles. Just because nobody died doesn’t mean nobody was hurt. And he was really, really hurt. But it didn’t matter, not even to him. Moments like that are rare, after all. When one could rejoice without mourning the loss of a friend. He’d only expected Ratchet or First Aid to stay with him during that time. Who wouldn’t want to celebrate the spoils of victory? No one is willing to give up a moment of solace like that. No one is stupid enough to pass up the opportunity for happiness. Except Jazz.

Jazz stayed with him the whole time. He stayed by his bedside, refusing to leave once the required surgery was over. He brought glasses of energon for both of them. To share.

Prowl didn’t wake up then. He missed the party and the congratulations and the relief. He missed Jazz telling him stories and about his day. He missed when the rest of the crew stopped by to check on him. When he did finally come out of stasis, Jazz wasn’t there. Not of his own volition, but because he passed out on the floor due to exhaustion. They both got a long lecture about taking care of themself from Ratchet when it was over.

And Jazz is there, now, still with him. Bleeding out and broken, but still there. And Prowl was powerless to help him. His HUD sang one final message in his head before it went suddenly silent, and he fell helplessly into the deep abyss of stasis.