#i've been “doing great!” ever since lesson one

[sl-walker]

Booster's Queer af

Something I wrote on Reddit on a thread asking 'what's your DC hot take??', because if you're gonna kick a hornet's nest, kick it with your best steel-toed boots and then smile:

Booster's queer. That man hasn't come across as straight-- ever. Like even when I started reading DC in 2003, he came across as queer to me, pretty much from his inception. Seriously. He comes across like someone closeted and decidedly not-straight who just stays in the closet initially because it was a very bad time to be anything other than heterosexual when he landed in the past and later because it's habit and expected of him. I don't think he's gay, I think he probably leans pretty pansexual or maybe even demisexual, but any which way, you'll never convince me he's not at least a little bit queer. He's had one in-universe romance that hasn't been retconned (Firehawk) in his entire time existing and one that was a joke and maybe not even real canon (Gladys). After almost four decades. His thing with Firehawk lasted, I think, like less than a year, too. I'm pretty sure you can count his on-panel kisses on one hand, but not more than two. He's never had a 'morning after' scene. The one seriously emotionally intimate relationship he has is with another guy. When he does flirt or attempt to, it comes off as being awkward and a bit desperate and a bit like a man who is kinda using it as cover. And like-- that really makes way more sense for him than anything otherwise. I'd sincerely hope by the 25th century that we'd stop giving a damn who loves or wants whomever else based on gender presentation. It also makes for a pretty compelling tale, a guy getting dropped into the middle of the AIDS epidemic learning a very quick and ugly lesson about what happens to queer folk in this time period. I dunno how hot a take this is, though, because at least some people up top agree (he's canonically hooked up with Ted in Teen Titans Go! and like-- any time Tom Taylor writes them, he all but says it aloud), but if TPTB were brave, they'd finally confirm it mainline. Like you don't even have to ship him with Ted (though that's my preference), just confirm he's queer. Here's my essay. What's my grade? LOL!

--

Since it's relevant, tho, here's a few pieces I wrote from a long email back and forth (since us old people still do that) with another very long-time fan of his a couple weeks ago:

But anyway, to me, he acts about like how a kid who got dropped into the 80s during the height of the AIDS panic and rampant homophobia and the wholesale death of gay men might, especially if he were queer himself. I'd probably try to straight-wash myself, too, in his boots. (I remember that time period, if distantly. I didn't realize I was queer myself until I was well into my 20s, despite falling in very desperate and intense love with another girl when I was 12. I do remember being in high school when a boy was murdered for being queer by being tortured and left tied to a fence to die, though. It was that kind of world back then for people like us. In some places, it still is.) Still, where Booster fails at any hetero romance (oh god does he), he's so devoted to Ted that a big part of his second solo was dedicated to him either trying to save the man or actively mourning him. It's heartbreaking and amazing and really actually quite good stuff, from a literary POV. Whether DC meant it or not, somehow they managed to write one of the greatest love stories I've ever seen in a comic across most of twenty years, no kidding, and I've read a lot across a lot of companies, even back when I was a twelve year old girl and ridiculed for it. And not just a great queer love story, it's a great love story period. A person can make a credible argument for it being a one-sided -- romantic and therefore non-platonic -- love, but it's pretty hard to argue it's not a very intense one regardless.

And

I guess what I'm trying to say is: This is another read on him. And I think also a very valid one. He's one hell of an amazing character, I wish DC had handled him half as well post-Flashpoint than they did pre-Flashpoint, and I don't think a queer reading of him detracts anything from how amazing he is. If anything, I think it makes the older stuff several shades deeper (and so, so relatable, god), and I think if they decided to write him as explicitly queer now, not too many people would actually be all that surprised. With or without Ted. I can't really identify with Alan Scott, love him though I do, even though I can acknowledge that a generation of gay men likely could quite strongly. But I can identify with Booster Gold, who grew up poor and wrecked his future in part for love of family, who clawed his way out of poverty and fell back into it, who has brilliant and shining moments of courage and heart, and moments where he lands on his face, who was tough enough to survive a lot of shit but devastatingly vulnerable to exploitation, and who looks like a fellow queer kid who might've fallen for his best friend, but was surrounded by homophobia and hate and terror and buried that part of himself because the alternative might have been getting beaten and left tied to a fence to die.

[cylo]

im getting such a good grade in voice lessons

my voice can get low so easily now

[ram-bles]

Hello! Is it okay if you can write mouthwashing headcannons of how the crew members would react to the reader randomly attacking them with kisses? If you want to stick with one person, then I was thinking, Anya? (If you want someone else, then that's okay too!)

Have a great day/afternoon/night

tulpar crew x gn!reader

smooch attack headcanons.

⚠️ pushy jimmy. everything else is chill. not proof read.

[note: sorry I've been out for long everyone! I had some stuff come up but I'm doing some progress on the things you guys send! I hope you enjoy these imagines]

[ Anya ]

🟦 giggling mess if done right

🟦 if you do it, please don't jump her.

🟦 sth like swooping in first before kissing her. small signals that it's you.

Her eyes were glued onto the shelf, searching for that one book she needed. It was usually there. Did I misplace it? Her thoughts were immediately silenced by a hand taking hers, swift yet carefully. Her body tensed up by instinct but when she realized it was you, it had her giggling as you planted soft kisses on her knuckles. You raise the book that you hid from your back while you entered. "Sorry! I was reading it earlier." "I don't mind at all, don't worry." Anya shakes her head with a smile and cups your cheek and you beam. That was one of the small signals she gave that says she's fine with this. She brushes your cheek for a moment as you lean into her touch, then you feel her carefully tucking a lock of your hair behind your ear. You immediately wrap your arms around her waist and lean in for a kiss- kisses. Lots of them. You start off on her cheek, then her nose, her eyelids, her forehead, then a peck to her lips and she was softly laughing the whole time, both from the affection and how ticklish it was.

[ Curly ]

🩹 Not a fan of PDA either. you gotta do it when you both get privacy.

🩹 So you do it with every chance you get.

You spot Jimmy lingering back at the lounge without your beloved Captain? You're beelining towards the cockpit. Alone in the kitchen? You're on him. Hallways? Oh, Captai—in! Even if he scolds and chastises you for it, he loves it. He does the same anyways. One time though, you were both in the lounge reading together when you eventually got bored. You peek at your partner who was heavily invested at the article when suddenly the item gets pushed away and replaced by you on his lap. Before he could even warn you, you grabbed his face and showered him with kisses. Curly gives in and hugs you, it should be alright since no one's here, right? He'll let it slide for now. When you part, he had a stupid grin on his face. "Darling, have I ever taught you how to aim?" With a chuckle, you shake your head and you both lean in for a kiss. "How does a lesson tonight in your quarters sound, Captain?" "Perhaps we could reschedule for an earlier time. How does right now sound?" "Perfect."

[ Daisuke ]

🌺 Usually, it's him who does the guerilla attacks. It's a little game you guys play. The more of a surprise kiss streak you have, the better.

🌺 So far he's on the lead, but not for long.

You had to borrow Anya's lipstick for this. Carefully planned this siege (it only took like 10 minutes). Daisuke had just finished doing inventory, Swansea's back in utility and you're by the storage closet by the hallway and you hear familiar footsteps. In approximately 5.0224 seconds, your target is going to pass by the said storage room aka your location right now. You brace for it, nervous. You push your doubts that it was another person for now and just go for it. Slamming your partner onto the wall as he squeals, you shut the door and yank on the string to turn the light on. It was dim but you could see the look on his face and you burst out laughing. "Dude, I thought we had some psycho hiding up in here! I thought I was gonna die!" "Yeah, you will." "Fuck you mean by tha— mpFfF?!" Your lips smash against his and you could tell some of the lipstick smeared. His awkward tense pose loosens up and his hands move away from the walls to your hips as he returns it and you part as he tries not to chase after you. "Got ya' good, huh?" "Whaaaaat?" He drawls out with a voice crack, looking away. "I don't know man, you gotta do that again so we can find out." With a pffsh, you start kissing him everywhere, his beauty marks, his lips, cheeks, jaw, neck, probably even on his collar. Next thing you know, you both pop out the storage room, Swansea looking like he almost had a heart attack while he stares at the both of you in judgement. Daisuke had a lovestruck expression while his face, neck, and shirt collars were filled with lipstick marks and yours were smudged on your lips.

[ Jimmy ]

🔪 he hates it. he likes it so much he hates it.

🔪 prefers doing it himself though.

Shitty day as always. He wasn't in the mood and he can't bother you which made his day a whole lot worse. It's stupid, why was he so dependent over your attention. It should be the other way around. Once you were done with your shift, you decided to find the co-pilot. At his usual thinking spot, chewing on a toothpick. God, he needs his nicotine. You were silent, only walking towards his way, too busy with his thoughts to even notice you. Not until you plant a kiss on his cheek and his head whips to your direction, almost bumping heads. You smile and peck his lips this time. "You okay?" Were you pitying him? "Fuckin' peachy." Suddenly, you were pressed up against the wall, caged in-between his arms and you look up at him confused. He flicks the toothpick somewhere and he starts peppering your face with kisses. It was all soft at first, not until he nips at your lip before kissing you roughly. Your lips would probably bruise later on.

[ Swansea ]

🦢 this can be interpreted as romantic/familial honestly

🦢 he seems annoyed by it but in reality, he thinks it's sweet. never admitting it though.

Wake rock was softly playing in the background. You were busy cleaning up in the utility room while Swansea was repairing some wires when he suddenly flinches and cusses loudly, shaking his hand. He got grounded. Now he's grumbling over where Daisuke was when he needed him to do the work. Probably needed to release his frustrations elsewhere by light-heartedly shit talking his intern. You knew he didn't mean it. Tilting your head curiously, you moved closer, peeking over his shoulder to watch him work for a moment. And just when he moves his hands away from the box, you hug him from the side and kiss his cheek repeatedly. "Jesus! Warn a man will ya'?!" "I'm done cleaning! I'll go on break now, boss!" "Yeah, yeah." He huffs. Unbeknownst to you, he had a small smile on his face as he continued working. Seriously, who does this to their mentor? Kids these days.

[madschiavelique]

A Crown Of Ink : Chapter 5 - Temperance

summary : viktor and reader work together in the library (so much banter, it's insane), then maybe there's a small fight because a guy called viktor a cripple and that causes some issues

content warnings : mentions of blood but really not that much tbh

word count : 5,4k

author's note : you thought i was gone on this one huh ? WRONG. we're so back babies! i know it's been 2 years since i've touched this baby okay, but i'm back now! hopefully i will get more time to write about this lil guy bc i love this fic.

proofread by the lovely @yaffles-world

masterlist : here

taglist : @doctorho

For the rest of the two long hours, Heimerdinger continued his lesson.

The class had come to an end, you silent, the class teeming with gossip. Professor Heimerdinger had distributed the subjects one by one to the students at the end of the lesson. He was a perfectly reasonable, friendly teacher who tried to make his pupils laugh at the expense of their historical knowledge.

When you had a lesson with him, you knew you were listening to a teacher who was wise enough to turn events and experiences into jokes to lighten the burden of his history lessons.

He was always on the lookout for questions and comments from the students, not hesitating for a moment as he gave the subjects to the groups one by one to point out the difficulties they might find and the pitfalls that might await them.

In short, Heimerdinger wanted his students to succeed, not to see a decline in the Piltover Academy's chances of success, which in the eyes of many seemed to be something to crow about rather than something to be ashamed of.

The very idea of being one of the few students to overcome these difficulties and succeed was, in your eyes, the greatest reward that could ever be given to you.

“Young folks,” he said, pointing to the two of you. “Come this way. I have reserved a subject especially for you.”

Heimerdinger didn't do things haphazardly. He gave students subjects that reflected them, or at least where he knew the results would be most interesting. You couldn't help but fear what he was up to.

When the students had dispersed, the tinkle of Viktor's cane sounded until he arrived at your side. You sighed audibly as you looked at him, crossing your arms over your chest as he gave you a winning smile.

He seemed to enjoy it when you got angry, and took great pleasure in teasing you constantly. Had he been a friend, you wouldn't have held it against him, even though your list of friends consisted mainly of Eris, Sky and Jayce. However, a friend wasn't supposed to be a problem for your success. There's only so much space in the academy for students who come out on top, and you weren't about to give yours away.

“Good,” he said at last as the last student passed through the doorway. “There's no need to point out that you two are the sharpest elements of this class, you're well enough aware of that, as is the rest of the school certainly.”

Your bickering and petty battles almost made the corridors of the school come alive again with the excitement of rumour and gossip partaking in your reputation.

“None of the fellow teachers in this establishment seem to have brought to the table, however, a possibility which seems to me to be the most interesting for both of you: teamwork.”

You arched an eyebrow, finding the reasoning profoundly moronic.

“Sir,” you couldn't help but point out, “this school is eliminatory. Why would you want to associate students who won't necessarily all have the chance to pass the exams?”

Heimerdinger chuckled, “I'm not doing it with the prospect of a pass or a gold medal waiting for you at the finish line, Miss.”

You tilted your chin up in a slight pout of surprise.

“You see, I'm not necessarily trying to prepare you for the exams, but for what will happen once they're over. Having a diploma is all very well on paper, but what counts most in the end will be what you achieve.”

“All right,” you admit, “but why put us in a pair like this?”

“It's quite simple,” he jumped up from his desk, trotting across the floor to stand in front of you, your eyes downcast on him. “In the working environment, you don't always find a shoe to fit. And when you don't have the power to dismiss your colleague just because you don't like them, you have to learn to sacrifice your temperament for the sake of the common good. Now, I'm not asking you to make sacrifices, that word is far too violent, but I am asking you to compromise.”

You exchanged a look with Viktor, your fists clenching until your knuckles were white. You'd already made enough compromises for one lifetime, and now you had to go on? He, for his part, didn't seem too bothered by the situation. How could he be so calm? So serene about the idea of cooperating?

“You don't always work with the person of your choice, and not always on the subjects you'd prefer. Oh, that's just it! Speaking of subjects…”

He stood on tiptoe, grabbing the last sheet of paper from his desk and holding it out to Viktor.

The latter, for once, frowned in pure confusion and even perhaps... irritation?

“The evolution of Zaun's power?”

Your eyes narrowed before shifting from Viktor to Heimerdinger, “Are you joking?”

“I do love to laugh young lady but the shortest jokes are the best. You both seem, for different reasons, to have an excellent knowledge of Zaun. Its political power, its evolution, and even the iconic figures who can make themselves forgotten in the shadows of its depths.”

You exhaled a shaky breath, trying to remain upright and not revolt on the spot. Heimerdinger seemed way too amused and happy of his little scheme.

“Any questions?”

Viktor read the subject and what you had to complete, “Do you have any books to recommend to us Professor?”

Heimerdinger's voice became a blur as your thoughts drifted like the Grey in Zaun. Every corner of this city was out to kill you, and even when you were out of it, it followed you like your shadow.

Were you ever going to get out of such a cycle, out of this city’s grasp ?

“Miss?”

The teacher's voice brought you back down to earth. Distracted, you simply offered a confused hum in question so that he would repeat his last words.

“Your assignment is due in a month. That gives you time to put your differences aside and find a way of working together. If you'll excuse me, my next class is coming up soon.”

He gestured towards the exit, and soon enough you found yourselves in the corridor. The momentary emptiness of the hall almost seemed to bring you back to reality.

You drew in a breath, meeting Viktor's gaze beside you. You couldn't afford to get a bad mark, especially not for a Heimerdinger course. He was one of the most renowned scientists in the country, with his own seat on the Piltover council. To produce mediocre work would be to end your career on the spot, and you were prepared to at least try to cooperate with someone like Viktor.

“Why are you not begging the teacher to put us both in different duos?” you asked while Viktor was still reading the subject content.

“Hm, I think it might be fun.” he said, not even glancing at you.

You scoffed, “You and me?” your trigger finger pointing back and forth between the two of you, “Together? Fun?”

His eyes dropped from the paper, scanning you with a changed interest.

“You'd rather go back in there and ask for a rematch like a loser?”

A muscle near your eye tensed for a moment.

He sighed, his eyes returning to the subject, “Admitting defeat takes strength.”

“So you think I'm weak ?”

But Viktor didn't seem to have the slightest interest in you at the moment.

You relaxed your shoulders, sighing. There was no point in trying to beat him, you weren't - on that subject at least - in competition.

“Can I see the subject?” you asked, reaching for the paper, but he removed it from your reach in an instant.

You frowned, this wasn't going to be easy.

“Do I disgust you?” he asked.

The question caught you off guard, your eyes blinking several times as you almost looked at him with fresh eyes.

If the question was purely physical, no, Viktor didn't disgust you. He was always accompanied at all times and in all places by that same invariable weariness that gave him a particular elegance. He had features common in Zaun, brown hair, amber eyes, and an accent that made some of the girls in your class drop like flies.

When it came to his character and personality though, it was another thing entirely.

“You annoy me,” you replied, managing to snatch the subject of his hand with enough agility that the gesture left him surprised, “but you don't disgust me.”

He remained silent for a moment. You could feel his eyes on you as yours fell on those of the subject.

“The only thing that disgusts me is your taste in pasta,” you confirmed.

He let out a little laugh, the kind that mixes humming and nose blowing, the kind you do when a remark makes you nostalgic.

“Friday, 5pm, library, don't be late.” he said simply, the clink of his cane echoing on the floor as he began to walk away.

As your eyes roamed over the page, you couldn't help but take in nothing of what was written. Your mind was stuck on him, on the trick Heimerdinger had just played on you.

He had just orchestrated a game that the whole school was going to bet on, the teachers were going to look at your situation in a new light, and in the worst case scenario, multiply the group work to put you both in pairs.

Your heart looped as you realised that this was undoubtedly another test. Heimerdinger was going to observe which of you was the best performer, the most pliable, the best at teamwork.

You had to be flawless, you had to.

Friday came earlier than you imagined, and you weren't looking forward to it in the least. You hadn't stopped thinking about it, finding yourself on numerous occasions distracted during your homework.

The card of the day you had drawn was Temperance, and the little booklet told you:

Alchemy. Mixing and harmonising opposing forces and concepts. Maintaining opposing ideas and encouraging complexity in life. Fusion produces evolution.

The archangel Gabriel, the angel messenger, is represented on the card. He wears the sign of the sun on his forehead. This is also the alchemist's symbol for gold. This card reflects the changing of the seasons and the adoption of new ideas. Temper in Latin is the act of repetition to invoke skill or to refine something, to make it sharper like a sword.

What a pain that was, and to think you'd have to endure this for a whole month of deep research and hours spent by his side working, together.

You dragged your feet as you made your way to the academy library.

It was a magnificent place, filled with the smell of varnished wood, old paper and dried ink. The ceiling was arched, the bookshelves forming real walls that separated the room like rows of pews in a church. If it hadn't been reserved for the academy's research students, it would surely have been on Piltover's list of monuments to visit.

There weren't many people there, apart from a small handful of students finishing their homework before basking in the arrival of the weekend. You were a good fifteen minutes early, and didn't see Viktor at all.

You were just about to put your bag and things down by a table and start your research, when a voice you wouldn't have preferred to hear at the time greeted you:

“Ah, there you are,” Viktor approached, coming out of one of the library corridors, “I just needed some help to get to the higher tomes.”

With his free hand, he held up a small stack of tomes, pressing them under his chin before placing them on a table with two or three other books already laid out.

You sighed, moving your things over to his table, “Have you been there for long already?”

“Why, do you care about me?” his cheeky grin made you roll your eyes.

“I think you overestimated my greatness. Which shelf?”

He said nothing, making his way to one of the shelves. You followed him. Fortunately, the women's uniforms at the academy had trousers. You wouldn't have known what to do if it had been otherwise and you'd ended up on a ladder above him.

“You know,” he began as you reached the meagre ladder to the upper shelves, “I've been looking forward to working with you.”

You arched an eyebrow, your hand gripping the ladder as you looked at him in confusion.

“Why?”

The two of you were only picking on each other, you were avoiding him like the plague, and you'd made it clear to him several times that your situation was that of a competition. So obviously you had a right to be surprised as to why he'd want to work with you.

He shrugged. “You were the top student before I came here, surely there must be a reason behind it.”

You expelled an abrupt puff from your lungs, your breath taken away by his insolence. You could only expect it after all.

You climbed a few steps up the ladder, looking for Zaun's historical tomes.

“Is that supposed to be a compliment, or am I to believe my working buddy seeks to diminish me to a fictive second rank?”

“We're in a library, alas, reality catches up to this fiction, miss number two.”

You clutched the volume in your hand, your nostrils flaring for a moment in anger. He knew how to annoy you, and you never seemed to find a single point on which you could reciprocate.

You held out the tomes one by one for him to take. “Guess I could work on a pet name for you too.”

“Be my guess.”

Once his arm was full, you took a few tomes in your hands before climbing down the ladder and walking towards the table. “And make you the honour of thinking of something to be done for you ? I'd rather lick sandpaper.”

He feigned disappointment, “So I do disgust you, this pains me.”

You set the pile of volumes down on the table, reaching into your bag to pull out paper and pens.

“Yeah well, You were supposed to pretend I didn't exist, not try to bother me to death. So I guess we're both disappointed.”

He took a seat, grabbing a volume and placing it in front of him. “So I bother you ?”

You sat down opposite him, imitating his gesture as you searched with interest for a tome to start with.

“What a transcending sense of observation you have.”

He brought both his hands up in front of him, resting his chin on the backs of his fingers.

“How do I bother you?”

You were starting to get annoyed by his questions. You had come here to work, not to chat.

“Your simple existence?” you replied, staring into his eyes.

He sighed, opening his book and noting on the page its title.

“As if yours wasn't proof that failure has a sense of humour.”

You said nothing, letting his comment wander in the air as you started your own research in silence, locating the chapter of interest to you in the table of contents.

“But seriously,” Viktor continued, “why do I bother you?”

You sighed, pinching the page you were on before shifting your eyes from the words on it to Viktor's curious amber gaze.

“You want an honest answer ?”

He nodded. You let go of the page, straightening up.

“You come into my life and wreck everything I've built brick by brick, wouldn't you be the slightest bit frustrated if that happened to you ?”

It was his turn to be silent this time. He seemed to look at you differently, as if, by some miracle perhaps, he'd just realised what was at stake for you in this situation.

He wasn't even touching the tip of the iceberg of why you'd come to the Academy, but for a moment he seemed to understand how important it could be for you.

Your eyes returned to your page, trying to find keywords to write down or information to record.

“You surpassed me in the exam, teachers love you, you make great friends…”

“Almost sounds like you're obsessed with me.”

Your lips parted, eyes wide as you looked at him as if he'd just slapped you, leaving your cheek and your thoughts with a warm tingle. You were so surprised that nothing came from your lips, which was beginning to be enough for a flash of mischief to cross Viktor's eyes and for the corner of his lips to form a sneer.

“I'm not.” You finally reply, trying to remain composed and not to stammer for anything in the world.

“Denial would've worked before the long vacant stare,” he says, advancing slightly on the table.

“Why do you have to be like that?”

“Like what?”

You humph, dropping back in your chair in despair.

“Better than me.”

He recoiled slightly, as if the remark was completely far-fetched and unfounded.

“There are thousands of people better than me, why do you have to focus on my poor self, hm? Did I barge in your territory?”

He had, unconsciously he truly had. It was you who was supposed to be first, otherwise the consequences would've been mentally dire.

“Take it this way,” he continued, “there's surely something you're better at than me.”

You couldn't think of much on the spot, especially not when there was a possibility of you making a list of things he topped you in. There was surely one thing though.

“Running.”

He opened his lips in surprise, a smile stretching across his face which he hid with his hand. You were already regretting what you'd just said.

“Jayce is going to be the first one hearing about this.”

“No it's-”

“So you're participating in a system made against disabilities.”

“I never-”

“Are you going to steal my crutch next in hopes of beating me to a race?”

“You're never going to drop this now are you ?”

“With such a statement ? Never.”

“Whatever let's just- let's just work.” you mumble, your cheeks flushing with embarrassment and shame as you desperately try to move on.

He gave one last chuckle before getting back to work. He seemed to be reading a tome on the history of the masters of Zaun.

“About Tytos, I still think you've got that wrong.” he said as he read another page from the tome.

“I think I'm going to smash your face in.” you replied calmly without looking at him.

“As if you could reach me.”

“You know what-” you began, raising your voice.

However, somebody shushed you in the room, restricting you to remaining calm.

“Raising your voice in a library? You'd have to be a stupid fool.”

“Trying to contradict me when even Heimerdinger considered my answer excellent is not the wisest either.”

“Heimerdinger would tell a snail that goes slightly faster than the norm it's excellent. But maybe your low self esteem is just common sense.”

“Maybe my self esteem will just leave this library right now.” you say, crossing your arms on the table.

“And leave me to pursue this matter on my own? That wouldn't be very serious, miss number two.”

You sighed, getting back to work. Your blood was boiling in your veins just from sitting at this table.

“None of the books mention Tytos.”

“Since when do you trust Piltover books on the accounts of the history of Zaun ?”

Touché. He raised his eyebrows as if it were the only relevant thing you could have said.

“You never said where you were from, in Zaun,” he remarked.

You tensed slightly. “Why do you want to know that ?”

“We're making an exposé on Zaun, we're both from there, might as well just know it,” he said, raising his eyes to yours.

You watched him for a moment, he didn't seem to want to make a joke of you once your answer was out of your mouth. But in any case, you weren't going to give it to him.

“You wouldn't know,” you replied simply as you jotted down another date.

‘I'm sure that I-”

“You don't want to know.’ you said firmly, the seriousness taking over your face to assure him that this was certainly not territory he wished to venture into.

He frowned, confused. He seemed deeply intrigued by you, and that made you uncomfortable. Never before in your life had anyone asked you so many questions about yourself in such a short space of time. And so here he was, shaking up every one of your pillars like a bowling ball knocking over pins.

This one, however, was not about to give way.

You looked at your watch for a moment, sighing.

“Let's work for one more hour. We'll make a plan and subparts of what we'll talk about at the end of it.”

This time Viktor seemed to get the message: silence. 

You couldn't help glancing at him from time to time. You noticed the way his long fingers flicked across the pages, the way his eyebrows furrowed as he read, the way he rested his cheek on the back of his hand with a sigh as he read a boring piece of writing. 

Or when he would click his pencil for a moment to write something down, and his handwriting would lie gracefully on the paper, scratching the grain of the paper.

It was not without surprise that, once the hour had passed, there was hardly anyone in the library but the two of you. 

When you explained your plan for the presentation to Viktor, he agreed, simply giving a few perfectly critical and serious remarks without condescending to him in any way.

“Good. I think this is a good time to stop for today,” you said as you stood up, taking a stack of books in your arms.

All in all, working with Viktor like this wasn't so bad, when it was done in silence. But as soon as either of you opened your lips to say anything, politeness left the room in great strides.

You put each tome away in its old place, both of you taking your things, and left the library. The academy wasn't closed yet, and some people still had classes or were hanging around in the corridors.

You walked side by side, your pace the same as Viktor's. All the students seemed to turn around as you passed, your duo seeming like a pair of circus animals. 

You glanced at Viktor, who didn't seem in the least affected by this.

However, a trio of students were watching you with evil, mocking eyes. You couldn't help but tense up, however, when the one who seemed as tall as he was stupid remarked: 

“Die already, cripple. You're slowing the traffic.”

Your shoulders tensed as you walked, expecting to do what you'd always had to do here despite the taunts: ignore and move on.

But Viktor wasn't going to listen to you like that.

“Thank you for your advice, I'll try euthanasia once you'll be able to count higher than the number of butterfingers you've got.”

A few chuckles echoed in the corridor at his reply, but the young man seemed to be boiling with hatred. It was as you passed in front of them that, in a cowardly move, he kicked Viktor's cane.

He lost his balance, falling face first to the ground as his cane fell beside him. The air stopped for a moment with the shock of the gesture, your eyes shifting from Viktor on the ground to the idiot who had just knocked him over. Students knelt down beside him immediately to help him.

“Oops, my foot slipped. Sorry.”

But nothing, of course, conveyed any regret at this behaviour.

He turned his back and walked off with his group of friends. Your blood ran cold.

Quickly, you grabbed Viktor's cane, which was still on the ground, and made it whistle through the air before it struck the back of the student's knees. It was his turn to shrivel up on the floor, and he immediately turned to you, his cheeks red with anger.

“Oops, my hand slipped,” you said, glancing at the crutch for a moment before returning to him. “Sorry.”

You turned back to Viktor, handing him his crutch. He looked at you with fried whiting eyes, deeply surprised by your gesture without moving a muscle.

“You fucking slut…” you heard behind you.

But as soon as you turned around, a sharp blow hit you in the cheek. The force of it knocked you back two steps, a metallic taste spreading through your mouth. You brought your fingers to your lips, hissing as you touched them, your bottom lip burning. Bringing your fingers back into line of sight, you found them bloodied.

You turned to the student, his face far too satisfied for your liking.

‘’What a brilliant idea,‘’ you breathed as, in one swift movement, you struck his crotch with the crutch.

He bent over instinctively, gasping for breath, before you punched him right in the nose. He fell, cowering on the ground like a miserable insect.

"What's going on here?" asked a stern voice.

Madame Agrane, one of your teachers, came into the corridor. Her eyes fell on Viktor on the floor, your lip split, the student on the ground surrounded by his two friends.

“Everyone in my office, now.”

You pressed a bag of ice cubes to your cheek, sitting next to Viktor who was clutching his crutch in his hands. As for the idiot, he kept grumbling and giving you nasty looks. You recognised him now, the student from the museum, the one that had called zaunites rats.

"Can someone explain to me what happened for you all to end up in such states?" questioned Agrane.

You were about to start but the idiot beat you to it.

"Madame Agrane, I was just minding my own business in the corridor when these two pupils came up to me! One was hitting me with his crutch while the other was punching me. I don't know what I've done to deserve this.' He exclaimed theatrically, Viktor and you looking at him like the most ridiculous being to ever be.

If there was one thing that helped your reputation, it was that you were known as serious students, who didn't fall into the category of those who would start a fight in the corridors for no particular reason.

"That is far from the truth," Viktor retorted calmly. "He insulted me, then made me fall, and then...’

He seemed to be hesitating over his words, or at least looking for the right term. He turned to you, letting his eyes drift for a moment to your split lip, and then back to Madame Agrane's gaze.

"... My friend protected me."

Friend? the word made you clench your jaw, inhaling. It was just a lie, just a word brought to the front to give your teacher sympathy. No, he certainly didn't mean it.

The teacher looked at you, seeming more convinced by your story than the other. Noticing this, the student couldn't help but plead his own case: 

"Madam, these two students come from Zaun. The blood of violence will always run in their veins."

Agrane seemed to give you a new look, as if you and Viktor were ready to pounce on her like two wolves.

"Is this a joke? You started all this," you said, offended.

"Beating you up would have brought greatness to Piltover." he replied.

"Oh, look at you, attempting greatness! Pity it's just an attempt." you sighed, pressing the ice pack a little closer to your cheek to put out the fire your anger was beginning to spread.

"Madam Agrane," he continued, turning to her, "you know what my patron will think about this. Imagine his reaction when he will hear how you have treated his favoured student?"

You had no idea who his patron could possibly have been, but she didn't hesitate for a second to say: 

"Miss, you'll get an hour's detention for your violent behaviour in the corridors. I hope I don't have to catch you again doing such barbaric acts."

Your eyes widened just as much as Viktor's.

"What?! But he's the one who-" you tried, pointing at the idiot who was smiling victoriously.

"There's no buts about it. The discussion is closed. You'll have your detention period this Monday."

"Madam, I think there's been a mistake." Viktor began.

"Do you want to be given detention too, young man?"

Viktor remained silent, sighing before lowering his eyes to the ground.

"Good, see you on Monday, then."

The fool stood up first, walking past you with a foolish grin on his face.

"Bet it feels just like home to be in prison by monday, hm?"

Your lip hemmed in disgust, your nose scrunching up.

"Try what you've done just once more, and I'll personally make sure you have no offspring."

He looked slightly frightened for a moment, then frowned like a child before leaving the room.

You sighed, standing up. You wanted to get out of here right away, away from the horrible feeling of injustice in your heart, away from the word ‘punishment’ burning into your skin.

Your free hand instinctively came to rest on your shoulder for comfort, and you stood up to get your things.

“You didn’t have to do this earlier, you know.” Viktor said.

You sighed, walking towards the door. “Whatever, what is done is done.”

"Hey," Viktor said, standing up behind you.

You didn't even turn to him.

"Thanks, I wasn't expecting that at all."

You waited for something, for anything that would come after what he had just said, but nothing came. Your turned to him.

"Is that all? No remarks about how I'd have been better off hitting him somewhere else, or stupid sarcasm about my action?"

He seemed surprised by your reaction, his face puzzled and almost saddened.

"We're not friends." you said, your face as cold as the ice pack on your cheek. "We're..."

But what were you apart from rivals? Two rivals working together to do a job that would rely on both of you, that wasn't really rivalry. It was camaraderie in a way, you were classmates, but friends?

You pursed your lips, a slight trickle of blood beading from them.

"See you next week."

Without further ado, you left the room. You walked down the corridors, the students staring at you like an alien. You were suffocating under all those sharp, curious, numerous stares. You pressed on, leaving the academy as quickly as possible.

Once outside, you took the first quiet alley you could find.

“Shit!” you swore, pressing your back against the first wall you could find.

You brought your hand up to your forehead, sighing until you almost felt your body slide down the wall, running your palm over your face in frustration and exhaustion.

You wanted to cry, the weight of everything feeling like it was zipping up on you like a body bag. You'd been stupid, acting on your emotions. You should have kept your head down, let the administration do its job, not invented a life of heroism trying to redress the balance that some fool had tipped.

You didn't even like Viktor, but you'd still jumped at the chance to do him justice. No, you didn't like Viktor any more than that.

But you respected him.

Could you be friends with him?

The question passed through your mind for a moment, but you ended up putting it out of your mind.

You let your head fall back against the wall. The thought of an hour's detention in your perfect record seemed to you like a thread sticking out of a beautiful dress, itching to be pulled on. You tried to console yourself, to come to terms with the fact that it was just another hour of extra study. But you couldn't help feeling heavy with pain.

Eventually you gathered up your things and walked home, hoping that the cool night air would help to quench the fire that was still boiling inside you. Winter was on your doorstep, and ready to complicate things.

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[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.

[fallstaticexit]

Ahhh it's been 65 years, and I feel kinda crazy that I've had this sitting in my drafts for like 2 months. Assuming most readers of Missing Moments are also The Art of Being Seen readers- there's some hefty lore here that will come into play later.

prev/ next

Olive: Time to move on, right Kia?

[phone pings]

Nancy: Hello darling. Do you have a moment to talk?

Olive: Who’s this?

Olive: I don’t recall saying yes.

Nancy: [sighs] It feels so good to hear your voice again.

Olive: I only answered to tell you to block me.

Nancy: I would never.

Olive: Even though I asked?

Nancy: Well. I am incredibly selfish.

Olive: Why did you call me?

Nancy: I would like to see you, Olivia. Please.

Olive: I’m not for sale, sorry.

Nancy: I know. I wouldn’t want to meet on those terms again. If I could do it all over, I would have asked you to have dinner with me when I met you. I would have courted you properly, Olivia.

Olive: [scoffs] You would have gone to a strip club and asked a stripper to have dinner with you? Seriously? When would we have ever met under any other circumstance? It’s been made very clear to me how different we are. The only way this would have happened was if it were a fairy tale.

Nancy: What matters is, I have met you. I’ve experienced you and I can’t go back. My husband- my ex husband- he signed the petition for our divorce. I came out to him- officially. It’s over.

Olive: [stunned] That’s- that’s great. I am so happy for you-

Nancy: I’m leaving all of it. I’m starting over. All I want is you, if you’ll have me.

Olive: [sighs]

Nancy: Let’s just have one dinner and after we’ve talk, then you can decide. There’s so much I want to say, but I want to look you in the eyes as I say it.

Olive: One dinner?

Nancy: One dinner.

Nancy: May I see you tonight? I’ll send my driver and I’ll cook for you at my place. Anything you like.

Olive: Tonight is fine.. sure.

Nancy: [sighs happily] It’ll be hard not to kiss you the moment I see you-

Olive: Not too much, lover girl. It’s one dinner and I’m still very annoyed with you about all this, ok?

Nancy: Yes, my love. I’ll see you tonight.

Olive: And don’t look at me like that. It’s just dinner and a conversation, ok? I am not going to sleep with her ok?

Malcolm: Well. Now I see why my mother was so willing to ruin an entire empire over you. Those mugshots did you no justice.

Olive: What is this? Where’s Nancy?

Malcolm: I noticed our driver was heading this way, I figured I’d tag along. Sight see. Get in. Let’s chat.

Malcolm: I wonder if this feels like dejavu to my mother. She makes yet another thoughtless mistake and someone comes along to make it all go away. She has a nasty habit of that, you know.

Olive: Listen. I’m not feeling whatever family drama you all have going on. I don’t want to talk to you. I want to talk to Nancy.

Malcolm: I was raised by a narcissistic liar and a spineless coward. If I let this company fall apart, then wouldn’t it all had been for nothing?

Olive: [scoffs] So you want pity? I’m suppose to pity you? Give me a break.

Malcolm: Not pity, no. If anything, I pity you.

Olive: Is that right?

Malcolm: When it comes to success, you pale in comparison to your half siblings. You’ve financially crippled your parents in legal fees since your arrest and all you have to show for it is by shaking ass in a low end strip club in the Spice District. That’s right, I know alot about you Olivia Briar.

Malcolm: I know about that quaint little family of yours down in the country. I know about your niece’s struggling restaurant and her undocumented partner. Funny, he’s able to acquire loans under a fake name but there’s no records of a Noa Briar anywhere. I wonder what else your family is hiding.

Olive: [shaken] What is this about? Are you threatening me? What the fuck do you want?

Malcolm: I’m here to help you, not hurt you. One of the greatest lessons I’ve ever learned was the power of the dollar. I can make a lot of your problems go away with one deposit if you do just one thing.

Olive: [softly] ....What?

Malcolm: We’re going to turn around and park in front of your building. You’re going to go upstairs, pack up your things and then, you’re going to go back home to sweet old Henford. You’ll pay your parents back with the money you’ll receive from this arrangement and you’ll help your niece and nephew. All your problems - poof- gone.

Malcolm: All you have to do is walk away, and stay away. You see, my mother has a nasty debt to this family she still needs to pay. Don’t make it your burden.

[kiame-sama]

Would Papa Hades mind if I rant to him my frustration over how people always make him a ‘Bad Guy’ in our world?

Whenever Movies that have Greek Mythology in it, it always pissed me off when they make Hades the Villain (I feel like it’s just because Hades is the God of the Underworld that automatically makes him ‘Evil’)

Literally out of ALL the Greek Gods, Hades is actually the NICEST of the Gods (He was willing to let a mortal man take his wife out of the Underworld but he must not look at her because she’ll be sent back during the journey until they leave his realm) and was never unfaithful to his beloved Persephone

There was a myth that he had ONE lover, but that was BEFORE he met his Beloved

Would Papa Hades appreciate that I don’t see him as evil just because he rules over the Underworld? (Because since he’s one of the Great Seven so he’ll naturally be feared for his powers and authority)

Warnings: Papa Hades in his 50ft form, comforting ancient Shinigami, daily allotted sunshine/shade garden time,

For reference, this is approximately the current height difference:

~~~~~~~~

"-but I mean, why do they always have to make Hades out to be bad? I don't think my Hades is bad and I don't think you're bad either. You're probably the only one I've met in this world who didn't immediately try to make decisions for me. You haven't collared me, or taken me away from where I want to be, or tried to control me in any way. You're even letting me sit on your shoulder and talk your ear off in the garden because I wanted some time away from it all!"

The giant Shinigami was leaning his cheek on his hand, listening attentively to your every word. You both were seated upon a shadowy throne he had summoned in the stone and briar garden of Ramshackle. It was a good distance away from the building itself and no one was willing to tell the Shinigami he couldn't protect you.

Deep in the shadows, watchful eyes thought better of challenging a being of myth and power. Some were dissuaded from the prospect altogether, seeing such an ancient being so casually attending the soft Human prize. Not all who hunted sought harm, but even the insane knew better. Smaller predators will almost always give space to a bigger predator. No need to die this day.

The giant Shinigami was enjoying the history lessons from your world, curious that your own history had beings so similar to him that even shared his name. He also appreciated the fact you were so passionately defending his doppelganger in your world. Truthfully, the similarities between him and the Hades of your world was not lost on him. Perhaps the Humans of your world were originally from Twisted Wonderland and simply forgot over time after crossing to a different realm. If that were the case then he had much to consider.

Still, he appreciates how relaxed you are around him, now trusting in his willingness to act in your best interest. He had always afforded all of the Humans under his protection the ability to choose. The only difference now was he had to keep a closer eye on you than he did the Humans leaving his isle.

"I'm glad to be living up to your expectations, Little One. So long as it is your wish to stay here, I will aid you however I can. Young Idia has updated your phone to contact me directly should you ever have need. I must say, it is nice to hear of your home, you speak so little about it. I'm sure you have your reasons, so I won't pry. I'm thankful you trust me enough to share all of this with."

"Well, it's hard not to trust you. You've kind of been amazing."

It soothed the wounded depths of the old Shinigami's heart to hear such earnest words. You truly did trust him and he treasured that more than you would likely ever know. The mourning shawl had adorned him many long centuries. Those centuries were some of the most painful for him, yet that pain was lessened and balmed by your simple trust and affection. He treasured that.

[wingedshadowfan]

⚠️arcane s2 act iii spoilers⚠️

i've seen the edits but i've not heard a single soul talk abt caitlyn fighting ambessa in the last battle. so i will: first abt how she was able to do what she did, and then the fight itself and what i think it symbolizes for her.

ppl complained abt caitlyn getting too close to ambessa on the noxian ship to zaun, all friendly like this was a mother-daughter sparring lesson, but let's not forget caitlyn is an amazing strategist. she saw an opportunity to not only improve her own hand-to-hand combat skills by learning from ambessa, a formidable warrior (bcuz caitlyn is a long range sharpshooter and even tho she's an excellent shot, she isn't a strong opponent in melee and she knows it), but also because to make herself familiar with ambessa's fighting style would mean to know what to expect.

when ambessa fights dirty as part of her lesson, caitlyn takes her anger out on her immediately and attacks her from the back to show two can play that game. this is a great moment of foreshadowing - caitlyn's patience is wearing thin, she's frustrated with ambessa. she might turn on her, betray her and use her own tricks to do it (of course, her and vi's unconditional trust in each other, something foreign to ambessa, is what sells it). this is just my interpretation and i don't know when but i think at one point caitlyn realized she might eventually have to fight ambessa for real - their disagreements were becoming more frequent, the tension between them more palpable and if she really knew ambessa was manipulating her the entire time like she said...

fast forward and caitlyn's got the element of surprise, sure, but all vi's been doing since the last time they saw each other is bashing people's skulls in at an underground boxing ring (and getting drunk, i guess). vi has always been a much stronger opponent in hand-to-hand combat, she "blocks with her face" and isn't scared to take a punch bcuz she's extremely good at it. she's tough and willing to take a lot of damage as a trade off if she can deal a lot back. caitlyn is a more careful and less robust type. but if you look more closely, she tackles vi to the ground brutally using the same exact combo she learnt from ambessa during their earlier spar. fast learner.

in the last fight, caitlyn gets roughed up, gassed up (here's how she fights in melee in low vision just before that by the way, already so much improvement from season 1), she gets stabbed in the side and leaves the dagger in there (rightfully so - smart choice for a smart character). she's brought to her knees with a gun to her head, and as soon as maddie falls dead on her, she's up again and fighting. but it's not like that doesn't affect her, she becomes slower, shakier, and proceeds to take the most hits she's ever taken on screen, potentially the hardest ones too, even with mel's help and shields. she falls and falls and keeps getting up, showing insane resilience. ambessa can't put her down for good. she's fighting like a woman gone mad, female rage and all that, having forgotten all self-preservation.

like she's got a death wish, she punches ambessa mid-sentence and tells her to shut up and fight. caitlyn kiramman interrupted a warmonger's villain speech bcuz she's bleeding out and has no time for this shit. all she can do before she goes down is try to buy mel time, give her a good opportunity to use the black rose necklace. she's centimeters away from getting stabbed in the eye and she can't overpower ambessa whose dagger is sticking through mel's shield when she realizes the talismans on ambessa's arm are protecting her. so she pushes forward, literally trading her eye off to find herself within range, and she takes the dagger out of her own side to slice the talisman free. she's literally bleeding out at this point but one smart decision, a few tremendous sacrificies and it's over.

in my interpretation, caitlyn regrets going too far in her pursuit of jinx, making vi a cop, gassing up the undercity, shooting with isha on top of jinx, hurting vi, joining ambessa and all the atrocities that came out of their partnership when caitlyn became commander. she wishes she'd never made those mistakes but she knows she can't undo them now. the way caitlyn fights against ambessa here - reckless, desparate, like she's got nothing to lose - shows how much she wishes to fix things because that's all she can do now. that's her purpose, her salvation from her guilt, but also the right thing to do.

it reminds me of her talk with imprisoned jinx and then her talk with vi after that. caitlyn seems to be projecting onto jinx bcuz of her own guilt for what she's done when she tells her she can't turn back time, undo her mistakes or make up for what's already done. no one can. but vi asks her, "who are you to decide who gets a second chance and who doesn't?" and it makes caitlyn realize she still has agency. she can always attempt to fix things, right her wrongs to the best of her abilities. and what does she do immediately after that conversation? she sends all the guards to the hex gates so vi can free jinx.

UPDATE: here's another post talking about what cait sending those guards away meant, how much she sacrificed in her attempts to do right by vi, including a comment about what it means for a sniper to lose her eye that i found brilliant.

[kaciebello]

 Bring a scythe to a sword fight

Masterlist Luke Castellan x Hades! reader (implied, fem) Percy Jackson x Hades! reader (platonic) Summary: The reader is gradually suspicious, not believing Clarisse is the lightning thief  Warning: Angst?, no use of y/n authors note: Idk, I kinda blacked out writing this, sorry if it does not make sense. English is not my first language so I am sorry for any mistakes beforehand. Proofread by me and me only :( Word count: 1.6k

Ever since Poseidon claimed Percy and he was moved to cabin 3, the camp became lonely. He eats at his own table, gets to choose his camp activities, and calls ‘ lights out ‘ whenever he feels like it. The other campers think he's a monster magnet now. Most people avoid him, and even Clarisse stays clear of him. Only 4 people in this camp don't seem to be afraid of him. Grover, they often pick strawberries together. Annabeth, who took it upon herself to teach him ancient Greek. Luke, who still gives him sword lessons, although they are now more of one-on-one sessions. And the girl Luke seems to have heart eyes for. She mostly hangs out around them when they are training. Such as now.

Luke, was not going easy on him, as always. But Percy was still on his feet, meaning he was improving. Or that is what he believed in before Luke managed to tap the back of his knee and make him fall. A frustrated groan leaves him when Luke's sword touches underneath his chin.

“Giving up?” Luke asks and moves the sword away, extending his hand to Percy. He takes it and gets up. Percy can't help but curse a little.

“Don't worry bubble boy, Castellan is just a show-off, you're doing great.” Says the girl, who was sitting on a rock this whole time, nose in some sort of book he did not recognize. Scoff leaves Luke as he puffs out his chest. Percy picks up his sword and turns his whole body to the girl.

“I'm not really sure of that.” He says, hesitant.

“Trust me, once you take on one of the other campers you'll be alright, Lukes is just hardcore when it comes to it.” She says, putting her book down and getting up, stretching her body.

“ How about we give Percy a break. Why don't you fight me? A little spar?” Luke says and walks to the girl, offering a sword to her. Her face twists in disgust and pushes it away. Laugh just leaves his friend before he turns to Percy in the fastest way possible.

“ She claims I'm hardcore, but the truth is, I've never seen her with a sword in her hand,” Luke says, smirking when he hears the girl scoff. Percy's eyes widen.

“You don't fight?” He peeps out, higher than he wanted to. She just shook her head.

“I'm a healer, I don't fight. And I certainly don't play with swords” She says and flicks her hand. Luke rolls his eyes when she sticks her tongue at him.

“How do you survive capture the flag?” Percy asks, he's still not sure he understands the game. He also notices his friend now sitting down and decides to sit down on the floor as well. She, again, shakes her head.

“ I don't play, I stay in the med tent.” She says sitting down next to Luke. Although to Percy it looked like Luke dragged her to him more. He wondered if he could also do that. Just not play. Although Luke probably wouldn't let him. Percy spaces out, not noticing the older campers sitting now a little bit close to anyone's liking, giggling. He also does not notice Annabeth heading their way. But in his defense, she could have been wearing her Yankee cap, he would not know. Her voice snaps him out.

Turns out she was not there to laugh at Percy's poor fighting skills, nor was she there to spy on his progress. Luke was needed, ‘counselor duties’ she said. Completely ignored the fact the other two campers there were technically counselors of their cabins too. Luke told them both he would see them at the bonfire and followed Annabeth back to the camp. Leaving the two forbidden kids alone.

“Ya know,” she says. “I could beat him.”

“What?” Percy turns to her.

“I could beat him up in a sword fight, I just chose not to.” She says getting up, and picking up her book. Percy just gives her a confused look and she sighs.

“ You could too, with time I mean.” She extends her hand to him and helps him up. “We are children of the big three, Percy. There is a reason why they promised to stop having us. You and I, by default, can be the strongest people here. Even someone like me can beat the best swordsman in the last 300 years in his own game. You just need time.” 

Till now Percy thought he was the only one. I did not accrue to him that she may understand. Now that he thinks about it, Percy can count on one hand that he has seen her interact with other campers, not counting Luke of course.  Percy now realized he wasn't alone in this lonely life of Poseidon's son. She is, kinda, his family now too.

—

“ We know who’s the lighting thief.” Says Percy on the other side of the Iris message. She and Luke were just in Chiron's office discussing what to the with the other campers, as they started to take sides.

“How do you know?” “Who?” They say simutainlusly. She looks at him weirdly for a second, thinking that that's not an appropriate question. Percy and Annabeth ramble about meeting Ares, he says something about Ares knowing who the lighting thief is and protecting him.

“ His favorite daughter. Clarisse is the lighting thief.” Luke finishes Percy's thought.

“Nonsense, Clarisse would not do that.” The girl defends her. She may not like the girl very much, but her being the lightning thief is ridiculous. Luke just gives her a pointed look and promises to tell Chiron. Percy turns to say more, but the iris message ends. Luke looks at her softer than he expected.

“ I don't think we should tell Chiron anything.” He says and takes her into a hug. She wrapped her arms around him and they swayed from side to side. Nodding in agreement.

“ If we go by their deductions, it could be anyone. I mean think about it. You would not be in the clear either. Who else than Hermes's son, the god of thieves, to steal the lighting bold.” She was just saying her thoughts out loud. However, Luke's hug tightens. He narrows his eyes and she can see the anger that shows up whenever someone mentions his father. 

“ I did not mean it li th-”

 “ Or you, who better than a daughter of Hades, someone who hates both Poseidon and Zeus.” Luke cuts her off. His eyebrow rose, wanting to see her reaction. She sighs and wraps her hands around his neck. Her comment was not meant to hurt him, but she knows she went overboard and decided to stay silent. Her fingers tangled in his hair, tugging a bit. His eyes close for a minute. She went to play with the camp necklace hanging on his neck. When he opened his eyes again, the hatred was gone.

“Come on, I'm sure someone needs medical assistance.” He says and makes his way out of the office.

“The Apollo kids can do that.” She says but follows him nonetheless. A laugh escapes him. They stop at the outside porch. He turns to her with soft eyes, some would say lovesick one.

“Ya know, there is one thing I did steal,” he says. She just gives him a confused look. “ Your heart.” 

A smile spreads on his lips as she groans. He turns around and walks down the little porch. She stops him when he gets to the bottom.

“Luke.” He turns to her with a hum.

“Whose side are you on?” She asks him, looking down at him from the top of the stairs. He was hesitant to answer, so she continued.

“ Percy or Zeus?” He just smiles, takes her hand, and helps her down.

“ I don't side with gods.” He says.

—

Before Luke could strike Percy something blocked his sword. When he looks up he sees her. Before he can react, however, a dagger is thrown his way and he dodges it. Looking that way he sees Annabeth take off her cap. This is not how it was supposed to go. 

“Annabeth…” He breathes out. They were not supposed to be here. He was supposed to recruit Percy. He was gonna recruit them later.

The girl helped Percy up but kept him behind her scythe. Standing in the way of any danger that could come his way. When Luke turns to her, she points her scythe at him.

“Come on, sweetheart…” he tries, but by the look on her face, he can tell it is not gonna do anything.

“ You need to leave,” She says, her face hard as stone. Luke could not read a single emotion from her.  He tries to take a step to her but she swings her scythe at him. He blocks it with ease. He knows she does not want to fight. He knows that the swing was a warning, to keep him away. He knew she would never fight him.

So when he swings it does not come to his surprise she only defends herself. Never playing offense. To others, it may look like they were just dancing, old partners getting together for a spar. It was when Luke felt the wind from the portal he realized she moved him away from his original position. He knew that Annabeth and Percy would tell Chiron right away. She was allowing him to escape.

She stood in front of him. Scythe in a tight grip. Her eyes reminded him of a momma bear defending her cubs. With tears in his eyes, he turns around and leaps into the portal. In his mind, he promises to go back for all of them.

[ofswordsandpens]

what do you think could’ve been done better regarding camp half-blood besides spending more time there/pacing? i’d love to hear your thoughts!

!! okay I know you're specifically asking for things that could have been done better beyond spending more time at CHB, but straight up that one issue is really the crux of everything. -- The time we spend at CHB before the quest in the show is half the time we do in the book. (And for a different frame of reference, the book is aprox. 40% over by the time the trio is leaving camp borders.)

And since the show runners halved the pre-quest chb runtime, as a result we lose quite a bit of content that helped to establish context, tone, foreshadowing, character dynamics etc.

Because we have to prioritize Percy and Luke's relationship in the show, it forces the rest of the relationships that were established in CHB in the book into the background, (or simply makes them none existent):

We have pretty much only ever been told verbally about Luke and Annabeth's bond by this point (episode 5). They have a two second interaction at camp that's not particularly noteworthy and that's that. Imo that's not particularly compelling story telling lol. We'll likely (hopefully) get something from episodes 6-8, but I maintain we still should've gotten something more substantial between Luke and Annabeth at camp. I've said before, at bare minimum the show should have had Luke see them off at Thalia's tree like he did in the book.

I've mentioned this before but Annabeth and Percy's dynamic had a much greater establishment in chb in the book because she's the one that's his guide at camp and she actively seeks him out more. In the show, we have to give this role to Luke and while I can give this change between book to screen more leeway because, yes, we have the entire quest to build Percy and Annabeth's dynamic, I still didn't like that it pretty much forced Annabeth into the periphery in the show. As a result, it made her seem a lot more distant and aloof than she ever was in the book. (Shoutout to Leah's armor strap improv, she's doing more for Annabeth than the show runners are).

2. We don't really get see the effects of Percy being claimed as Big Three Kid at camp:

Yeah, Percy moves into the new cabin in the show but then almost immediately after he's off on his quest. Meanwhile in the book, Percy's claimed as a big three kid... and then we see how it ostracizes him.

He misses being in the Hermes' cabin. Campers avoid him. He sleeps and eats alone now. He has to have solo lessons with Luke because the others are scared. He's miserable! And none of those experiences were translated to screen.

Again, they told us that big three kids are taboo, but have not shown that impact.

Like the difference in reaction during the claiming scene between the book and the show pretty much sums up this discrepancy.

3. General loss of foreshadowing and tone:

Because we don't get as much Annabeth, we lose how in the book, she had been aware that something was wrong with the gods and surmised that something was stolen long before the quest. She shared this with Percy. It was a great showcase of her intelligence. It helped set the tone that something was wrong before the quest even stared. And all of it just, didn't really make the cut.

The hellhound attack also didn't make it and its just another loss of foreshadowing. Luke was straight up trying to kill this kid from day one. Percy was not safe even at camp. Things weren't okay ever.

The weather! Yes the boundary keeps the weather mild at camp but in the book Percy remarks on the huge storms that surround them at one point. Before he leaves there's a storm so bad approaching that the campers are nervous. Even before he got to CHB there were "inexplicable" storms all the time. I wish this had been maintained in the show even beyond the camp. The gods, Zeus, they aren't happy.

Also, I tried rewatching the episodes to find this convo but I couldn't so please let me know if it's there somewhere but I don't think Luke conveyed anywhere in the show that his quest "messed things up" for anyone? Like, sure, they could include this at the end, but I think it's more impactful when we see more hints of his bitterness early on.

4. Minor Nitpicks + More things I miss:

Annabeth should have gotten soaked by Percy's Supreme Lord Bathroom moment like she did in the book. Percy had flooded the entire bathroom and she wasn't speared. In fact, Percy was the only person who wasn't wet.

The self-filling goblets in the book + the blue Coke moment.

I wish the show had Percy like, white knuckling his minotaur horn refusing to let it go. In the book he saw it as the last souvenir of his mother, refused to let anyone else hold, and was afraid it would be taken.

Rip Argus :(

[lucabyte]

obligatory ramble about postcanon loop ask

also your art is amazing

Hiiiiiiiii :D thank you :)!!

and thank you for the excuse to post the. just absolute wall of text that i truncated down to form the tags of that post. (i did,,, hit the tag limit. i forgot tumblr had one of those...) so let me just paste that and tidy it up a bit...

I am putting this under a readmore because it's a bit long. but:

This is like. The General Context for all* of my postcanon doodles? (Except AUs obviously) Like this is the base idea I've been drawing them all in. So, feel free to backread with this in mind. I've basically had this 'postcanon' timeline set in my brain since finishing the game...

My general thoughts are that I like the idea of Loop (even if through dubiously ethical means) being able to slowly reintegrate with the party as a whole new person, because they are, in fact, their own person.

It's a muddle of thematic threads im pulling on and "wouldn't it be fucked up if", but. (at its core, it's powered by the fact that like, while narratively isat's theme of 'the only person who can truly take the first step to help you is yourself'. (wrt: loop helping the party help siffrin in act 5) which i LOVE AND IS GREAT NARRATIVELY…. would be super fucked up irl to learn that your friend 'learned as a lesson' while you stood by kinda uselessly. I know i'd be upset about it. but thats mostly background here. doesn't really come up. at least not until loop has to explain who they are and the party realises they had to fall back on literally themselves again for help, but i digress,)

The real core concept is: Occam's razor. It is like, inherently, a buckwild thing to accuse a person of being somehow a clone or copy of your friend. Even if they start vaguely alluding to a backstory it's far more likely they were some other person before all that. (I still think Odile has that theory in the back pocket but she's rational enough to know it's a really long shot without a solid explanation. and i think Loop deep down knows this, and would, if cornered into confessing, turn the situation around to go J'ACCUSE and make HER explain it instead. Ever longer dodging being direct with their emotions...)

And the party are nice! And if someone has changed and wants to keep stuff secret it's kind of not their business? (Though it's hard not to speculate… see: the main joke of the doodles) And they seem important to Siffrin so they just try to accept them abrasive quirks and all. And eventually the question of their prior identity just fades away since, well, they're Loop. Their friend Loop.

but yeah. personal headcanon is that a few months/weeks after picking up and getting aquainted with Nille** (since that was presumably the IMMEDIATE TASK postgame), Loop reappears (either after a literal period of nonexistance, or just spending a few months wandering the french countryside alone being attacked by wild dogs). Since Siffrin has had a while to be therapised by the party they're doing mostly okay, but Loop showing up and still being agitated/aggressive pulls them both into a bit of a backslide behaviourally and puts the party on the back foot again.

Hooowever, I do think that due to no longer being literally stewing in the worst pressure cooker of all time together, the two do mostly actually sort themselves out with productive conversation. (Via a cycle of: genuinely distressing argument -> weeeird lovebombing -> ok we're good -> repeat, that gets less intense over time)

Thus, allowing the party to just. Integrate loop as a new person. They and Siffrin shuffle into different ecological niches (Loop taking over stuff Siffrin is now too squeamish for, etc (see: hunting, mostly)), and while it's not exactly what Loop wanted they generally get that beggars can't be choosers and it's a pretty good deal. And the rest of the party does straight up just like them as a friend, especially when Loop quits trying to actively antagonise them after a few weeks of being around them, since they just can't keep up being mean to people they like forever.

As for how I think the truth eventually drags itself out. This is where I invoke The Isabeau Torment Nexus™. So its gonna get shippy here for a bit hold on.

Which is, I think giving them time before Loop reappears long enough that Siffrin and Iseabeau actually manage to become established, Isabeau has to be the one to nudge the pair of them and go. "Hey. You know we're in Vaugarde right. I'm okay with polyamory if we all communicate." Before Loop and Siffrin actually even acknowledge that whatever the fuck they have going on kinda looks a lot like a relationship of some kind. (or have already been agonising about that via fighting and arguing, depending) (Obviously this comes after Isa "Emotionally intelligent enough to keep a lid on the jealousy" Beau has managed to use that big brain of his to Not just go Scream somewhere on the daily because oh godddd they keep talking like theyre suicide-baiting each other jesus chriiist. is it overstepping his boundaries to bring that up?? god)

This, taking a bunch of the tension out of Loop and Isabeau's relationship (Since I imagine Loop is a. being weird for the obvious reasons and b. feeling kinda guilty about 'getting in the way of' Siffrin and Iseabeau), allows them to actually get close in a normal friend way. (I think an interesting turning point could be Isabeau actually taking Loop's side in an argument vs Siffrin, which would absolutely break Loop's brain. Especially if it's an argument that matters. Like what do you mean he isn't just going to play favourites. What?)

Then Isabeau, just actually open minded and charmed by Loop (and maybe even somewhat at Siffrin's suggestion?) tries to close the final open side on the polyamory triangle here and that's the final straw for Loop on "This lie by omission is too unethical to keep up, this is just actually sick and wrong. I can't do this while he doesn't know who I am." Though. Obviously it probably goes. Very poorly with emotions high like that. And the added element of several months of deceit. Getting dark here for a second but that dagger is going MISSING and so are THEY for a hot minute.

Then yaaay everything works out in the end 👍 yippieee!! all it took was maybe a lot of harrowed recontextualisation of all the weird shit your new friend said and did when it turns out they're your old friend. It's fine.

But yeah. this is basically the context all of my postcanon doodles have existed within? And those exist to give other people something to chew on. So this does too.

I suppose TL;DR: Imagine if sloopis almost fucking happens before isabeau knows who loop is. can you fucking imagine. can you imagine having to navigate that. nightmare.

*Yes this includes the implied cannibalism comic. Uhh. Comes part and parcel with headcanoning that Loop went way off the deep end similar to A5 Sif But Maybe Worse before giving in. Add weepy half-asleep confessions to murder wherever you see fit in your mind palace. 👍👍👍

**Re: Nille footnote. I don't have anywhere to put this besides here! I have some thoughts on Loop and Nille having an odd dynamic. I don't imagine Nille to be super gung-ho on trusting a bunch of adults (even if they are majority around her age) given their implied backstory. It's probably a big shock to the system, especially since Bambouche is a good couple hundred Kilometers up north from Dormont and these guys don't seem to have trains. She would've been unfrozen and without Bonnie for some time....

Which is to say: I think she's suspicious of them. I think she may be looking for excuses to distance herself, keep Bonnie safe. SO.... A new guy showing up? And antagonising the party? What do they know that I don't...? I should find out.

And since... Loop didn't ever know Nille, they have no ammunition or real reason to be cruel. Plus, if they're trying to stay on Bonnie's good side (SINCE... if Bonnie thought Loop was cringe they may as well kill themselves. In their mind.) they SUPER have no reason to antagonise Nille.

Mostly, they might be able to open up to each other easier than they can the rest of the party?

I feel like this resolves with Loop feeling compelled to apologise for what they and Siffrin let happen to Bonnie, though... Hmm... Depends on how you interpret Nille that they'd be glad nobody else had been told about that yet, or furious it had been secret this long. I lean toward the former.

[shehungthemoon]

Bucktommy Fic prompts: first vacation or snowy cabin vibes

first 118 bbq

Buck rescues a kitten from a tree and keeps it #catdads

Buck telling Tommy he was a sperm donor with zero context like ‘oh yeah biologically I have a kid’ and walking off leaving Tommy like ???

First Christmas together

Idk if it’s your vibe but something relating to the ring cutter?

Babysitting jee

Tommy realising ‘random facts with Buck’ is a thing

Flying lessons

Sorry I have a lot of thoughts and zero ability to write lollll

Oh, anon. I saw "babysitting jee" and could not get the image of Tommy looking at dollar store kids coloring books out of my head. And here we are 🖤

"Are you sure you're okay with it?" Buck asked into his phone, balancing it in between his shoulder and ear as he unpacked his locker for the night. "It's just that Tommy and I don't really get a lot of time to see each other with our schedules and everything, and—"

"Buck," Chim interrupted, "Yes I'm sure. I've known Tommy longer than you have, unless you've somehow forgot that since the last time you begged me for old, embarrassing photos of the man."

"Yeah yeah," Buck mumbled, "I know I know, sorry." Chim made a satisfied hum. Buck finished zipping up his bag. "Bet I know him better though."

Chimney started squawking indignantly over the phone. Buck grinned into his chest.

So, Buck invited Tommy to come babysit Jee with him that night, nervous the whole time he typed the text.

-i know it's not really a great date setting

He typed after he sent the initial message.

-totally ok to say no

He was stupid to be nervous. The reply came almost immediately.

-Are you kidding? I've been waiting to meet that girl ever since Chimney sent me those first pictures.

-Of course I'll be there

---

Tommy met him at Buck's door with a sweet grin and a bunch of coloring books in his hand. Buck couldn't do anything but stare at him for a moment and smile back.

"Hi."

"Hi."

Buck wondered if those butterflies in his stomach would ever go away. When Tommy leaned forward and pressed a gentle, quick kiss onto his lips, Buck came to the conclusion that there was no possible way they ever would.

"I brought these," Tommy said as he walked into the apartment, shaking the coloring books in the air and looking just a little bashful about it. "Didn't want to show up empty handed but I figured wine wasn't the right call for the venue."

Buck chuckled and shut the door behind him. "You definitely figured right." He pointed over toward the media area. "Wanna meet the star of the show?"

Tommy grinned. "More excited to see her than you, really."

Buck scoffed with feigned-offense and pinched Tommy's arm before moving his hand to the small of Tommy's back, pressing him gently toward where Jee was set up in front of his couch.

Jee looked up from her toys with wide eyes when they came into view. "Hey hey, princess, I got someone for you to meet!" Buck held his free hand out to point at his boyfriend. "This is Tommy. Tommy, this is Jee-Yun." She kept still in contemplation and made a humming noise up at them.

Tommy crouched down and gave her a little wave, and Buck would have laughed at the sight of such a big man making himself so small if it weren't the most endearing thing he'd seen in ages.

"Hi Jee-Yun. It's really nice to meet you," Tommy said with a quiet voice Buck'd never heard before. Jee just kept staring over at him with blinking, assessing eyes. "I really like your sparkly dress," he continued, and that seemed to do it. Jee broke out into a wide, squinty-eyed smile and let out one of those little kid laughs that melted hearts.

"Sequins," Jee said brightly; or at least tried to say, there was definitely an 's' sound in there somewhere.

The floor became their home for the next few hours, Jee happily adjusting to her new friend and toddling between the two of them, carting markers and dolls and pieces of Goldfish back and forth across the carpet. The two of them got easily talked into playing Barbies for one memorable twenty minute stretch, in which Buck learned quite a few things about Tommy's sense of fashion.

"You can't put those rain boots on Tiffany when she's wearing that dress, they don't go at all," Buck said contemptuously.

Tommy rolled his eyes. "Why not? There's yellow in the belt." He squinted and held Tiffany up a little closer to his face. "Sort of."

Buck groaned painfully. "They're way to clunky for that outfit! And it's not even raining, Tommy! Why would she be wearing rain boots?"

Tommy blinked at him for a second before slowly tilting his head up toward the ceiling. Of his very-much-indoors living room. Buck groaned louder.

Jee solved the problem easily by shoving the rain boots onto Tiffany's arms and yelling out Gloves! Buck was a little miffed he didn't think of that first.

Dolls, juice-box breaks, Buck chasing Jee around the first floor making firetruck sounds and sending Tommy into stitches from where he was still sprawled in front of the TV—the evening passed all too quickly and with more laughing than either of them had done in weeks. Which of course meant that by the time that Maddie and Chimney texted that they were going to be heading back soon, both grown men were beyond pooped and covered in more sticky substances than was probably recommended by most health codes. Jee had not decided to take it easy on the new guy, that's for sure.

Buck had handed a squirming Jee over to Tommy a bit ago while he got his niece's stuff all organized back together in her bag. By the time he'd gotten the rest of her leftover snacks out of the fridge and made a passable effort at tidying up the counters, the excitable sounds of Tommy and Jee's earlier conversations had died down and Buck decided it was about time he headed over to check up on them.

He was greeted with the sight of the two of them tucked into the couch, Jee set up on Tommy's lap with one of her new coloring books in her hand and an assortment of markers wedged into the crook of Tommy's bent knee in easy reach beside her. She was quietly and happily plugging away at one of the drawings—a startlingly pink giraffe, Buck thought he could make out—scribbling nonsensically across the page with an intently closed fist. Tommy had an arm resting along one of her sides to keep her from falling off, but the man himself was very much not paying too much attention anymore. His head was lolled back against the cushion, eyelids fluttering as he caught a few needed minutes of rest. Buck wasn't worried; he knew by the way Tommy's finger was still drawing lazy shapes along the frills of Jee's sparkly dress that Tommy'd be awake and aware in an instant if she needed him.

Buck stole a moment to just stand there and watch without either of them noticing. He took it in.

Tommy. His boyfriend. With a baby tucked happy against his chest.

Unbelievably small compared to him yet being held with all the gentleness in the world. His boyfriend and his niece. Both safe and content, on his couch.

Something tugged warm and tight behind Buck's ribs. The feeling almost toppled him over, dragged the breath from his lungs, love, pride, want.

He could have been sick with it.

He quietly padded over and lowered himself onto the cushion next to them before he could get too overwhelmed. He couldn't help himself. He leaned over and pressed a lingering kiss against where he knew Tommy's dimple was, and soon enough felt Tommy's smile underneath his lips.

"You having a good time there, Jee?" Buck asked quietly, pulling back just enough to see her. She twisted around to nod empathetically up at him.

"Uncle Tommy got me a jungle," she said, holding her booklet up with a grin, and Buck let out a surprised noise.

"Uncle Tommy, huh?" He teased, poking Tommy in the ribs and looking at him fondly. Tommy swatted his hand away and then grabbed his fingers before he could retreat too far, and Buck let him tug him in close and rest their now tangled hands against his side. Buck settled in sideways against the back of the couch and tried to push down the fondness bubbling up inside him before it burst.

"She said it earlier," Tommy said, brow furrowed just a bit. Buck wanted to press it out with his thumb. "It felt mean to correct her." Buck just hummed and squeezed his hand until he'd relaxed back into the couch again.

Tommy let him rest his forehead against his shoulder, and the three of them whiled away the next quarter hour laughing at Jee's animal noises and picking crazy colors for tigers and monkeys and toucans.

Maddie and Chimney showed up before for too long, greeting Tommy with just as much warmth as they did Buck, especially after they saw just how adamant Jee was about hanging off of Tommy's calf and not letting him go even in the face of Goldfish bribes.

Maddie and Chimney finally got her detached with the promise of an extra bedtime story, and in a flurry of side-hugs and handshakes and little versions of such for Jee, they said their goodbyes. Tommy waved them out the door with an arm around Buck's shoulders.

They stumbled up to bed that night too tired for much else other than sleep, Buck's heart skipping a beat in his chest every time he caught Tommy's eye or felt him brush against him as they moved around the loft. Tommy's strong arms wrapped around him as they drifted off. Buck pressed himself hard back into Tommy's chest and fell asleep to the feeling of feather-light kisses pressed against the back of his neck and a heart beating alongside his own.

[hiseyeisonthesparrow]

Some practical life skills I've gained from being a member of my Church:

Public speaking. Kids in my Church start giving talks and speeches starting around age 4. I've given talks so often that it's second nature to me; once you explain the priesthood [which you do not have] to a congregation of hundreds of people in a language you don't speak, public speaking doesn't seem like such a big deal.

Reading music. I read 4 part harmony every week, and that practice has made me valuable in choirs and orchestras ever since. Most wards and stakes have choirs too, which get to do complex hymns and arrangements. I perform a special musical number almost on a monthly basis in various congregations too -- if I ever had stage fright, I don't anymore!

As a side note, playing piano. It seems like every member of my Church learned how to play piano as a kid. I'm not a great pianist, but there are so many good pianists around me that I don't ever have to play for church. And we don't even get paid do to it!

Teaching lessons. I was my young women's president growing up, and, being an exceptionally poor planner, I often forgot to ask other people to teach lessons for me. This led to many sacrament meeting cram sessions where I struggled to come up for an object lesson about the Atonement involving only what was in my bag. One time I had to give the "how to pick a good husband" lesson as a young little aspec who did NOT want to get married or have a husband and who frankly wasn't too keen on the idea of marriage as a whole. I sucked up my pride and rebellious queerness and gave those 13 year old girls the BEST "how to pick a good husband" lesson that they've ever been given.

Intergenerational relationships. Being part of a religious community means that you interact with a lot of very old and very young people. When I was in high school I would think "Why does everyone say teens suck at talking to adults, me and my middle aged friends are homeboys". Age really doesn't matter when you're all worshipping the same God.

I know I gained a lot more than that but those are the things that you could like, put on a resume or something.

[cbrownjc]

My thoughts about Devil's Minion right now after Rolin Jones' comments (spoilers):

A meta so thorough, that I first wrote in a post/reply elsewhere, I'm putting it into a separate post, (with some more added to it), just because. And especially since I know I've gotten a lot of followers over the course of Season 2 because of my Devil's Minion posts as well, and I want this all in a separate, individual post for quick reference, just in case.

Fair warning: if you are totally happy and fine about what happened -- i.e. how Armand turned Daniel -- then yeah, what I am going to say here isn't for you. I'm not trying to harsh anyone's vibe, especially if you are just happy that Daniel is a vampire now, okay? This is just about how I feel and see things about it at the moment (particularly regarding RJs comments about it). So if you're not up for criticism, critique, as well as speculation about Devil's Minion right now, then yeah. IMO, just skip this post, please.

Okay. So. Rolin Jones just gave an interview with The Hollywood Reporter and this is what he said about Daniel's turning by Armand:

Jones confirms that, just like in Rice’s books, Armand is the one who turns Daniel into a vampire. “Will we see that moment of turning? No, but Armand finally made a vampire and clearly made him out of spite,” he says with a laugh. “It looks like it was really not a great moment [between him and Daniel], but that connects those two characters. They will have scenes going forward, obviously.”

-- Rolin Jones, Hollywood Reporter, 06/30/24

Okay so, to start. For me, someone who has been waiting since 1995 (when I was 17) for Devil's Minion, for Armand and Daniel's relationship to finally be adapted in some way, I'll be honest. There are only two ways this can go now that I can see at the moment: either Rolin is lying/trolling to hide the truth about all of this, or he is telling the truth and this is truly the way they are going with this.

If Rolin is lying/trolling to hide something about all of this, then I'll forgive that lying/trolling instantly once it's revealed that he was. (Put a pin in this.) Having to flat-out lie or troll is sometimes par for the course when it comes to running a show and not wanting to spoil anything about what might be coming up in it. So honestly, if that's what's going on with what he said here? Meh. No skin off my nose.

If he is telling the truth, however? Then I'll have zero desire to watch the show anymore, once I see it 100% confirmed in some way with my own two eyes in some way on screen somehow. (Again, pin in this.) Because I have very much learned my lesson when it comes to TV shows and lazy writing/bad adaptations after Game of Thrones.

Because Armand turning Daniel out of spite is the antithesis of what Devil's Minion is supposed to be for both characters. It is an utter and complete misunderstanding of both characters and their relationship together. It's an utter downgrade of their relationship from the books, and I am not here for it. I literally do not care what "romance" they might later have planned for them if this is how Daniel was turned.

Look. If you are someone who only ever cared about Daniel just being a vampire, then this is all likely fine for you, and that's okay. But not me. Because Daniel being a vampire never was, or has been, the important part of Armand and Daniel's relationship. Not in my eyes and, frankly, not when it comes to the original story. Daniel becoming a vampire is not the important part of the Devil's Minion story. The actual love and romance before Daniel is turned is because it is during that part of it that the actual character development and growth both of them go through from it takes place. Especially for Armand's character.

And that only has any depth when Daniel is human and Armand is forever refusing to turn him because of his hangups about making another vampire.

And Armand finally turning Daniel out of love was a huge step that showed Armand beginning to move forward and heal -- from not only his time in the Children of Darkness cult, but begin his healing when it comes to his Marius issues as well.

Armand turning Daniel out of spite undercuts all of that. It undercuts the whole story. And flat-out guts some of the major depth of the relationship and Armand's character development overall.

Not to mention it makes Daniel no better than someone like Claudia wrt Armand turning him now. Maybe even less than her since at least Claudia got turned out of Lestat's love for someone else. Daniel doesn't even get that? The person who is supposed to be his eternal companion doesn't even get turned by him out of love, an important point to the bond between such Maker and Fledgling eternal companions, but out of hate and spite instead?

Yeah, no thank you.

This is not what I've waited since 1995 to see with these two and the fact their relationship may have gotten treated like this -- if this is true -- utterly astounds me how this show could get Loustat so right (and even upgrade them so beautifully in so many ways such as with Louis' turning) and utterly fail Devil's Minion so badly. Because yes, it's failing them. It's a terrible and, moreover, just a shallow adaptation of Devil's Minion if this is how it really all goes down.

Because there is way more to Armand and Daniel than them just Daniel being a vampire and them finally "getting together." Or at least there is supposed to be. And this ain't it.

(Pin!) Now, with that all said? The fact that Rolin flat out says that we'll never see Armand turning Daniel? Yeah okay, I'm sus on that one. Because really. The only reason not to show Armand turning Daniel next season -- and visually confirm that Armand did it -- is if because . . . Armand never actually turned Daniel in the first damn place.

Or, if he did, it maybe was not fully Daniel.

I mean, you're not going to ever actually show Armand turning his first-ever fledgling (who he's supposed to go on to have a romantic relationship with at some point) after making a big ass deal out of the fact that Armand has never turned anyone before? Ever?

See I know damn well that Armand is being framed as a villain right now. He very much has to be given how the end of the book IWTV and how the upcoming book The Vampire Lestat, goes. Armand is the main villain/antagonist in it. Even in the present day, it is clear Armand hasn't gone yet gone through all of the growth that he does from Queen of the Damned on. So he's still back in his villain-era mode right now. And his post-breakup with Louis mode in the present day. Which is fine, it's how his story -- and the story where it is right now -- goes. I am thoroughly okay with that.

And the very idea that Armand turned Daniel out of spite? Very much plays into that framing-him-as-a-villian state where Armand's character is right now. And will be for the majority of Season 3, which I've already before now suspected and said.

So here is where the speculation on my end of things comes in. Because yeah, not only can I not help myself but because -- until I see this play out with my own eyes -- I'm willing to be reasonable and look at the various ways this all could still play out that doesn't completely gut out the very heart of Armand and Daniel -- as characters and their relationship together. (Or at least not have it be so damn shallow by the end when they inevitably get and stay together.)

So as @nalyra-dreaming can confirm, I gave her a few scenarios that could be behind Daniel's turning weeks ago, when I first suspected it was going to happen (before the screener leaks about it started). In one of the scenarios, I said that if Daniel's vampire eyes are any color other than violet, then that is NOT Daniel's spirit/soul/consciousness in Daniel's body that has been made a vampire.

As the saying goes, "The eyes are the window into the soul." And am I really supposed to think this show got Lestat and Louis' eye color dead on correct but just missed Daniel's iconic eye color? Really? (Because no, I do not find it romantic that Daniel has his Maker's eye color, or whatever. Besides, vampire eye color doesn't even work like that -- the show didn't even do that with Louis and Lestat who are the main, grand romantic couple of the damn show.)

As I said here in this reblog, I stand by my opinion/theory that no way this show gets Daniel's iconic violet eye color wrong, even on accident. I said so weeks ago, before even seeing Daniel's eyes in that final shot in the season finale, and just predicting that he was going to get turned.

No way this show got Daniel's iconic eye color wrong when he became a vampire, not when they went to all the damn trouble creating those vampire contacts and gave Jacob's Louis green eyes to match book-Louis.

And yes I damn well know they could just have Daniel pop up with violet vampire eyes in the Season 3 premiere and there goes all of that, and it really was all just laziness, incompetence, and a mistake when it came to the color of Daniel's eyes in the finale. But right now? I'm treating Daniel's eye color as the equivalent of Rolin saying "Lelio is so boring!" as to the question of why Sam's Lestat was playing Harlequin and not Lelio in the Season 2 theater flashbacks. Something the show changed on purpose and for a reason.

Because we all damn well know that we are going to see Sam's Lestat as Lelio in Season 3, correct? Because we are.

And yes. I know some people really hate the idea of a body swap scenario regarding Daniel, but I'm sorry. At this point, it really is the only scenario out of this whole storyline that I can see right now, that will keep it anywhere close to retaining the heart of the Devil's Minion storyline, especially if Armand really did turn Daniel out of spite here (even though, again, we'll apparently never see that turning to confirm that in full. Uh-huh, okay.).

And two things that I think do set up the possibility are:

1.) Louis says Daniel was turned after he left Armand alone with him. But Louis actually wouldn't know something like that unless he was told since he wasn't there. All we can really assume at the moment is that Daniel told Louis what happened after Louis left the room. And as RJ and Assad said, we'll never see the actual turning. So who knows when the hell it happened.

2.) Raglan James, via those direct messages asking Daniel for "reciprocation" for getting him a copy of the script, with Armand's handwritten notes, of the trial-play. Between that request and the Talamasca publishing Daniel's book, that loops Daniel into the James orbit very much. And ties Daniel very close to any Talamasca going on even more.

And, quite frankly, I've thought since Season 1 that David Talbot's character was out and would be merged with both Louis and Daniel on the show. And Sam pretty much confirmed in his interview with Autumn Brown that some characters from the books will be merged together with others in the show. So, yeah. David's character is very much a character I always thought they were doing that with, and I know I'm not the only one who's thought it before now as well.

And honestly, I can much better deal with some type of scenario in which Armand maybe ends up turning two versions of "Daniel" -- and therefore technically having two fledglings, even though they are kind of the same person -- over what is being put forth about this right now. One turning -- in spite -- of Daniel's body without his true spirit/soul/consciousness in it, and the other turning -- out of love -- of Daniel's spirit/soul/consciousness inside a different body of some kind. (Which I won't go into now, as that is a whole separate long meta if I did.)

Because at least with that scenario then, in a weird way, Daniel being Armand's only fledgling would still hold. 🤷🏾‍♀️ Along with a few other things that can happen regarding Armand's character growth in between each turning.

But that is it. Because there is no way they can have Armand turn Daniel (as fully Daniel) out of spite -- as Rolin directly says he does in this interview -- and actually keep the heart of the Devil's Minion story and romance now. Not even if the Devil's Minion chase and parts of the relationship happened in the past IMO . . . another thing they are clearly avoiding talking about, btw. Which, at least right now, just tells me that, if we're lucky, we'll only -- once again -- get one episode that flashes back to that time in Season 3. Can't really be helped, since Season 3's primary focus will be regarding Lestat and Lestat's backstory. (As I've said before Daniel isn't even in that book. So whatever we get with him in Season 3 really will just be extra, added stuff.)

Oh, and something else I very much recognize is that Loustat shippers -- particularly book ones -- have gone through it these past two seasons, but now seem to be coming out of that darkness. Maybe now it's time for Devil's Minion shippers like me and others to face the same damn thing now. Because of something Assad let slip a few weeks ago about not getting Armand's full story until Season 4, I think that is how long we're going to have to wait to see the full of this play out.

But I advise right now that if some of you think you can't handle that and would just rather quit the show and binge things later, I totally get it. Waiting two seasons -- basically 4 years minimum -- is going to be a pain in the ass. I already know right now that there are some things I'm not going to have the patience for during the hiatus times in between, particularly this one. (One thing I can already say, at least right now, is that I'm not inspired to write any show-based Devil's Minion fanfic this hiatus like I did during the last hiatus).

But quitting the show altogether? No, I'm not there yet. Because yes Rolin does like to troll. Plus Hannah's tweet. Plus what was said about Devil's Minion at ATX Festival. Plus my thinking, long before now, that David Talbot was always out wrt the show, and the fact that Raglan James is here and Daniel's character has been heavily tied into The Talamasca plotline of the show.

And given everything I've seen this show do wrt it's writing up until now, I just can't fully believe they would really make Devil's Minion this damn shallow and devoid of its depth and heart. And just have Armand turn his one and only canon fledgling and immortal companion out of nothing but spite. When Armand loving Daniel and finally having to trust in Daniel's love for him, as well as his own love for Daniel over his own fear was a major point and culmination of the Devil's Minion storyline.

After everything I've seen these first two seasons wrt this show, I can't think these writers would miss such an important heart and point of the Devil's Minion storyline and romance so completely.

Not yet at any rate.

[ashblooddragons]

The Red Queen (Chapter 11/?)

Your Pov

I sit at the dining table pushing a price of chicken around my plate. The room is deathly quiet, the only sound filling the room being the scrap of forks and resigned sighs. 

I turn to Papa when I notice he keeps glancing my way. Finally he clears his throat and turns in his seat to look at me..

“How has your studies been?” He asks wiping gravy from his lips. 

I stop and think about my studies. I've been going to more lessons with Maester Mellos, lately he's been teaching me the houses and where they live. We just finished the Northern houses and are now working on the Vale houses.

“Good, I know all the Northern houses and their sigils and words. I'm now working on the Vale.” I say matter-of-factly hoping the stiff atmosphere will go away soon.

Papa gives me a solemn smile. “Did you know your Mother is-was from the Vale? An Arryn in fact.” 

I nod excitedly. “I learned about that today. Mama would talk about her childhood in the Vale but she never said she was an Arryn before she was Queen.” 

Papa does that sad smile he does when Mama is brought up. It still hurts, Ali says it always will, you just learn to live with the pain. 

“Your Mother wished to take you and Rhaenyra to see the Vale once the babe was born. Perhaps-perhaps we can still fulfill that wish one day.” Papa suggests almost seeming hopeful. 

“I would love that.” I say with an enthusiastic nod. The thought of seeing where Mama grew up, of where she did all those silly things she told stories about was an exciting thought. 

But just as Papa goes to make plans Nyra speaks for the first time this evening. “About today-”

Papa turns to her with a frown before he pats her hand in comfort. The act seems so natural, not forced or alien like when he tries to comfort me. 

“It is alright, you were only trying to help.” He says with a kind smile.

Nyra smiles back before shaking her head. “I just…I just wanted to help.” She says looking down at her plate. 

“Ever since your Mother passed, you have been…distant. Though I cannot say it is entirely your fault, I myself have been hiding away from you, the court, your sister.” Papa says as he rubs my head when he says ‘your sister’. 

I can't help but frown, it felt like Papa forgot about me until the end, that I was an afterthought. I suddenly find I'm no longer hungry and set my fork on the table as I look at Papa again.

“You girls must have heard the rumors already, I'm afraid they're true.” Papa says with a resigned sigh. “I am remarrying, every King needs a Queen. And you will need a King one day.” He says looking at me with a sad smile. 

I freeze at his words, not that I will need a King but that he is marrying again. So soon? Mama has only been dead less than a year, Septa Martha says you are to mourn for a year before seeking another match if you must. I think as I chew on my bottom lip ignoring the taste of copper that reaches my touch. 

“It is your duty, Mother would understand.” Nyra says with a sad smile. 

It is this that makes me say what I do next, and I quickly regret it with how Nyra glares at me. “Any ladies in mind?” 

Papa looks back at me with a look of pain. “Yes, a few, in fact one I will be walking in the gardens with on the morrow. The Lady Laena.” 

I feel my heart stop, tears come to my eyes. Why Laena? Laena doesn't want to be Queen, she wants to fly and dance, she wants to see the great wonders of the world, eat exotic food and meet exotic people. She doesn't want to be forced to smile and look pretty. She wants to run, scowl at the people she doesn't like, and smile so big you can see her go when she sees someone she adores. She likes to laugh so much her belly hurts and tears come to her eyes, not make a soft laugh to look kind and pretty. Laena is wonderful how she is, being Queen will destroy her. I think as I wipe my tears hoping Papa didn't see them.

But it is not me who responds, it is Nyra. “A wonderful match, unite us with the Velaryons completely. Me with Laenor and you with Laena.” 

“Yes, my thoughts exactly.” Papa says before clearing his throat and looking towards me again.

I can't find any kind words so instead I say what Septa Martha taught me to say to a lord and Lady who are just betrothed.

“A wondrous match, I pray the gods will make it fruitful.” I can hardly recognize my own voice. It almost seems as if the words leaving my own lips are from another, but from the smile and pat on the cheek Papa gives me it was me who spoke such words. 

For the rest of dinner it feels like I'm not there, like I'm watching from the outside as Nyra and Papa joke and talk the meal away. The only way I know I'm there is because of how tightly my hands grip each other, I feel my nails dig into the backs of my hands. 

The moment I'm in my chambers I burst into sobs startling Orchid as she picks me up and holds me close. I grip her dress that always smells of fresh bread and ash from the fire. 

“Whatever has hurt that little heart of yours Princess, I hope the world will take it away.” Orchid says sitting in her chair by the fire as she rubs my back.

The next day I stand on a balcony watching Laena and Papa walk together. I bite my lip when Laena looks up towards me with a frown. Before she went on her walk with Papa she begged me for forgiveness stating she never wanted this and will try her best to make him not like her.

Her asking for forgiveness confused me, why would it be her fault our Papa's want her to marry mine? And I told her as such which brought a slight smile to her lips, though it quickly disappeared when her Mama came and told her the King is waiting for her.

“Does it bother you?” Laena’s Mama asks out of nowhere. I look around to see if anyone is near for her to be speaking to but there is no one. “Does it bother you?” She says again as she stands and walks over to me.

“Does what bother me?” I ask confused as to why she is speaking to me. She usually avoids me unless I'm with Laena and even then its short greetings and pleasantries. 

“That your best friend is possibly going to marry your Father.” She says as if that were obvious.

I'm shocked by the question, for I thought it would be clear how I feel about this.

“Of course it does, doesn't it bother you?” 

She only hums before facing me, her cold eyes make the hairs on the back of my neck stand up. How does Laena live like this? I think before pushing my shoulders back down standing straighter. 

“Here is the hard truth that no one wishes to tell you, little Princess. The King will remarry, and more than likely he will have a son and that boy will be expected to be named heir. You will be nothing but a second daughter again.” 

I stop for a moment thinking over her words. If Papa marries and has a son, my life will go back to normal? Maybe that will let Kepus come back! And with that thought a smile rises to my lips 

“That's alright, I never wanted to be the heir. And if it will let the realm be happy as well as Papa then I'm ok with that.” 

This seems to puzzle her if the furrow of her brow is any indicator. “Then why does it bother you that the King is finding a new wife?” 

“I don't like that Papa is finding a new wife, but it's his duty. What I don't like is that Laena is an option, Laena doesn't want this, she wants to be free, she wants to fly everyday and eat weird things, not be Queen and have everyone looking at her.” I say as if that is obvious.

She seems shocked but then smiles down at me before stroking my cheek. “You truly are a wonderful friend to my girl, and I thank you for that.” 

I open my mouth to respond when we hear Laena call out to me. When I turn she is running full speed towards me and with a glance down in the royal gardens I can see Papa has left. 

“I need you to swear something for me!” Laena demands as she stands in front of me holding my hands.

“Of course! Anything!” I swear nodding my head. 

“If I have to marry him, kill me, I refuse to die from boredom!” 

All I can do is blink before I burst out laughing. 

“I mean it! I will not be forced to live my days in boredom just so some old men are happy!” She screams before stomping her foot as if that solidifies the deal.

I only smile shaking my head as she grabs my hand to go and play in the gardens stating “I had to walk and be ladylike! Let's be us now!” And I can't help but want that too.

Series Masterlist

Special thanks to @sugutoad for making the header for this fic! I swear I'd be lost without you girly!

TAGLIST: @sugutoad @ilikefelines @classicsimpforaaronwarner @sachaa-ff @mmogurl @athzhowakar

[junkdyke]

That Time I Hooked Up With A Tumblr Mutual

Ok. Let me start by saying this is not a callout post, and this should be read as a humorous story, with some takeaway lessons at the end. Please enjoy my story of my weird ass encounter with a Tumblr mutual.

Part 1: The Backstory

Alight so boom. I had just returned home from a trip where I met a different Tumblr mutual. That trip was great but didn't end up going to plan, so long story short, ya girl was horny. I had never really had a one-night-stand or sought out a solely sexual hookup, so I started thinking maybe I could try it out, see how I like it. And through the sheer power of manifestation, that opportunity presented itself.

I was scrolling Tumblr and one of my mutuals posted asking if anyone was in (my area) and wanted to hang out. Mind you, I have never spoken to this mutual before. No DMs, maybe like 1 or 2 comments through tags and that's it. But, most of my moots are far as fuck, so when I saw she was near me I was like oh ayo, I'm free! Why not, I had nothing else going on! So I reply, and she DMs me.

So she introduces herself, we'll call her Chicle for reasons I'll get to later in the story lmao. Anyway, she gushes a little bit, saying she's been too shy to DM me and that I'm a really cool tattoo artist mutual, I say she's cute and seems cool, and she asks if I've ever been to this particular mall. I say I have and if she wants to cruise the mall with me. She says yeah I'd love to cruise the mall and "if I like her vibe, then maybe we can do something more fun." I say I'm down, she gives me her number.

So here is what I'm envisioning. We'll meet up at the mall, walk around and talk, get to know each other, have some laughs, get a snack, it was a Friday so maybe we could go out to like a bar or go dancing, and then maybe after that, possibly make-out or even have sex! I am not opposed to having sex after a first date if I'm really vibing with the person and if we've been talking for a bit before. Girls, this is not what happened.

Part 2: The Meeting

I get ready, and I drive to the mall. I park, we text on where to meetup and I head over to the Gamestop. I see her at the counter, go up and I'm like "are you buying Pokemon cards?" She starts laughing, she says "I didn't want you to see this!" I'm laughing, I told her it's cute, she finishes paying and we walk around. Cute start and thennnn it all starts to go downhill from here.

As we are walking out of the Gamestop, a minute and thirty seconds into meeting this stranger, she wraps her arm, not around my waist...but around my ass. And pulls me close. I'm instantly uncomfortable by how close this gesture is. She starts cooing in my ear about how she's "so glad I'm not a catfish" and "if I like her vibe because she really likes mine". We met not even 5 minutes ago, I have not had time to evaluate any vibes! But anyway! She asks if she wants smoke 🍃 so I agree, and we go outside, right across from where we just were.

I get to take like 1 hit from this pen, she then steps close to me and says "I'm so glad you're real" kisses me and squeezes my ass. I again feel the need to emphasize that at this point, it has still been less than 5 minutes since we've met, and we have exchanged about 10 messages only a couple hours prior. This is a stranger to me. ANYWAY.

We go back inside, she asks if I wanna walk around, I agree. We chat for a short bit of time, before we go to the food court. I wasn't hungry, so she got some food and we sat and talked. I had made some mention about my past and she wanted to know more so I'm like "okay, I'll give you my lore while you eat" so I basically tell Chicle my life story. Afterwards, we go to walk around more and I start trying to ask her questions so I can get to know her more. It becomes very apparent that she is not interested in getting to know each other lmao. I ask what she does for work, and what she's interested in, and she tells me she's interested in getting into (something animation related) and i'm like "oh ayo, that aligns with what I do" and start trying to get more info cause i'm curious, annd I get just the shortest fucking answers. Ok.

She ends up making a comment about how I'm probably more experienced than her, and I'm like "oh really? Well how many people have you been with?" and Chicle asks "are we counting online?" Now, there is nothing necessarily wrong with this...but it does become more clear on just how "online" this person is. Anyway, she has only been with a few people, never had a partner. It becomes very clear as to why she may have never had a partner.

Part 3: Inappropriate Behavior

We are walking around the mall, stopping in a few stores to look at stuff. Chicle is walking next to me and I am still trying to invoke conversation. But Chicle is not interested in conversation, because instead, she is deliberately and blatantly staring directly at my tits. What I mean is, mid-walking, she is at my side, craning her head to the side to make it incredibly clear that that is what she is doing. I straight up ask "are you...staring at my tits?" she confirms as such, and says something about her being a dog. The dog thing will come up again.

Chicle is at different points, holding me, kissing me, and saying various suggestive things. She grabs me and whispers in my ear "do you want to go back to my room" and I nervous laugh and say "uhhh, we'll see!" At another point, she says "you're so small, you want me to manhandle you and throw you around?" and I again nervous laugh. We're like in Hot Topic, and she start trying to makeout with me and grabbing my ass and says "you're making me so hard"(we'll put a pin in that) and I push her away and say "not in public". I can do a little PDA but this is a lot, and at this point I have known her for about 40 minutes, maybe an hour.

Continuing on, as we're walking through this crowded mall, she drapes her arm over my shoulder and starts grabbing my boob and trying to pinch my nipples, which I immediately pull away from and again say "not in public". Chicle again says "do you wanna get out of here and go back to my room" and I'm questioning what exactly she means, because the phrasing is a little weird. "what do you mean 'your room'?" and she says "I have a hotel room" so I'm a little confused cause I thought she lived in the area. She does.

"i got us a room"

Ya'll, this bitch preemptively booked a MOTEL ROOM without even asking me.

At this point, she has asked multiple times and each time I nervous laughed and said "haha maybe, we'll see, ehhh we'll see" To any normal person, my body language was extremely clear that I was uncomfortable. And again this is not a callout post, she is not a bad person, and everything that ultimately happened, I did consent to. But I will not sugarcoat the fact that this behavior was definitely inappropriate harassment, and there was absolutely some pressuring with the continuous asking. But as I mulled it over, there were 2 reasons I ultimately decided to agree and meet her at that motel.

I was craving intimacy

I had never done something like this before so..fuck it, let's do it for the plot.

And so, she gave me the address, we got in our respective cars, and we met at the motel.

Part 4: The Motel

We go to the room, put our stuff down, and I go to use the restroom. I'm thinking "oh shit, this is weird but alright, let's see what happens"

I come out of the restroom, wash my hands, and she comes over and we start kissing. Already it's fucking weird because the way she is kissing me is so goddamn fast, it's like someone inhaling a meal because they think it's gonna run away from them. Now idk about ya'll, but I like a slow, deep kiss. So already it's a mismatch, but whatever. She lifts me onto the sink, despite the weird kissing, it's hot. She has some really minty gum in her mouth, hence the name Chicle. Put a pin in that.

After a bit, we go to the bed, and I keep saying "how did you get me here" because honestly, I'm not fully comfortable, it's just a weird situation for me and I'm surprised I agree to it. But agree to it I did, so we get on the bed, and keep going. Now, even though she does not have much experience, she's not bad! But...I can tell there's certain things she's doing that I've seen. Or rather, read. Whew lad.

As we're getting into it, my clothes are coming off, she's saying "You're my favorite Tumblr mutual. I can't believe this is what my favorite Tumblr mutual is into." I don't even really know what to say to this because quite frankly, mentioning social media in bed in any capacity is kinda fucking cringe. But it just gets worse.

So, she's spitting on my pussy. And I, personally, have a strong aversion to spit. It's something that I tell anyone that is a potential sexual partner, but it this case, we obviously did not have a prior talk about our sexual boundaries. In this case, I'm like "okay whatever as long as it's just there" but I quickly say "hey uh, just please don't do that in my mouth or i'll throw up" lmao. She's like "Oh okay sorry sorry". But then at some point, without warning she smacks the FUCK out of my pussy, and I'm so taken aback I immediately say "UH DON'T DO THAT" and she again apologizes and says

"Oh sorry, you know I had to try that one. Like that Tumblr post, you know the one."

Ya'll, everything this bitch is doing, she is referencing posts from Tumblr. She is referencing the sexy fantasy butch/femme text posts from Tumblr and she is referencing them out loud. In the middle of real life sex.

She goes on to reference more posts, and the worst part is I know exactly the one's she's talking about. "Mutuals to lezz out with" etc etc, it's so fucking cringe, and she tells me about how she started wearing more of a certain article of clothing after I reblogged a picture of her in it and how embarrassed she is to admit that (I thought that was kinda cute actually) anyway

She's still going way too fast with like all her movements, I tell her to slow down and relax and I think at this point I mention how she did not have to do all that PDA shit from before. She says "well you know, on my Tumblr I do say I'm a dog" and then uh, she starts barking. 💀 literally starts going "woof, woof" and I tell her to s t o p. Jesus fucking christ.

Anyway, after mentioning Tumblr and calling me her favorite Tumblr mutual way too many fucking times, I'm on top of her. Mind you, this whole time, I'm kinda in and out dissociating, just due to how not fully comfortable I am with this. But ya know, I'm still going for it. Her shirts off, she has really cute boobs, and then I notice a really fucking huge bulge in her pants. And I fully dissociate. Not gonna lie, I started feeling really panicky, because straight up, I was not prepared for this. Physically, I'm still touching her, but my mind is fully disconnected, and I'm thinking "oh fuck. When she said 'you're making me so hard' was she being literal? I don't know if I'm comfortable with this. Should I tell her I want to stop? But I don't wanna hurt her feelings. Should I just take it? Well no, I don't really want to...maybe I'll just say 'hey is it cool if I don't touch it?' I mean, she's cute so ehhhhh let's just see what happens!" SO. We continue on.

We flip and she's now on top of me. She references another fucking Tumblr post, and says "do you wanna suck on this lesbian cock?", unzips her pants and pulls out...this MASSIVE transparent strap on. And I'm like oh, it was fake LMAO. Then I say "...yeah, so that's not going in me"

She ends up taking it off, I don't even know how the fuck she hid it in her jeans that entire time, and we continue on. Around this point, I'm starting to feel pretty spent, she did some other things like opening up my pussy to stare at it and describe the color, whatever, I'm kinda done and I just wanna cuddle. So we cuddle for a bit and again, it's physically nice but it's just so weird because she is SUCH a stranger to me that I can't get fully comfortable. She starts trying to start up again and I'm just not really in the mood anymore. She keeps playing with my nipples and typically whenever I'm touched in a way I'm not digging, I'll just take their hand and move it away as a silent but pretty clear way to indicate "no". But uh, I had to do that like 4 times with her before I verbally say "hey, please stop" and her response is "why" 💀 like wdym "why" bitch, cause i said so. I'm kinda surprised by this response so I start to say "Uhhhh, it's...kinda specific" and she goes "oh okay, sorry sorry".

So, honestly, I kinda just wanna go home but I don't wanna be mean and just take off. But there's also no way in hell I'm sleeping over in this motel room. So, I suggest we go out and maybe go to a club or something and she's like "uh, no. I don't like going out" 💀 like damn, maybe you should spend less time on FUCKING TUMBLR AND TRY GOING OUT IRL but whatever, instead we just go get food and bring it back to the room.

Part 5: What Could Have Been

We got some burgers, and she wants to open the Pokemon cards. We do, that's fun and cute, and she asks if I wanna keep some of the stickers that came in one of the packs.

Then she tells me that she had went to the library and checked out a book on tattoos since "she knows I'm a tattoo artist, and thought we could flip through it together." And I genuinely think this is such a cute fucking gesture, I think it's really sweet, and it frustrates the fuck out of me because of what this could have been.

I told her that she did not have to do all the PDA, it was a lot and it was excessive. She is not apologetic about it, and says that the reason she was like that was because "she needed me to know what her intentions were and that this was not just a 'friendly' meeting." so I reiterate that she did not have to do ALL OF THAT just for me to know that. And she just insists that in the past, girls have treated her like just a "bestie" so she needed to get her point across. Now call me old fashioned, but you could have just verbally fucking communicated "hey, i'm really attracted to you" and I would have caught the fucking drift. But okay!!

She asks me if I have any knives because I guess femmes tend to have a knife collection. I say no. And she fucking pulls out this huge ass lethal switchblade thing and is like "this is mine!" and i'm like oh god, this is it, I'm gonna fucking die in this motel room. But she doesn't kill me, she just shows me the cool knife and then puts it away. I have known this person for like 4 hours.

So, we flip through the book, and it's funny and cute, but she keeps trying to kiss me and instigate, and i'm just not interested, I just wanna flip through the book and go the fuck home. And that's pretty much what happens, we finish, I'm like "aight, ima head out" but

before i do

we end up making out again and then I think she was helping me put my shoes on?? she's on her knees in front of me and...she asks me to spit in her mouth. Once again, I have a major aversion to spit and i really, truly, do not want to spit in her mouth. But she says please...so I do like a half assed spit and hope it's good enough. She asks me to try again....so I get an accumulation and spit in her mouth, and she swallows it and i am so so sad about it 😭 and I finish getting my shit and I go the FUCK HOME.

Now here is what frustrates me about all this. Physically? This girl is extremely my type. I like the way she dresses, she has really nice arms, she has a cute face, she's really fucking attractive. She's interested in getting into the animation industry, which I'm currently also working on getting into as well. We could have talked about that and really had a cool discussion on what kind of projects she wants to do and what style she works in. She likes video games, we could have talked more about what games we like. She got this tattoo book because she knows I'm a tattoo artist, and I think that's really fucking cute. There's so many non-sexual aspects that could have made this a real fucking date where I got to know this person, and feel comfortable, and then we could have had really great sex because straight up, the girl was good. She may have learned it from Tumblr, and some of it was weird, but for the most part? She was damn good, especially for only having limited experience. This could have turned into something real! But NO. Chicle, instead, wanted to grope my tits in front of families an hour into meeting me, and made no effort to really let me get to know her in any capacity whatsoever! And it's not like she wanted this to be just a one-night-stand, because she had told me she was looking for a gf and asked me what I was looking for!

It just could have been so much better than this weird ass situation. And after the fact, she texted me and I answered a couple times, but when the following morning she said something to the effect of "it felt so good having you on my lap" I just never answered. Because prior to this, there was absolutely no established relationship, friendship or otherwise. And I could not see anything moving forward, because we couldn't backtrack into the aforementioned "could have been". I considered communicating how I didn't actually feel super comfortable with how things went, but I ultimately just decided to not reply. Shitty on my part, but again, there was no prior anything. And we just never spoke again, we remained mutuals, and so I never talked about this because uh, obviously she would see it. But since she blocked me, heyho now you all get the story!

Part 6: Epilogue

Now, the reason I decided to call her Chicle (Spanish for Gum)

So, while the nice minty gum was a nice gesture, her spitting that gum juice all over my vagina resulted in me getting a yeast infection💀 No more hookups.

So what lessons did we learn!

It's important to talk about sexual boundaries before having sex with someone!

Internet fantasy is not real life! Don't just do shit because you read about it in a fucking internet post or saw it in porn! (Especially when that person doesn't even make those kinds of posts, i don't reblog most of those for a reason)

Don't chew gum before going down on someone

Communication overall is really important for setting up any foundation, even if it is just a one-night hookup!

(yes this is ok the RB cause I spent forever writing this and I do genuinely think it's a very funny story. Sometimes ya just gotta do things for the plot so you get a good story out of it. No regrets, and my pussy is all healed up lmao)