#if you still want more extra plot stuff

[canthandlethishit]

prompt: timetravel fix it (?)

Damian somehow traveled back in time and meet robin!Jason mistaking him for Dick, after a while he caught up and realized, Jason was headed out to the place he’d be taken and later be killed at the hands of joker, Damian now have to contemplate changing the timeline to save Jason or not

go wild

[kedreeva]

did u read the good omens book? if so, what are your thoughts on it compared to the tv series?

i followed u for the steddie posts but fell in love with ur meta too 💜

I did, but honestly they're separate entities unless I want to steal something specific for a fic. They're both good, for different reasons and in different ways. They are written by different men, literally and figuratively, about different subject matters, for different reasons. You can compare an apple to an apple blossom, but even though one became the other, and came from the same tree, doesn't mean they are the same thing anymore, nor does it mean one is better than the other.

That being said, I've only read the book once, and I've watched the show over a dozen times, most likely because I saw the show first and read the book second. I enjoyed the book, but I think it was probably a better read in its day, by people who were the target audience at the time, and who didn't just read about or know the context, but understood and lived it. I can't be that, I can't go back in time and read the book before the series, I can't go back and read it in a time where it would have meant what it was intended to mean to the world it was born into.

[icewindandboringhorror]

Other Misc. Rambling Thoughts on the topic:

(~ !!!!!!!!! if you're just reblogging this post for the Poll section, please reblog the original post without this addition* lol. ~)

(*not that there's anything super personal or weird about the addition, just that it's meant to be kind of casual Side Commentary, not really part of the Main Point Of The Poll, so it would feel kind of weird for it to be emphasized by being included in reblogs unless the reblogs were explicitly about the side commentary, etc..... if that makes sense.. ANYWAY!)

It's neat to read the written descriptions that people are mentioning in the tags, since it's almost like I can see or conceptualize the idea as well, but it's just.. I'm not SEEING it.

Like for example: I can imagine a vase, it's a muted mint green and slightly translucent, elaborate golden birds sprawled down the side in streaks of thin rough watery paint, the base material shimmers gently in the light, there's a small chip where it's cracked on the handle, etc, etc. .. But as I'm thinking about this I see literally nothing.

It seems like perhaps some people can visualize an object first, and THEN describe what they see. But I sort of work backwards. I am building the object in my mind, I can never see it, but it's a collection of concepts. Rather than visualizing all details as a whole at once, I am adding each detail one by one, building onto the IDEA of the thing.

The vase doesn't have a crack on the handle because I just automatically visualized a vase with a crack. It was more that I cognitively understand the concept of a vase, what they tend to be made out of, how they tend to look and feel, the properties they have. So based purely on that knowledge, I can imagine "a chip is something that a vase could have, it would look this way and behave this way" - more like... I'm constructing a bullet point Fact List about the object rather than seeing it.

So if you tell me to imagine an object, I can, in a way, imagine that object in great detail, but it's just.. I'm not SEEING those details, more just knowing it's qualities in a purely conceptual way. Sometimes in the tags when people are like "yeah I can see the skin of the apple, texture, little dots on the surface" it's like… I can imagine that too, I can know it's there, but just with no visual attached.

I guess rather than SEEING something and going ''ah. I know what this looks like because I have seen it''. I more just skip that visual step entirely and go ''I know what this looks like, I just randomly have a list of information about the concept in my mind.'' etc. Maybe similar to how sometimes in dreams, even though a house may look completely different and be in an entirely fake 'dreamlike' environment, you just somehow KNOW intuitively that it's meant to be your childhood home or something. Even when it looks nothing like it in reality. There's a built-in base knowledge of the properties or information of some things within a dreaming mind, etc.

--

This also makes me wonder about like.. how storytelling and myth is so important to cultures all across time. Or how this could tie also into concepts of religion.. etc. etc. If so many people really can kind of conjure these vivid images in their mind, then maybe that's part of why certain things are so meaningful to them? Like a "religious experience" being something you can actually really SEE/feel/lingering with you in your head, rather than just abstract words on a page, detached purely theoretical ideas, etc... hmmm

.

Plus also just for average emotional stuff too, even outside of broader cultural conceptual attachments..

Like, I don't think there's a direct 1 to 1 link (obviously not all people with mental illnesses that significantly reduce their emotional or expressive capacity also MUST have aphantasia or vice versa), but it's interesting as someone who DOES also have a much more lessened emotional range/pretty flat affect/etc. etc. to think like.. Maybe I WOULD be more emotional, in a way, if I could have these vivid experiences..?

Perhaps memories would hold deeper significance if they could really stay with me vividly. Or storytelling would evoke more of a deep emotional reaction to me if I could really picture and feel the things that are going on. If things were more TANGIBLE in my brain, rather than always merely conceptual highly abstracted ideas.

Kind of like, it's probably easier to get over the death of a pet or something, if after not seeing them for an hour you already don't remember what they looked like (beyond just a vague fact list of traits), and you have no vivid memories or mental reminders of them (beyond just factual information stores). COGNTIVIELY you can appreciate the idea of their absence, of course, you still miss them, but there's just no remaining visceral sensory ties. A very "out of sight, out of mind" sort of thing in terms of attachments, memories, emotions, etc. Maybe certain things are easier to "get over", when you're not having constant mental sensory reminders that occasionally rekindle your feelings about the event or etc.??

(like for example, maybe someone could remain angry about an argument longer if they could vividly replay it in their head over and over again. VS just like.. 'Yes I can factually recall the fact I had an argument, and I do have knowledge stored about what precisely was said, but any sort of sensory data such as sights/smells/feelings, etc. from the actual moment of the event are long gone and can never be conjured again in my mind." etc.)

Which again, I think lessened emotional permanence and image permanence in the mind are NOT inherently linked, can all be caused by different things for different people. And, since I can't visualize anything in my head, maybe I'm misunderstanding how it happens and the effect it may have on stuff like remembering things you miss or replaying arguments, etc. etc. But it's still a little interesting to think about, if they could influence each other to some degree.... :0c --

Lastly, It's also weird because I'm actually pretty good at estimating distance and spaces? I can quickly assemble furniture without an instruction manual, pretty easily have a concept of how much space a chair may take up in a room, how two mechanical parts might fit together - BUT, I am literally not actually visualizing anything. I cannot see 3D objects in my mind at ALL. It's like.. just based on the pure List Of Facts About Things Which I Have Observed.. I can intuitively go "oh this works like this/this is this size" just because.. I know it's that size. I don't have to see anything to know..?

But then on the other hand, I'm terrible at directions without a map (I guess because a 3d outdoor environment has WAY more complexity than like.. "Will this square fit into another square?"etc. lol ).

BUT, I also draw/sculpt/etc. entirely without references, and seem to do mostly okay at that..? Like.. I can't even remember the last time I actually used a reference or looked at anything whilst drawing. It's all muscle memory, and me just adjusting as I go until something "looks right" on paper, I never have a set image in my head (or external reference) before hand.. Hrmm....

AND.. I used to say that I had a photographic memory when I was younger, which I know NOW is not true (I always thought it was just an expression, not that people could literally see things in a photographic way). But what I was describing is, I do often associate information with imagery, just... without imagery....

Like "Oh, I know that I took my medicine earlier today because I have a distinct memory, a snapshot of a moment in time, of me rattling the pill bottle in my hands as I looked up at a stop sign while in the back seat of a car". When I say this, I can't ACTUALLY see/feel/hear a pill bottle, or vividly picture a stop sign, but it's more just a factual recall, of. Even though I don't see these things, I know they happened, the information of them happening (me hearing a sound and also looking at a stop sign at the same time) has been stored in my brain as a memory, a collection of linked facts. --

As for other senses, I cannot taste or feel anything in my head AT ALL.. wild that some people mention that. I mean, again, I can have a purely factual recall as if reading a textbook, knowing the information of 'X item typically has X texture, therefore I can imagine what it may be like to feel it' or 'X usually has this taste' etc. - but I can never actually experience those senses in any capacity in my mind alone. I would say audio is my strongest mental sense (maybe a 2.5 or 3 (if it were translated onto the above scale where 1 is most vivid and 5 is nothing)), then visual (4.5 at most, usually 5), and then taste and smell and such are just complete 5, absolutely nothing, I didn't even know people could experience taste or feeling just in their mind alone.. lol...

I know this is just a silly bad quality random screencap of a screencap that I found on facebook lol, BUT it's a succinct enough image to easily describe the concept in a quick/accessible way hopefully :

-

(and of course, feel free to elaborate in tags, etc.! (especially elaborating about other senses as well.. can you "hear" in your mind just as well as you can "see"? taste? etc.) It's an interesting topic to me, as someone who's like a 4.5 at MOST lol. I'm curious what option will be the most common :0c )

[jxwl4k]

The Only Exception

Plot: Bakugou hates everyone but YN, the only one who softens his tough exterior.

Bakugou Katsuki wasn’t known for his friendliness. In fact, the opposite was true. He was brash, loud, and always seemed to have a scowl on his face. Most people avoided him, and that was exactly how he liked it. Except for one person: YN.

No one could understand how someone like YN, always smiling and filled with sunshine, could handle someone as explosive as Bakugou. It didn’t make sense. Bakugou seemed to hate everyone, but for some reason, when it came to YN, his attitude completely shifted.

The moment YN entered the common room, his eyes softened. She bounced in, her usual cheerful self, waving to everyone in the room.

“Hey, guys!” she called out, her smile lighting up the space. Kaminari, Sero, and Kirishima waved back, used to her bright personality.

Mina leaned in and whispered to Kirishima, “Watch. He’s gonna melt the second she talks to him.”

Sure enough, YN walked over to Bakugou, who was slouched on the couch, arms crossed and glaring at the TV. His scowl softened just slightly as she approached.

“Hey, Katsuki,” she said softly, sitting down beside him.

“Tch, what do you want?” he grumbled, but there was no bite to his words. In fact, he shifted slightly, making more room for her to sit closer.

She grinned. “Just wanted to see what you were up to.”

He huffed, his eyes still glued to the screen. “I’m watching a stupid show ‘cause these extras can’t pick a decent channel.”

“Hey!” Kaminari called out from across the room, clearly offended. “This show is awesome!”

Bakugou ignored him, his focus still on YN. She just laughed and leaned into his side. To everyone else, Bakugou was intimidating and aggressive. But with YN, it was like he was a completely different person.

“Wanna get some fresh air?” she asked, her eyes sparkling as she looked up at him.

He glanced at her for a moment, then shrugged. “Whatever. I was getting sick of sitting around with these idiots anyway.”

As they stood up, the rest of the group exchanged knowing looks. Bakugou had always been protective of YN, and while he seemed to hate everyone else, it was clear to everyone that he was softer when she was around.

Once they were outside, YN breathed in deeply, enjoying the cool air. Bakugou walked beside her, his hands shoved into his pockets. His usual tense expression had eased, and he glanced at her every so often as if making sure she was okay.

“You’re the only one who gets away with making me do stupid stuff like this,” he muttered under his breath.

YN smiled, nudging him playfully. “That’s because you secretly love it.”

He scoffed but didn’t deny it. She had a way of breaking down the walls he built around himself, and he didn’t mind it when it was her.

They walked in comfortable silence for a while until YN suddenly stopped. “Katsuki?”

“Hm?” He turned to face her, raising an eyebrow.

“Why are you so different with me?”

The question seemed to catch him off guard, and for a moment, he didn’t know how to respond. His usual bravado faltered, and he shifted uncomfortably. “What do you mean?”

“You’re…kinder. I mean, not to everyone, but with me, you don’t act the same.”

Bakugou looked away, his jaw tightening as if struggling to find the right words. Finally, he let out a sigh. “Because you’re different.”

She blinked, surprised by his answer. “Different how?”

He rubbed the back of his neck, clearly frustrated with himself. “You’re not annoying like the rest of them,” he muttered. “You don’t piss me off. I don’t feel like I have to be on guard with you.”

YN smiled softly, stepping closer to him. “So, you don’t hate me?”

He rolled his eyes, but his lips twitched slightly, like he was holding back a smile. “No, idiot. You’re the only one I don’t hate.”

Her heart fluttered at his words, and before she could stop herself, she wrapped her arms around him in a tight hug. Bakugou stiffened for a moment, not used to physical affection like this, but then he relaxed, his arms hesitantly wrapping around her.

“Tch, you’re such a pain,” he mumbled, though his hold on her tightened ever so slightly.

YN just grinned into his chest. “You love it.”

And though he would never admit it out loud, she knew he did.

[melanchoire]

hi! can i request a top student karina who helps y/n to get a good grades and became obsessed with her (friendly rivalry plot ��). y/n realized she couldn't survive school without her and starts doing what karina wants (to please her 💗), that eventually lead to her bedroom.. can you also add up that the y/n loves boobs like yk she would beg karina to let her suck her and please also add that karina is into face sitting mwehehe.

this seems a lot sorry... THANK YOU ANYWAY!!

i missed writing for rina so much 💔 anyway i still have a couple of aespa stuff in my drafts (aeri stans get ready 🎇🎉🎊)

cw: cunnilingus, face–sitting, thigh riding, titsucking.

karina being a senior at your school who becomes your tutor due to your less than ideal grades 💔 having to meet her every school day at the library starts to make you realize that slacking off in class and taking lazy and messy notes for the sake of joking around and talking with your friends was a very bad idea

you knew something about her, not too much, but you had seen her a couple of times in the school hallways or among the crowds of people at school events. you thought she would be a bit stuck up like some of the other girls in her class given the looks they tend to give younger students, but she wasn’t completely giving off that vibe, and you could tell when she looked up from her phone upon entering the library and dropped the straw of her milkshake from between her lips. “oh hey! you made it. i thought you weren’t coming.” and she approaches you smiling, greeting you with a kiss on the cheek and maintaining a charismatic and friendly attitude

“it’s good to see you here. your teacher told me about your low grades and asked me to help you study and prepare for the upcoming exams so you can pass her subject. i hope you’re okay with that." but you can’t pay much attention to her words because your eyes are on her because she is so much more beautiful up close 😵‍💫 this was definitely the motivation you needed to finally pay attention to your studies

her sharp and pronounced features, the way her silky hair waves gracefully when she walks and a small breeze hits her face, how her uniform accentuates her body, the slight movement of her hips and her confidence when she walks makes you stare at her like an idiot every time you see her. karina even greets you when she sees you in the hallways, no matter if you are with your friends or she is with her group, when she passes by you, she gives you a small nod and a smile, but if she sees you from afar, it’s a wink and a wave of her hand 🫠 you don’t know how she would react if she knew that sometimes you wander around the school on purpose just to find her or memorizing the route she takes to her classroom or during break time

but karina is just as obsessed as you are! of course she notices the look that your eyes have when you see her, but she always maintains a relaxed attitude, holding back a smirk as she sees how you think you’re being subtle with your gaze when it’s traveling all over her body…

and thanks to karina’s help you manage to go from being the lazy student who is always talking in class to the student who participates in class and does all their homework so they can use the extra class time to complete some other assignment in another subject or study for the exams they got

little by little, the study dates begin to become more… intimate. karina always used to sit next to you while she explained the exercises, placing the notebook between the two of you and looking at you every time she explained a new concept to make sure you were following her lead and understood what he was talking about. now, she was more… closer. continuing to sit next to you but much closer to you, her chest practically at your side and always remembering to make sure to press her breasts against your shoulder, enjoying when you turn your face to the side to look at her as she explains, getting nervous about having her face so close to yours and noticing how your gaze falls directly to her lips

a hand resting on your knee as she explains the formulas and different ways to solve an equation, climbing dangerously up your thigh until it reaches under your skirt. “now we will do a little practice. i’ve already written the results of the equations. you just have to do the math, and if you get the same result as me, it means it’s correct.” as if she wasn’t currently caressing your clit through your panties with her fingertips 🥰 “if you do this well, we can stop studying here and do something more… fun.” and you’ve never been so motivated to do a task before!

karina pushing your panties aside so her fingers could caress your folds… you were thankful that there was no one in the library at this hour, because otherwise, you wouldn’t be having this! or that’s what you think, because if it were up to karina, she would fuck you on the table even with the library full of people 😊

and when you finally finish completing the exercises, you think that she will give you what you want so much, but no! she focuses on correcting the exercises you solved, taking all her time and taking extra time to provoke you ☹️

but a promise is a promise, so karina drags you to her bedroom!

although karina won’t give it to you easily 😣 making you kneel in front of her and beg her to touch you, but not before confessing how much you want to fuck her for a long time and tell her all the twisted ideas that are in that silly little head of yours :( karina enjoys being mean because it’s very easy to break you and make you act like a dumb

making you sit on her lap and ride her thigh while she lets you play with her tits 😵‍💫 pushing your face into her chest with a grip on your hair, grinning as you watch as the more you suck on her tits the more desperate your hips move against her thigh

“so that was it... do you always put effort into your studies when it comes to me because you want to fuck me, (y/n)? all you do is think about me playing with this body when you study?”

“riding my thigh like a dog humping a leg… you're pathetic, (y/n).”

letting karina ride your face because it’s your way of thanking her for helping you improve your grades and be a better student 🫶🏻 she loves to see your vulnerable expression and your eyes looking at her from between her thighs, enjoying it more when you whine against her pussy as she pushes her hips harder against your face just to tease you 🥴 and she is so sweet that she also allows you to touch yourself while you devour her, letting you sneak a hand under your skirt and play with your throbbing clit while she uses you for her own pleasure

[ladycaramelswirl]

Tease

Aaron Hotchner x girlfriend reader

Summary: Hotch is a workaholic and you’re just… helping everyone out (mouth fucking him senseless). Word Count: 1.1k

A/N: reader is kinda bratty 🤭 Hotch is canonically a giggly kisser and weak to teasing, sooo… I did what I had to do. Idc. Porn no plot. warnings/tags: adult content, mdni. Sex in public? Don’t do this at your workplace guys. No use of y/n. Praise kink if you squint.

enjoy 🤍

———————

You wait until everyone’s distracted to slip into Hotch’s office and close the door behind you. He smiles at your presence.

“Hello”, he says softly. 

You walk over to seat yourself in his lap and he wraps an arm around your waist to keep you steady. 

“Want to do something fun?”, you tease, playing with his tie. He looks at you apologetically.

“Honey, I have so much work to do”.

Lying workaholic. He needs a break and you both know it. You give him a playful shove.

“No you don’t. You’ve already finished everything for today. Let’s go home”, you insist. He rubs his thumb against your hips. 

“I know, but I want to get this extra stuff done today”, he says, taking your hand off of his tie to kiss it. 

You take the other hand and palm him through his trousers and he groans. You grin, sliding in closer and grinding against him. He doesn’t do much to stop you, losing himself in the movement of your ass on his cock.

“L-look”, he stammers, his breath hitching in pleasure. “Maybe later we can-“

He stops talking as you unbutton your blouse to reveal your breasts, held in place by lacy black lingerie. He groans into your neck and you grin, feeling his cock swell under your hips. You lean in to put your lips to his ear.

“Want to see the matching underwear?”

His eyes immediately darken in interest, and he practically picks you up and places you on his desk. Giggling, you unbuckle his belt. 

He smiles as he leaves soft kisses down your neck.

“You’re so perfect”, he murmurs into your skin.

It almost makes you feel bad to push his face away start buttoning your shirt back up. He frowns.

“What are you doing?”

You smile at him not-so innocently.

“I thought you had to work?”

He smirks. 

“If you don’t take off your skirt right now-“

A rap on the door makes you both freeze.

“Agent Hotchner? It’s Anderson. May I come in?”, a shaking voice asks.

You look down at your half open shirt and his unzipped trousers. Shit.

You push Hotch into his chair and crawl under his desk. You hadn’t exactly told anyone you’re dating yet and this is not how you want them to find out. So somehow you find yourself on your knees in front of Aaron’s cock, with an agent only 10 feet away. 

Hotch straightens his tie and you settle into a slightly more comfortable position. The precum from when you were grinding on him earlier glistens in front of you. You feel yourself throb at thought of it in your mouth.

“Yes, come in”, Hotch calls out. 

You pull his chair closer into the desk. You know you shouldn’t, but you can’t help but run your tongue up from the base to his tip, lightly sucking the head. Hotch takes a sharp inhale, barely stifling his gasp. You grin as you slowly lower your mouth onto his cock and see him grab onto his desk for dear life. This was what he gets for refusing to go home on time. 

Anderson walks in, his anxious hands fiddling with a file.

“Sir?”, he asks. “I was wondering…” 

You hear him shuffle his feet on the carpeted floor. Hotch furrowing his brows in a desperate attempt at a poker face was probably not helping the poor agent’s nervousness. Hotch runs a hand soothingly along the top of your head, trying to signal to you to slow down. It only makes you hollow your cheeks and squeeze the underside of his cock with your tongue, causing his stomach to flex in restraint. The young agent is still stammering.

“Spit it out Anderson”, Hotch grits through his teeth. 

From his angle, he can see the way your lips look on his cock and your breasts peeking out from your barely-there bra. 

You make sure to catch his eye before taking him all the way all the way to the hilt. It makes your eyes water a little, but the way he has to literally close his eyes to take a deep breath makes it totally worth it.

“I was wondering if I could go home early today?”, Anderson asks. “I know that I’m-“

“Yes. Sure, just go”, Hotch says breathlessly. But your movement makes him frown in an attempt to stifle a moan, which gives Anderson the wrong impression. 

“Sir I know that it’s last minute and I should have asked earlier, but I just want to say-“

You use your hands to move with your head up and down his shaft which causes Hotch’s hips to buckle up slightly. 

“Anderson”, he hisses. “Go. Home. Now.”

The poor agent scurries away, barely remembering to close the door. 

Now without the threat of someone overhearing you, Hotch whimpers, which only makes you move faster. 

“Fuck, fuck, fuck”, he whispers breathlessly.

He’s desperate to not make any sounds but he can’t help but let out a soft moan. You feel his cock twitch.

“Sweetheart I’m- fuck- I’m going to come-“, he splutters. “God, you’re so-“

You cup his balls and fuck him so good he sees stars, throwing his head back in ecstasy as his cum explodes in your mouth. He’s gripping his chair so tight to keep himself from shouting out your name. 

When you’re certain he’s come down from his high, you release him. He brushes your hair away from your face and pulls you up into his lap.

“I can’t believe you just did that”, he whispers.

“You liked it”, you smirk, giving him a kiss. He smiles, but doesn’t deny it as he kisses you back.

“I’m going to get you back for it someday”, he grins. 

You raise an eyebrow. He is going down.

“You still haven’t seen my underwear”, you tease. Hotch immediately perks up.

“I’m calling it an early day today! Everyone go home!”, he yells through his closed door. Outside Hotch’s office, everyone looks at each other, confused. They can’t tell if he’s joking and no one moves to get up.

You, however, get up from his lap, seating yourself on his table and bringing your hands under your skirt, slowly peeling off your now soaked underwear. In the process, Hotch catches a glimpse of your glistening cunt.

“If you don’t go home now I’m making you do 2 hours of extra paperwork!”, Hotch barks.

You giggle as you hear everyone frantically packing up their things. 

Hotch watches as you drop your underwear to the floor, followed by your shirt. 

“You’re going to be the death of me”, he whispers. 

“Lock the door”, you tell him. 

He looks at you with a glint in his eye, and you know you’re about to get exactly what you deserve for being so naughty.

It’s really only fair that he makes you come so many times he has to carry you to his car.

————————

masterlist

[sohasters]

🥒✈️Cumplane Secret identity AU???

Peerless cucumber becomes so notorious that he starts getting Airplane notices semi-regularly. Airplane needs some extra cash so he starts doing vtube/voice change streams where he draws PIDW characters, comics, monsters etc - he's a talented baby what can I say, and he gets a decent stream following, offering sneak peeks at his creative process - but he really doesn't want his face and ID as an erotica writer out there thank you!!!

Peerless Cucumber is absolutely ridiculous in his chat, ubiquitous, always there the second he starts streaming. Constantly dropping huge donos to ask ridiculous lore questions that literally go on for minutes... riding herd on other chatters and policing people... Eventually him being "worst mod" becomes a meme, and Airplane mods him mostly as a joke.

They start messaging, and weirdly it's not hellfire? Modding the channel is the first actually constructive thing Shen Yuan has done, like, ever. It turns out that when he has actual responsibility, he takes it pretty seriously? He's more reliable than anyone, especially himself, could have expected him to be? Everyone still clowns in him and calls him "worst mod", "everyone tell the mods they suck" but it starts to be affectionate, because he actually helps detoxify the community a little? (Only HE is allowed to be toxic on airplane's channel!!)

He decides to take a media and communications degree because social media is the only thing he's ever been good at. He sees a guy with a PIDW sticker on his laptop in his lectures, and they become study buddies! It's great!

They talk about their shared appreciation for PIDW probably more than they should. Study Buddy is pretty chill, he teases Shen Yuan for his BingGe obsession. Shen Yuan doesn't want to be a dick, so he doesn't really slag it off as much as he would online? And Study Buddy LIKES talking about the monsters and how cool Bing-gege is!! Maybe they talk enough that Shen Yuan figures maybe there's a reason he was never into wife plots? Maybe he's actually just... Not into... You know.... Girls? That way??? And Study Buddy is super chill? And maybe it's okay to talk about that stuff???

Meanwhile he's still chatting with airplane, who gets invited to attend a con to be on some kind of panel. He asks cucumber-bro along because he's shitting BRICKS, and he wants someone there who will, like... be in his corner?

Turns out Shen Yuan already has tickets because he and his study buddy were planning to go!

Oh, and look at that! He and airplane are booked at the same hotel! It's convenient!

They decide to meet in the lobby.

Shen Yuan and his study buddy go to their separate rooms to freshen up and rest, with a plan to meet for breakfast. Thirty minutes later, they're both back in the lobby.

Both of them are "waiting for someone."

Both of their "someones" are running LATE.

Shen yuan messages Airplane.

Study Buddy's phone buzzes.

Their eyes meet.

No fucking WAY. this is the guy who talked him through his LBH inspired GAY AWAKENING!! The friendly and supportive "bro" he has COMPLICATED FEELINGS ABOUT??? And that's AIRPLANE?

He literally spent five minutes TALKING ABOUT LBH'S MUSCULAR CHEST AND STAR STUDDED GAZE... to AIRPLANE????

Has he really spent MONTHS coming to the terms with the fact that AIRPLANE is kinda....

Could Bingge maybe portal in with Xin Mo and drag Shen Yuan to hell, because he can't deal with this 🫠🫠🫠🫠🫠

[keferon]

You all flatter me! Now I am all pumped up to continue on the TF mecha au train. Ratchlock has me in a chokehold. You can't compliment me like that, It goes to my head! I haven't writen anything in like 12 years 😭. Also Yes yes to all the angst. I thrive on it more then the fluffy moments. Jazz and Deadlock/Drift are lining up nicely for a possible meeting. But first Deadlock WILL bath in blood! Wanna see?

****

Ratchet will not let Deadlock follow him around. Nope. Instead he keeps Deadlock on strict bed rest /he's learning human terms in his free time/ with the oh so sweet promise to weld him to the wall if he doesn't listen. He knows better to not test Ratchet, he'd do it no hesitation. Deadlocks fangs and claws only cause a raised eyebrow and wave of a slipper near well... anywhere in Ratchet's swating or throwing range. Since both of them honor their word/glyphic, they made a deal that if Ratchet comes home on time then in return Deadlock will be on his best behavior.

They use every extra moment together to learn, heal, and plot together. Deadlock's wounds are fully healed by now. He is ready to be the guardian knight he vowed to be for Ratchet. Ratchet's knuckles still ache which makes his hands shaky at times, especially when cold, but his squishy perseveres like a true warrior. Deadlock has learned that revving his engine to build up heat and letting Ratchet rest against his chassis helps with those trimmering aches the bioengineer tries to rub out.

He wants to give any comfort he can to Ratchet while he's working in that cursed lab with those ungreatful sacks of slags. He has photos of each one of those fraggers saved in his proccesor. The list only grows the longer they wait to leave. If he can work around Ratchet somehow, he'll cross them off at some point with a deep satisfaction while doing it. Ratchet has been as sly as a turbofox. He's been sidestepping, talking around, and out ranting the higher ups for a while. Deadlock is so proud of him for not backing down or falling silent. Right now Deadlock has the tv playing a sitcom while tinkering with his long range blaster. His audial fins flick as the door opens and closes. Ratchet looks at the show while shrugs his winter coat off, "So has Sam confessed his undying love to the ice cream vender Carly yet?" Ratchet asks walking over to the lazy-e-boy chair.

Deadlock reaches out and taps his back before he can sit down. "Refuel first." He reminds him before going back to tightening some wires. He smiles at the grumble and is pleased when Ratchet listens to him for once and heads to the kitchen, "and no the episode ended with him getting hit by a waste disposal truck. Now it's a filler episode. Jack is trying to get out of going to an Amica Endura's beach party. He is playing up a illness called the pox."

Ratchet comes back with a warm plate of food. Deadlock nods pleased with the portion. Ratchet rolls his eyes and sits down, "They did that same plot with Raphael four seasons ago." He grumbles and bats at Deadlocks claw when he tries to ruffle his hair, "If they drag this out for three episodes like last time I am popping in a different show." Both are content, they banter and complain about the show while Ratchet eats. When Ratchet reclines his lazy-e-boy chair Deadlock puts his weapon away, "They are transferring some of us to a different base in the morning. You know First Aid. They are putting him on a transport to the sister base north east of here. Called the Alpha Blade Strikers."

Deadlock tilts his helm, "That's the one that was visiting here? The commander of that base is the one you knocked out for slagging you off right? You mentioned the base being cursed." He asks leaning forward a bit, his servos tingling for revenge.

"Yes, same place and person. Don't believe in any of that cursed stuff but a lot of talk does go around about it. Mostly one pacific mecha being the main cursed object. First Aid was stressed to tears about being transferred. He had just gotten comfortable here with his friends. I feel a bit bad for the kid." Ratchet mumbles rubbing his face with his unbandged hand.

Deadlock gives a soft smile, "From what you've told me, he keeps his helm down. I am sure he will find friends or leave when he can. But if you are worried I am not opposed to taking him with us."

"We do not kidnap people, Drift. He wouldn't want to come along anyways. He wants to 'do his part for human kind'. Besides it takes him a while to get use to change and the possibility that we may be hunted down once we leave would most likely send him into cardiac arrest." Ratchet tilts his head back gives Deadlock a stern look, "On the topic of leaving we'll need to do that sooner then planned. Something isn't right, I don't like how hyper focused Pharma has gotten with quintessons corpses. Now he is showing intrest in you. He wants to know how I programmed a mecha to be powered by an AI system so flawlessly. It's driving him up a wall to not know. You know, since a mecha has never moved around without a pilot and can not talk. He keeps begging the higher ups to let him 'partner up with me' or let him take over the 'project' since I am just 'playing around with you'."

"Right fine. No kidnapping the youngling. But do not assume we will be the ones being hunted." Deadlock hums amused but turns serious when Pharma is brought up. That name is at the top of his 'don't let Ratchet catch on' splat list, "But me being 'imprinted' on you is keeping them from letting him get his quintessons gut covered servos... Err hands sorry, on me."

Ratchet nods rubbing his face again with a tired sigh, "I made certain they know you'll attack anything that isn't me." Deadlock can tell Ratchet is fighting a yawn. He lays down behind the chair and rumbles his engine. Ratchet's lips twitch with a smile hearing how smooth it's running now, "Pharma has never been a good listener though. Just be on guard okay kid... he's ploting something." Ratchet mumbles soaking up the heat coming from behind him. He tilts his head back against the head rest looking up at Deadlocks handsome, smug, sharp fanged grin, "He tries touching you, you can kill him. Don't let him into your system. I fear what he'd do. Probably make you even more loony and unbearable." The bioengineer yawns his voice full of fondness that makes Deadlock's spark sing.

Deadlock purrs as he gently pets Ratchet's head with a, claw retracted, digit. Ratchet's eyes grow heavy missing the most feral, down right demonic, energon hungry look Deadlock has at the permission to off Pharma, "He will not harm me. But I can tell he has worn on you today. You are more drained then grumpy, your insults are lacking any heat. Recharge Ratchet. I will reconfigure our supplies and time line while you regain your strenght. Then I'll show you in the morning. You can edit it while you fuel." He chuckles as Ratchet grumbles and mumbles at him. His squishy can't fight the cozy warmth and soothing pets. Deadlock's humming engine makes a familiar white noise that has grown to mean safe to Ratchet. In no time Ratchet is out cold. Picking up a blanket with a careful pinch he lays it on top of Ratchet and follows him into recharge.

-- --

They are so close to leaving. They have a place picked out and a time. Their supplies are packed and hidden away with a close friend of Ratchet's. The thing still keeping them on base is Ratchet's need to clear out all of his research. He doesn't want anyone to have anything of his, to have a chance to twist it into something that would cause more harm and death. It's been a tedious process but Ratchet has been deleting his work bit by bit so no one catches on.

Four days before their chosen leave date Ratchet walks into his lab only to be escorted to a debriefing room. One he has have never been to. Deep under the base. He had tried getting anyone to speak up about what's happening but the escorts, six of them for fuck sakes, don't even look at him. His gut instinct is screaming DANGER the deeper they go. His skin is crawling with uneasiness and he is fighting his fight then flight instincts. He taps at the small circler tracker he has in his winter coats collar as subtly as possible. Hoping it looks more like a nervious tick then a trigger to call for help. Hopfully they aren't to far down for it to work. The group stops at a vault door and Ratchet cuts off a growl growing in his throat when one of the 'escorts' pulls out some heavy duty cuffs. "Tell me what reason you have for those or their not going on Spike." He warns fists clenching at his side. He huffs at the click of a gun and someone has the balls to press it into his back.

The young soldier, Spike, frowns and waves his hand at the others behind Ratchet, "Ratchet please it's just procedure. You have saved a lot of our lives don't make us be rough. We don't want to be. Just put them on so I don't get yelled at later." Ratchet narrows his eyes, frown tightening. Spike groans, "I don't know what they want. No one told us anything. Please I am just doing what I was told."

Ratchet can tell Spike is holding his breath, pleading silently for Ratchet to listen. Ratchet does let a growl slip when the guns barrel grinds into his spine. His head snaps around and he glares hard enough to cause pause, "Cut that out, I know exactly how far to shove that to not kill you but make damn sure you wish I did." He snarls as he holds his wrists up to Spike. The comment earns him muffled chuckles and a few glares. Cuffs on Ratchet walks into the room. Spike shoots him an apologetic look as the door closes behind him. With a heavy exhale Ratchet takes in the room. A concrete floor, circular shaped room with thick metal walls. Cameras line the ceiling edges. His exhale catches in his throat as the metal walls start rolling up to reveal bullet proof glass filled with quintessons in various stages of dissection and tests. "We have another sublevel secret lab bellow our sublevel secret lab. Of course we do." Ratchet mumbles flatly to pissed off he didn't know this base was more fucked up then he thought then to be scared.

Speakers crackle on and an annoying whine comes through, "Not the reaction I was hoping for. Come on Ratch buddy show a bit more emotion then that. Less grump more begging maybe? At least shock." Pharma's voice chimes around him in an irritating way.

"Looks like all of this has been going on for a while. Why bring me into this now Pharma?" Ratchet says calmly since that seems to piss Pharma off more. He looks at his cuffed wrists and his blood runs cold as the hair on his neck stands on end. Goosebumps cover his arms making him shudder under the heavy coat, "I am not here for shop talk."

"Mmhmm, I am going to miss that snarky brain of yours Ratchy. But you did do a lot of things that put the base in danger. Security has taken notice of a lot of data, intel, cameras and video footage being tampered with." Pharma almost has a mocking sing songy tone to him. Strange, Ratchet knows he didn't tamper with anything that would jeopardized the security of the base. Definitely not the cameras or video footage, "You know what you've done and what we do to traitors. I already have received the ok to take over your work. The good commander is allowing me to say goodbye to you since we were such good old friends. Don't worry. I'll take good care of your Mecha." Yeah, Pharma sounds real choked up about all this, Ratchet rolls his eyes.

"Yeah, he'll take care of you Pharma." Ratchet keeps his tone and body language nonchalant as he studies the cuffs. He takes note of the little bit of gap, if he dislocates his thumbs.. "Only thing that's annoying about all of this is I'll be late getting home."

"I swear you are boring me to death on purpose Ratchet!!" Pharma snarls as a thud noise rings through the speakers

"Oh could I be so lucky?" Ratchet sighs sounding hopeful. He stiffens as the room lights turn red and multiple hisses of compressed air being released surrounds him. A robotic voice rings out a warning that the test subjects are being released. Ratchet whips his head around stepping in a circle as snarles and screeches drowned out the warnings. Ratchet steadies his breathing as best he can as his hands trimble and heart beats wildly. Deadlock would be livid if he doesn't go down giving it his all to get back to him. Ratchet would be just as pissed to, "I'll do what I can but you better hurry kid..."

-- --

"You weren't suppose to do that Pharma." A flat voice speaks up from behind Pharma after picking up the chair he had kicked away. Pharma scoffs and grumbles, "You are not even going to ask him what he ment by being late to his quarters?" The chief of security drones on.

"Be sure to capture all angles. I want detailed shots of it all." Pharma growls removings his hand from the release butten he hit hard enough to crack. "You are being paranoid per usual. Don't tell me you never heard the rammblings of a dying man?" Pharma sighs, with a dramatic flick of his wrist he walks out of the room.

"No, but I imagine I will soon enough." The security director mumbles under his breath. Reaching over the chair he resets the cameras.

OH. OH THEY ARE FUUUUUUCKED

OH THEY ARE SO SO INCREDIBLY FUCKED THEY ARE GONNA GET SPREAD EVENLY ALL OVER THE FLOOR AND I WANNA SEE IT SO B A D

Next

[summertiide]

THE BIZZYBOYS BLOCK YOUR PATH!

(link to the other part of these!)

got an ask about their fight in a continuation of the OFF-styled ones i did before, and i'd been procrastinating these for a while, so i finally got around to finishing them!! boss fight thoughts below the cut! :-]

this might be a little rambly so apologies in advance!!!

so to start with, i feel like it would be shortly before the Inspekta fight as sort of a miniboss - none of the bizzyboys on their own have a ton of health, but its a 6v1, so the difficulty comes in from that! with direction from Capochin, they're more organized, and if he's defeated, they're able to do more specialized attacks, but they're more scattered in turn order/lacking the previous flow to the fight, making it more clear which ones need to be defeated sooner than others

here's some ideas for each bizzy on their own:

Capochin (Bizzy Captain): potentially able to use a "rally" attack to bring back fallen bizzyboys, uses his turns when they're all up to make one of them do an extra attack - doesn't do all that much attacking, himself, but you'd wanna get rid of him first to keep the bizzyboys that you've already defeated down

Grujaja (Bizzy Brute): with Capochin still active, he's got a moderate attack recharge, and deals some pretty heavy damage, inflicting Palsied as a sort of "knockback" from each hit / when Capochin goes down, he still deals as much damage, but takes a significantly longer time to charge attacks, and has lower accuracy

Patty (Bizzy Defective): "defective" in the sense that she doesn't want to fight you and, when Capochin goes down, the fast but light-damage-dealing attacks almost entirely stop, save for reactive attacks when she's dealt damage

Bananathaniel (Bizzy Chatterbox): STATUS EFFECTS FOREVER!!! he's sort of the support of the two "casters" of sorts, boosting bizzyboy stats and giving them Hasty, while rarely doing anything to the enemies directly (if there's no other bizzyboys, he might have a low-damage attack, but i'm not certain on that one)

Alexei (Bizzy Glutton): moderate to heavy damage, occasionally healing himself from a snack-break turn! when Capochin goes down, he'll do a lot less attacking and a lot more healing, which makes him hard to take down, but easy to avoid damage from

Vibiano (Bizzy Couturier): the other "caster" of the group, but specializing in afflicting the enemy with status effects - Blinded, Madness, Poisoned, and Asleep are the main ones among those! similarly to Bananathaniel, when there's no other bizzyboys left, he has an attack, which is just slightly higher damage than Ban's, but a fair bit slower to use

ANYWAYS that's all i got!! i might find some excuses to do more art for this (idk if it qualifies as an AU at this point, i haven't thought about how it'd go plot-wise!), but thank you again for asking, anon, i love thinking about this stuff!!

[runningincircl3s]

Untitled Bestfriend!Noah x Reader Series

Part 2 (and i gave up thinking of a title)

yeah so i'm going to HELL!!!!! part one is here and you can join the taglist here :)

warnings: NSFW!! porn with little plot- each chapter is basically a oneshot, masturbation (f), fingering, guided masturbation, noah being a meanie, talking about oral (f), uh..?

You hadn’t meant to break down crying over a microwaveable mac and cheese.

But here you were, slumped on the kitchen floor, tears sliding down your cheeks as the timer beeped, and you realised you had left it in too long.

Your head was pounding, your phone was buzzing on the counter with another “can you take an extra shift?” text from work, your group chat still a mess of passive-aggressive messages, and the stress of an upcoming exam clinging to your chest like a weight. 

You wiped your cheeks with the sleeve of Noah’s hoodie, the one he’d let you leave with after that night to cover the hickeys he left on your skin, and now they were gone. And so was he.

You hated when he was away on tour. You hadn’t seen him in weeks, and god, you missed him.

Your fingers reached for your phone on the counter, hesitating over his name in your contacts. It was late. He’d probably just finished a show. He was probably with the band, or even worse- groupies. Either way, you didn’t want to interrupt anything.

But before your mind could spiral any further, your thumb moved on its own.

You: Hey, are you busy?

It only took a few seconds for the typing bubble to appear.

Noah: Nah, just back in the van. You okay?

You swallowed the lump in your throat, crawling up onto the couch and curling up into a ball.

You: Not really..

Noah: Wanna talk about it?

You didn’t even know where to start. But you tried.

You: Family stuff. My friends are arguing. School’s stressful. Works even worse. I'm so stressed, I feel like I can’t breathe.

There was a pause, long enough that you thought maybe he was busy after all. Then your phone buzzed again.

Noah: I’m so sorry. That’s a lot. I hate being away when I know you're struggling, I wish I could be there to hug you right now.

Your heart clenched, and the tears came faster.

You: I wish you were here.

Noah: Me too. 

Noah: You want me to distract you? Or just want me to listen?

You: Maybe both.

You could almost picture him smiling gently on the other end of the country, shoes kicked off, head resting back against the van window.

Noah: Alright. So first, breathe. Then go get some water. I’ll wait.

You smiled faintly, dragging yourself up from the couch and back into the kitchen, following his instructions. When you came back, your phone was vibrating again.

Noah: Back yet?

You: Yep. Water acquired. 

Noah: Good. Now, honest question… 

Noah: When's the last time you had an orgasm?

Your jaw dropped. You stared at the message in disbelief, and then burst out laughing through the tears.

You: NOAH??

Noah: What? I’m serious! Stress release, babe. Helps me every time!

You: You’re so gross.

Noah: Hey, nothing gross about it at all, it’s scientifically proven!! But seriously. Have you?

Your fingers hovered.

You: I’ve tried a couple times since we… y’know… but it never works. I can never cum like you made me do before.

The typing bubble paused. Then came back.

Noah: Jesus. You can’t say shit like that when I’m in a van full of dudes.

You giggled, nose still stuffy, and wiped your face again.

You: Sorry.

Noah: Don’t be. Just… try again. Think about something that turns you on. Read something horny. Watch something dirty?

You hesitated.

You: I’ll try. But if it doesn’t work, I’m blaming you.

Noah: Deal. And if it doesn’t, I’ll help you when I get back. Promise.

Your heart fluttered, and you felt your cheeks heat up. It was oddly comforting. 

You: I miss you, Noah.

Noah: Miss you too, sweetheart. More than you know.

…

And so you tried.

Every night that week, you’d go to bed, slipping your hand into your underwear, trying to do everything you had found out about online- circles, the alphabet, up and down, side to side, but to no avail. You even thought about him, about the way his cock felt nestled inside you, how his lips had felt against yours, the rasp of his voice against your ear, the heat of his hands, but it just wasn’t the same.

You watched videos, even though most of them were disturbing, it made you feel weird or gross or like you’d clicked on the wrong side of the internet. You tried reading stories, playing scenes over in your mind, even listening to audios and imagining it was him guiding you. Still, nothing. Frustration built and built until you slammed your phone face-down on your mattress and gave up.

Finally, the next day you caved and texted Sophia. She’d always been so open about the topic of sex, self love and pleasure, so you hoped she’d be able to help. 

You: Hey so this is embarrassing. But like… I need some help.

It only took a minute before her response lit up your screen.

Sophia: You’re talking to the right girl. What’s up?

She showed up the next day with a small pink paper bag and a smirk like she was handing over a sacred relic.

“Your knight in shining silicone,” she said, dropping the bag in your lap. “If this doesn’t help then I don’t know what will.”

You waited until the house was asleep that night. Locked your door. Slipped into bed with nervous fingers. The toy was quiet, surprisingly sleek in your palm, if you didn't know what it was you could've mistaken it for a dogs chew toy. You took a breath and let your thoughts drift… And to no surprise you instantly found yourself thinking about Noah.

Noah’s voice, Noah’s hands, Noah’s mouth, Noah's d-

And then, something happened.

Your body trembled slightly, your breath hitched…

Did it happen?

Was that it?

You laid there, staring at your ceiling fan in confusion. You didn't feel like you just came, but your body was too sensitive to continue.

It didn’t exactly feel bad, it just wasn’t good either. You didn’t feel relaxed. You didn’t even feel satisfied. 

You didn’t feel much. 

It wasn’t what it had been with him. There was no delicious build up, no warmth in your chest, no fire lingering in your belly. No laughter after. No soft kisses. No cuddles.

No Noah.

Just you and the silicone.

With a huff, you threw the vibrator across the room- making a mental note to clean it and hide it away tomorrow- and curled up under the sheets, wondering what was wrong with you. 

…

A few days passed. You didn’t bring it up again, to Sophia, to yourself, or to Noah. 

You were embarrassed, you were certain you had done it, that you came, but there was nothing to it?

You wondered if you were broken.

How could Noah make you feel so good, how did he know what your body liked, but you didn’t?

Then, on a quiet Thursday afternoon, your phone lit up with his name.

Noah: Hey, thought you’d like to know I’m home tomorrow night. You around?

Your breath caught. The reply was instant.

You: Yes. Please come over!!!

And so he did.

It was raining when he showed up. He looked tired, his hood up, bag slung over his shoulder, wet strands of hair sticking to his forehead. But when you opened the door and he saw you standing there in his hoodie and sleep shorts, his whole face softened.

“Hey,” he said gently, stepping inside. “You okay?”

You nodded, even though you weren’t. He saw right through it.

“I brought you a little something,” he said, tugging his hoodie off and pulling a tiny bag from the front pocket of his backpack.

You felt your heart warm, no matter where he was, or how long the tour was, he would always bring you something home. You were always on his mind.

“What is that?”

“A silly little cat plush I bought at a gas station. It reminded me of you.” He tossed it into your hands. “Weirdly cute.”

You laughed, warmth blooming in your chest for the first time in days. 

“You’re such an asshole.”

“You missed me though.” He smirked. 

You didn’t answer, not with words. You threw your arms around him instead, burying your face into his chest. His arms wrapped tight around you in return, one hand pressing to the small of your back like he was trying to hold you together.

“I’m here now,” he whispered into your hair. “I’ve got you.”

“Hey, is that Noah? He’s back already?” You heard your dad call from the kitchen. 

“Yeah, it’s me!” Noah called back, still holding you close. “Sorry, I didn’t want to get in the way of dinner or anything.”

“Nonsense, there’s plenty to go around,” your dad replied, voice trailing off as he returned to whatever he was doing. “You’re always welcome here, son.”

…

Later, after dinner and half a movie you didn’t really pay attention to, you ended up in your room together, something that never felt weird before, but felt a little different now. 

Noah lay stretched out on your bed, his hand resting lazily on your thigh as your head found its place on his chest. You could feel the steady rise and fall of his breathing, his heartbeat under your ear. You’ve been in this position many times before, when you’ve just needed to feel close, when you’ve been upset or stressed, and he’d run his fingers through your hair and reassure you, telling you everything will be okay.

“You wanna tell me what’s been going on?” He asked quietly.

“Everything’s just been getting too much,” you told him, then you hesitated. “And uh… I tried what we talked about.”

He didn’t need clarification. 

“Did it help?”

You shook your head against him, not looking up so he couldn’t see the blush on your cheeks. 

“It worked. Technically. But it felt… empty, I don’t know to explain it. It’s like my body went through the motions, but I didn’t feel it. I just laid there after, I almost didn’t realise it happened. It didn't feel good, I didn't feel any better after. I don’t know what’s wrong with me!”

Noah tilted his head to look at you. 

“Can I say something without sounding like a dick?”

You rolled your eyes. 

“You always say that before being a dick.”

“Baby, I’m being serious.” His hand slid up your thigh. “Maybe the problem is you’re trying to replace something that isn’t just physical…”

You stiffened slightly but didn’t move away. 

“What do you mean?”

“I mean…” He sighed, fingers idly tracing patterns just above your knee. “When you’re with someone you trust, someone who knows you, and who wants you, it’s more than just release. It's a connection... It’s intimacy. All those cheesy things I pretend I don’t care about.”

You let out a small laugh, but it faded quickly. 

“So, what, I can’t enjoy it on my own anymore unless it’s with someone I’m in love with or whatever?”

“No, no not at all,” he said gently. “I just think maybe right now, your brain’s kind of overrun. With stress. With everything. It’s hard to give yourself that pleasure when you’re barely hanging on.”

You swallowed. 

“That makes sense, I guess.”

Noah shifted slightly beneath you, his hand sliding to your waist, grounding you. 

“Also… can I say something without it being weird?”

“That depends.” You raised a brow.

He smiled, eyes soft. 

“Sometimes I think about you too. When I’m… y’know. Doing that.”

“Noah!” Your cheeks flamed. 

“What?” he grinned. “I do. It’s not weird... you’re hot.”

You groaned, burying your face in his chest. 

“You’re literally the worst.”

“But you’re smiling,” he murmured, brushing a strand of hair behind your ear. “That’s a win.”

A comfortable silence settled over the two of you, and you looked up at him, a soft smile on your face.

“Thank you, Noah. You’ve helped me feel better already.” You said quietly.

He looked down at you. 

“I have?”

“Yeah. Just by being here. I feel like I can breathe again.”

Noah’s voice dropped, low and sincere. 

“I hate being away when you’re like this. You know I’d drop everything and come back for you if I could.”

You looked up at him, heart thudding in your chest. 

“I know. That’s why it means so much when you’re here.”

For a moment, neither of you moved.

Then, slowly, Noah leaned down and pressed a soft kiss to your forehead. Then your temple. Then your cheek.

You turned toward him, breath catching.

Your noses brushed. And then… your lips.

It wasn’t rushed or hungry. It was soft, and intimate.

You kissed him back, your fingers tightening in his shirt, grounding yourself in the feeling you’d been chasing for weeks, what you've waiting to feel since the last time he kissed you.

And suddenly, the world didn’t feel so heavy. Everything that has been bothering you for weeks was suddenly forgotten about. 

He pulled back just enough to look at you, his voice barely above a whisper. 

“Still feel stressed?”

You shook your head, eyes glassy. 

“No. Not anymore.”

He smiled, brushing his thumb across your bottom lip. 

“Good.”

He studied you for a moment, his thumb still ghosting over your lip like he wasn’t ready to stop touching you yet. Like he was memorising the way you looked when you finally started to feel okay again.

Then he spoke, quiet but steady. 

“I can help you, y'know?”

Your breath caught. 

“Help with what?”

“Teach you how to do it,” he said, like it wasn’t the most dangerous thing he’d ever said in your bedroom. “How to make yourself feel good. Really good.”

You blinked, heat rising to your cheeks. 

“Noah-”

“I know,” he said quickly, his palm still warm against your waist. “It sounds… I don’t know, forward. But only if you want that. I’d never…” he exhaled, like the thought of pushing you too far made him physically sick. “I just know you've been having a hard time with it and I want to help.”

The room was silent except for the low hum of the TV still playing in the background. You stared at him, at your best friend, the one who knew the darkest parts of your life and always stood by you. The one who made you laugh when you never thought you would again. The one who you’d been aching for recently in ways you hadn’t dared to name out loud.

You nodded slowly, your voice barely audible. 

“Okay. Teach me.”

His eyes searched yours like he needed to make absolutely sure. 

“You’re sure?”

“I trust you, you’ve made me feel good before,” you whispered. “I want to feel it again.”

Noah exhaled, something easing in his shoulders. He leaned in, pressing a kiss to your jaw, then your neck, soft and reverent. 

“Then lie back for me, sweetheart.”

Your heart thudded against your ribs, butterflies in your stomach fluttering with anticipation and a strange, sweet warmth. You sank back onto the pillows as he moved beside you, propping himself up on one elbow.

“Just breathe,” he murmured, his hand brushing your arm. “And listen to me.”

You nodded, taking a breath, your eyes locked on his.

“You okay?” he asked, voice low, intimate.

“Yeah," You nodded. "Just… don’t laugh at me.”

“Never,” he said seriously. “Not about this. Not about you.”

You took a breath, shifting a little on the sheets, almost embarrassed to start.

“Here,” he said softly, guiding your hand down over the front of your shorts. “Let me show you…”

Still holding your hand, he gently pulled the waistband down, your shorts sliding lower, followed by your underwear, letting you kick them off. The cool air hit your skin, but you didn’t feel exposed. Not with him looking at you like that, soft and reverent, like you were something sacred.

He brought your hand lower, his long tattooed fingers resting over yours, guiding them between your thighs.

“Right here,” he murmured, pressing lightly. “That’s where it starts.”

You gasped quietly at the sensation, warm and faintly electric, but different. Not quite enough.

He moved your fingers in slow, careful circles, mimicking the motion he would use himself.

“Gentle pressure on your clit, baby. Like this. You don’t have to go fast. Just focus on how it feels.”

You nodded, heart hammering in your chest as you tried to follow his rhythm.

Noah pulled back slightly, letting you move your hand yourself.

“There you go,” he said quietly, eyes fixed on your face. “You’re doing good.”

You bit your lip, trying to concentrate, but it still wasn't right. You could feel something… warmth, tension building faintly… but it never built the way it did when he touched you.

You furrowed your brow, frustrated.

He noticed instantly.

“Hey,” he whispered, brushing hair away from your forehead. “Don’t overthink it. That’s the fastest way to kill it.”

“I know,” you breathed, fingers still moving. “It’s just...it's not the same.”

“I know,” he said softly, leaning down to kiss your shoulder. “It’s okay. You’re learning.”

You nodded in agreement, and kept trying.

“Think about how it felt when I kissed your neck,” he whispered. “When I pressed you into my mattress. When I made you cum on my cock...”

You moaned quietly, lips parting as you thought back to that feeling. Your fingers moved a little faster now, guided by instinct and the memory of him.

“That’s it,” he said, voice thick. “Let it build. Let it drive you a little crazy. Let it feel good.”

And you tried. You really did.

For exactly 15 minutes.

Noah gave you your space, letting you explore yourself beneath the sheets whilst he put a show on, not wanting you to feel like he was watching in case it put you off.

You followed every step Noah gave you, slow touches, more pressure. You kept your eyes closed, tried to remember the feel of his hands, the way he kissed you last time. You imagined his mouth on your neck, his breath against your skin… but after a few more minutes, nothing was happening. Nothing was building anymore.

You let out a frustrated sigh, your fingers stilling, your shoulders tense.

Noah shifted beside you, the mattress creaking slightly under his weight as he sat back up on one elbow.

“Still nothing?” He asked gently.

You opened your eyes, moving your hand away, blinking up at the ceiling with a hint of defeat.

“I can’t do it.” You shook your head.

“You can. You just haven’t yet.”

“It’s like…” You glanced at him, a little embarrassed. “It’s not even the pressure. It’s not the angle. It’s that… it doesn’t feel good without you.”

His eyes softened, and then something darker lit up within them. Something almost possessive.

“You’re telling me your pussy only listens to me?” He said, almost teasing, but there was hunger in his voice too.

You flushed.

“Apparently... I think I'm just broken.”

He gave you a look that was all fond exasperation. 

“You're not broken, babe.”

You blinked up at him, lips parting to protest, but he stopped you.

“Okay,” he muttered. “Would you like some help?”

Your breath caught. 

“What kind of help?”

“The kind where I use my hands instead of giving a TED Talk from over here.” His smirk was lazy but not unkind. “Only if you want me to.”

You hesitated for a second, before nodding.

“Okay," you whispered, "Yes please."

“Okay." He echoed, his voice softer now. 

He gently tugged the covers down,

"Spread your legs for me, baby." He said softly, and shifted to kneel between them.

His hands brushed over your thighs, his eyes flicking up to meet yours like he was asking for permission one more time.

You gave him a nod, which he returned with a smile before his eyes met your heat.

His fingers brushes against your folds, and you saw how his eyes grew darker when he parted your lips.

“Fuck, baby,” he muttered. “She definitely listens to me.”

You felt your face heat up again, and he just smirked, placing a gentle kiss to the inside of your thigh.

“I’m gonna start slow,” he murmured. “Just here, on your clit.” He pressed his thumb gently against it, just enough pressure to make you twitch. “Feel that?”

You nodded, your breath catching.

“This is where all your nerves gather. That's why it's so sensitive...”

His fingers moved in soft circles, slow and hypnotic.

“Tell me if it’s too much.”

“It’s not,” you breathed. “It’s good.”

“Yeah?” He smiled, clearly pleased. “I’ll stay here a little longer, let you settle into it. Don’t chase anything yet, okay? Just feel it.”

You did. You let yourself melt under his touch, under his voice.

“Now,” he said, lowering his head again just slightly to kiss your thigh, “I’m gonna slide a finger in, just one. I’ll still focus on the outside, but the inside helps build that pressure. That fullness. You trust me?”

You nodded. 

“Always.”

His finger slid in slowly, carefully. The angle was just right, his other hand still moving in slow, patient circles on your clit.

“Feel that?” he asked, his voice low. “That little spot inside, just… there…”

 He curled his finger just slightly and you gasped.

“There she is,” he smiled. “That’s your spot, sweetheart. Right there.”

Your hips tilted, chasing the feeling before you even realised it.

Everything was slow. Steady and intimate, like he had all the time in the world.

“You’re doing so good,” he murmured. “You feel incredible. I wish you could feel what I feel, how warm you are, how soft.”

You whimpered, your fingers gripping the sheets as his finger curled inside you again. 

“That feel good?” He murmured, watching your face closely.

You nodded, biting your lip.

“Good,” he said, voice darker now, heavier. “Now I want you to listen to me. I’m gonna keep my finger inside you, right here-” he said, curling it again to prove his point, and your whole body flinched, “but I want you to play with your clit for me. The way I showed you.”

You hesitated, but his voice dropped even lower, coaxing.

“Come on, sweetheart. I know you can do it.”

You reached down slowly, breath catching as your fingers brushed against yourself. You were already soaked, his touch alone had done that.

“That’s it,” he whispered. “Feel how wet you are for me? That’s all for us, baby. Now rub it. Gentle circles, just like I did. Not too hard.”

You whimpered as you obeyed, copying his rhythm, your fingers shaky.

“Good girl,” he praised, and the words made your stomach flip. “Just like that. Keep going.”

His finger curled inside you again, slow and deep, and you couldn’t help the moan that escaped.

“You feel that?” He growled. “That spot, right there. That’s mine now. You let me have it.”

Your hips bucked, your breath ragged as your fingers moved faster.

“Eyes on me,” he said. “I want to see your face when you come.”

You looked at him, wide-eyed, desperate. 

“I don’t think I can-”

“You can, just stop getting in your head,” he said firmly, leaning over you. “You’re already so close. I can feel it, the way you’re tightening around my finger. Keep rubbing that sweet little clit. Picture me between your legs if it helps.”

You gasped again, your thighs shaking.

“Yeah, that’s it. You like thinking about me eating you out, huh?” His voice was sinfully soft. “Tongue right here,” he dragged his thumb over your clit slowly, “Sucking you till you cry.”

Your breath hitched, and you moved your hand back down/

“I’d spend hours with my face buried between your thighs, baby. Lick you until your legs are shaking... Want you to know how fucking good it feels to fall apart.”

Your fingers sped up, desperation growing, but your rhythm faltered.

“No,” he murmured, catching your hand with his free one. “You don’t stop now. Here..." he guided your fingers back into motion, showing you the right pressure, the right speed, “Just like this.”

You whimpered, everything tightening inside.

“I’ve got you,” he said, curling his finger again. “Come on, sweetheart. I want you to come for me. Right now.”

And you did. It hit like a crash, hot and fast, your whole body seizing up as you moaned his name, thighs clamping around his wrist. He didn’t stop, he helped work you through it, watching you unravel with dark, hungry eyes

When you finally opened your eyes, your vision a little blurry, Noah was watching you like you’d just handed him the stars.

“Hi,” he whispered, brushing a kiss to your temple. “You okay?”

You nodded, still breathless. 

“I… yeah. That was….”

He chuckled, settling beside you and pulling the blankets up over both of you. 

“Told you you weren’t broken.”

You curled into his chest, your face buried in his neck. 

“That was amazing, Noah... Thank you."

He smiled against your hair. 

“Glad I could be of service.”

You slapped his chest weakly.

“Shut up.”

He just laughed and kissed the top of your head.

“You ever need a refresher course,” he murmured, “I offer hands-on lessons. Free of charge.”

“Shut up." You chuckled.

He laughed, wrapping his arms around you. 

“You gotta admit it… that was hot.”

You groaned into his skin. 

“Don’t make it weird.”

“Y/n, I took your virginity, and you literally just came with my finger inside you. I think we’re past weird.”

You swatted him, and he just kissed the top of your head, smug and soft and so pleased with himself.

"Will you stay tonight?" You asked softly.

"Well, I wasn't exactly planning on going home just yet."

…

It wasn’t until later, after you'd both gone quiet, after the teasing had faded into comfortable silence, that the shift truly settled in. You weren’t tangled in limbs out of habit anymore. You weren’t just cuddling because that’s what you’ve always done.

Noah's fingers were still brushing slow, lazy lines along your spine. Your legs were half-draped over his, your head tucked beneath his chin. He hadn’t let go of your hand once.

There was something new in the quiet. Not tension, exactly. More like awareness.

You were aware of how his skin felt under your fingertips. Of how your body responded to his, even now, just being close. Of how safe, and kind of addictive, it felt to be this near to him.

He shifted a little beneath you and murmured, 

“You still awake?”

You nodded against his chest. 

“You?”

“Barely. But I didn’t wanna sleep without saying something.”

You lifted your head, resting your chin on him again so you could see his face. He looked sleepy and warm and totally, devastatingly fond of you.

“I liked this,” he said. “All of it. Not just what we did. But… this. Us.”

You smiled. 

“Yeah. Me too.”

There was a long pause before either of you spoke again, like the next words needed to mean something.

“I think I wanna do this again,” he said softly, fingers brushing through your hair. “Not just once. Not just to ‘help’ you.”

Your heart thudded in your chest. 

“You mean like… regularly?”

“I mean like whenever we feel like it. Whenever it feels good. Which it does. I think we’re… kinda good at this.”

You laughed quietly, and it melted into a smile. 

“Yeah. Surprisingly.”

He tilted his head, nudging his nose against yours. 

“Still wanna be best friends?”

“Always.”

You always knew there was more to your relationship than just friendship, but it exceeded romance too. You could never imagine actually dating your best friend, because that felt wrong... But somehow this felt just right.

"I want to have to define whatever this is." you said, not wanting to put your friendship at stake.

“I don’t want to either,” he said. “I just want to keep doing what feels good. What feels right.”

You smiled again, a softer one this time, and tilted your face to look up at him.

“So you’re saying we’re gonna keep having insanely good sex and act totally normal about it?”

His lips quirked up, eyes glinting.

“Exactly. Just two best friends. Totally normal. Totally casual.” He kissed your forehead, then grinned wider. “Totally obsessed with how good your pussy feels.”

"Noah!" You shoved at his chest with a breathless laugh.

He caught your wrist mid-shove and pulled you close, chest vibrating with laughter.

"Sorry." He smirked, "C'mon, we better get some sleep, it's pretty late."

You nodded and kissed his cheek before settling back down on his chest, your entire body feeling light and calm and settled for the first time in weeks.

This didn’t feel like a mistake. It didn’t feel wrong, or like you were crossing a line. It felt like opening a door to something that had been waiting there the whole time.

And just when Noah thought you had gone quiet, ready to sleep, you spoke up again. 

“Noah?”

“Hm?”

“...Will you eat me out next time? Just, since you mentioned it earlier… I’ve always wondered if it feels as good as people say… And I’ve heard stories about what you can do with that mouth.” You giggled. 

Noah froze for half a second, then let out a breathless laugh, his chest shaking beneath your cheek.

“You tryna kill me?” he murmured, grinning like he’d just been handed a gift.

You lifted your head slightly, just enough to meet his eyes, still half-lidded with sleep but already darker again.

“I’m serious.” You whispered, voice warm with want.

He smirked, brushing your hair back from your face. 

“Baby… I’ve been dreaming about that.”

Your stomach flipped at the way he said it.

“You have?”

“Since the first night I moved into my place, we had a party, we got drunk together and you sat on the kitchen counter in those tiny-ass shorts.” His fingers trailed lazily up your bare thigh. “I wanted to drop to my knees right then and taste you.”

You gasped softly.

“Next time,” he murmured, his voice slowing, growing darker with lust, “I’m gonna lay you out on the bed, spread your pretty legs, throw ‘em over my shoulders...”

You swallowed, thighs already tightening.

“I wanna make a mess of you,” he whispered, lips brushing your jaw. “Have your thighs all slick, ruin my sheets, have your pretty little pussy swollen and desperate because I won’t stop licking. I want you crying my name, grinding on my face, so, so desperate to cum.”

A soft whimper escaped you, and he smirked, but kissed beneath your ear, hot and slow. 

“And you will cum, baby. Over and over, as much as you want, until you don’t even remember your own name.”

You were panting now, aching, practically squirming against him.

“Noah…”

He tilted your chin up with two fingers, eyes locked on yours.

“I’m gonna have you sit on my face, baby. Let you ride it as looong as you want. Rub that sweet cunt all over my tongue. Fuck- I want you to cum so hard-”

You cut him off with a weak shove to his chest. 

“Okay, okay! Enough! Shut up.”

He blinked, then laughed again, smug as hell. 

“Oh? Getting a little worked up?”

“You’re doing it on purpose,” you groaned, cheeks hot. “And it’s mean.”

He grinned, the worst kind of teasing. 

“You started it.”

“I was being honest,” you muttered, wiggling a little closer to him. “You’re the one now turning it into torture.”

He tucked a strand of hair behind your ear, kissed your temple again, then infuriatingly let out a content sigh and rolled over.

“Well,” he said, sounding far too pleased with himself, “goodnight, y/n.”

Your mouth dropped open. 

“What?”

He smirked at the ceiling. 

“You heard me.”

“You’re just gonna leave me like this?”

He stretched a little, getting cozy. 

“Yup.”

“You’re evil.”

“I know,” he murmured, eyes slipping shut. “Sleep tight.”

You stared at him, equal parts furious and turned on. 

And the worst part? He knew exactly what he was doing. You huffed, flopping back down, facing away from him and pulling the blanket over yourself with a growl.

Noah chuckled quietly and reached over to tug you against his side again.

“C’mon, you’ll survive,” he whispered, mouth against your hair. “Besides… now you’ve got something to dream about.”

You muttered something unintelligible into his shoulder, and he just smiled wider.

Smug bastard.

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

yeah so ovulation got the better of me this month

@dominuslunae @chey-h @xxkittenkissesxx @theasowle @renegadebirch @super-btstrash-posts @skulla-rxcks

[cashmoneyyysstuff]

a/n : WAAAHHH another event organised by @queenpiranhadon THE QUEEN HERSELF !! this sm fun, hope yall enjoy !! lovely banner was also made by @queenpiranhadon IS THERE ANYTHING SHE CANT DO OMG.

modern au, fem reader, merman shoto, maybe ooc shoto but ehh were havin fun, shoto is very touchy, mute shoto for plot, shoto iq too handsome for his own good, shotos a prince, shoto is very inlove w reader but its all inoccent, shoto n reader are both in their 20's, reader has a dog ! fluffy fluff fluff, sorta cliffhanger, theres a lot of stuff not mentioned bc i like romance and nothing else, little hints of soulmates, falling in love quickly the events don't play out exactly like the fairytale but it's inspired !

walking on the beach is supposed to be relaxing. and usually, it is. there’s nothing you enjoy more than the sounds of the waves crashing and the wind howling in your ears. inhaling the sea air as max digs into the sand, barking out happily at every new big stick he’d found.

except this time, it’s not a big stick. but a big..person.

a human. person. unconscious you hope, you pray, sprawled out in the sand with clothes absolutely torn to shreds.

so yeah, not very relaxing.

it's been a few minutes since your dog had barked for your attention a little further down the beach. you'd happily giggled at first, thinking your dog might've an extra long stick for you to throw him only for you to see what looked like hair from your field of vision. and then an arm, a leg and now here you were.

anyone's first instinct should be to call an ambulance, of course he could be injured ! so with a start, you grab max by his collar to prevent him from licking off the handsome--you feel a little bad for gazing at him while he's unconscious/dead but you have to be honest--stranger's face off, and pull out your phone to call emergencies.

you look back down to check on him one last time only for him to be wide awake.

"oh, shit !" you squeal with a start, landing right on your ass from your crouched position over him. the man is unmoving at first, but gets up with a light groan. you want to help him, you really do, but you feel like someone's glued your butt to the floor.

this man you thought was dead seconds ago, about to call the ambulance for, has awoken. looking around aimlessly before his eyes land on you. he looks almost..entranced by you.

yet all you can think about is how gorgeous he is. a part of you still feels bad about it.

then he's a hair away from you and you can't breathe. you squeak embarrassingly loud, shooting up to your knees.

"um !" you gasp "hello..?" you back up a bit but he pays it no further mind continuing to blink at you. "are you okay? um--do you need medical assistance ?" from what you can see he doesn't look injured, so you're relieved, but you still want verbal confirmation.

except all he does is open his mouth a couple times before immediately closing it again. you blink at him and he blinks back at you.

"do-are you..okay ?" you ask tentatively, the man is unresponsive and you're seriously getting freaked out. "i- it's okay, we'll get you some help, lemme just.." you readjust to finally move and call emergencies, but something stops you.

a very cold hand is wrapped around your arm. you squeal at the chill, dropping onto your ass in front of the man. again. you don't want this to become a recurring thing at all.

finally the man gives you a response..sort of. he graces you with a shake of his head. his hair flows around softly and some water droplets fly off at the movement. he doesn't want you getting him help ?

"no ?" your eyebrows furrow "you..don't want help ?" he shakes his head again. you can tell he's trying to convey something but he can't seem to get it out. you wonder why he won't speak, and then you realise: he must be mute.

and now it's starting to make a bit more sense. you still wonder why he doesn't want paramedics involved. and you're mind races again, maybe he's a criminal on the run ?!

you blink, being brought back to reality by the handsome man who's sopping wet, freezing cold yet it barely seems to faze him with his grip still on his wrist. freezing to the touch yet you barely feel it with his eyes on you like this. he points to himself, then raises his thumb up. you're so lost in his eyes it takes you a moment to realise what he's saying.

i'm okay.

somehow, the man ended up staying at your house.

you know nothing about him, not his name, his age, though he looks about your age. you don't know where he's from or why he was in the state he was in but somehow he's ended up coming into your home.

you let him look around your house to his hearts content. this man is the epitome of strange, he seemed curious of everything in your house, even the dry clothes and the shower you offered him.

after explaining to him how your shower works, and he'd changed into fresh new clothes, the biggest tracksuit you could find, you find yourself currently looking at him watching tv, seemingly entranced. you've got half a mind to warn him about sitting too close to the tv since he's sitting right in front of it on the floor, but you decide against it

you know nothing about him, but he seems not to know anything..at all.

you don't know sign language, you have no idea how to communicate with him, you wrack your brain, scratching at your head with a huff. the sound seems to alarm him and he turns to you with a cute tilt of his head, you can somehow guess he's trying to ask you what's wrong, his eyes seem to be clouded with worry. you feel your skin heat up.

"i'm alright, thanks." he seems to understand. he nods, it seems his attentions gone from the tv to you as he keeps inspecting you. his sudden rising from the floor causes you to jump a little, eyes wide as he sits down next to you and softly bounces on the couch. he seems surprised by the softness of it as he bounces a couple more times and that does manage to get a giggle out of you.

he looks up at the sound and his eyes are fixed to yours again "nice huh ? i bought that when i first moved here." he nods, focused. it gives you the confidence to continue even though his intense gaze makes you a little anxious. "i slept on this for a while before i was able to actually buy myself a bed." you giggle, suddenly overcome with nostalgia. you'd moved to your small town about a year and a half ago, you were still young, freshly graduated when you decided to leave it all behind. your big bustling town, you're family and everything that you knew. you thought it was time for a new start, as big as your hometown was it felt extremely suffocating. you needed something new.

the first few months were a struggle, something to get used to. but you'd managed. you'd found a yourself a nice job with a nice pay. some nice neighbours and nice coworkers and the sweetest little (?)english sheepdog. said dog had gotten quickly attached to your unexpected guest, excitedly jumping all over and licking him. your guest though startled at first didn't seem to mind. even placing his hand on top of max's head as if to pet him and being surprised by the softness of his fur. he seemed to like soft things.

you shake your head, deciding to focus on your guest. who's eyes have not left yours. you don't know if you can get used to that. "so um..where are you from ?" he perks up at your question. grabbing your wrist so he could softly pull you over your window to point outside where you'd found him. his skin is considerably warmer now that he's not drenched, it makes your cheeks tingle how easily he grabs at you.

"uh, no that's not what i meant," you chuckle nervously, but he's adamant. shaking his head and pointing outside again. towards the sea. the sea ?

"the sea ?" you ask incredulously "you came from..the sea ?" he nods, almost excited that you'd figured it out..the sea ?

okay, there could be a rational explanation for that..maybe his boat got lost at sea..sure it was plausible, but that's never happened in your quiet little town. everything about this man was unusual.

at your doubt, the man's eyes widen just a bit. and it looks like he gets an idea because he starts pulling you over to your bathroom. you're trying to reason with him and get him to slow down, but he seems intent and set on getting to your bathroom.

"hey, what're you--ah !" you cover your eyes quickly when you notice him taking off his clothes, heart speeding up as you squeak "wha-what the hell are you doin' ?!" then the water starts running, and then nothing. you're curiosity peeked, you glance at him through your fingers and don't see what you'd expected. instead you see..scales? and a tail ?

and then your hands fall from over your eyes, and you fully see it. the mix of white and red scales, they shine underneath the light of your bathroom.

a tail.

the man you rescued from the beach has a tail and isn't a man at all.

you've got a merman in your house.

shoto is running late.

usually he's on time, but it seems the universe was against him today. his father had held him back with an endless lecture that seemed to drag on. he'd been more on edge, so to speak, since his son's coronation was approaching, a day he was absolutely dreading and everybody seemed to be on his back about it.

his sister had also held him back earlier. just for a chat she'd claimed, except shouto could tell it was a clumsy attempt to try and get some type of answer out of him, of why he's been sneaking off so often. she had lamented to him about her worries with his fascination of humans and their strange inventions. fuyumi was the only one he'd confided into about his collection of strange objects from the human world. tossed into the sea or scavenged from shipwrecked boats if he was feeling a little risky. however, what had started off as an innocent interest started becoming dangerous, in his sisters eyes, as he slowly started rising up to shore. closer and closer to humans.

she'd warned him to be careful, that humans were dangerous. shouto knew of the tales that were told about humans since he was young, of the unspeakable things they did to his kind. of course he did, but he just had a feeling not all humans could be like what he was told. as usual, he waves her off with the promise that he'd be vigilant as he swims off again.

he hopes he makes it in time.

someone calls for him suddenly and he stops in his tracks, the voice sounds familiar and he recognizes his fluffy haired friend izuku swimming up to him, shoto is tempted to ignore him. but it'd be mean, and unbecoming of a future king of the seas, so he waits for him to catch up. izuku midoriya was his one and only real confidant, his family had worked for his ever since they were both young and even if he was technically his servant, he could confidently call him his friend.

"hello, izuku." shoto greets simply, izuku quickly returns the greeting, before looking around to make sure they wouldn't be heard.

"were you going up to shore again ?" he asks nervously. shoto hums, nodding softly "i am." izuku stiffens, his fins flicker nervously.

"i-i don't know if that's the best idea.. i mean, your coronation is coming up and your father is even more on edge than usual-"

"what he doesn't know won't hurt him. which is why i'm expecting you not to tell him anything."

"of course not ! but his majesty is..." izuku cuts himself off, looking off to the side "i fear he's getting suspicious of your..activities?" he explains, wording it as best he can. shoto holds back the groan bubbling up in his throat: so many worries piling up and so little time.

it's unbecoming of a future king, but shoto decides he'll worry later.

"i'll think about him later." the disdain in his voice is palpable, but izuku being used to it doesn't react. he knows the relationship between the king and his son has been more than strained ever since the queen disappeared. some say she simply vanished, or left of her own volition, while other whispers claim she was instead captured by humans.

but after her disappearance the queen was never mentioned again, neither was the princes older brother, touya, when he disappeared not long before his mother did. the mere mention of them was forbidden, it was wiser to act is if they never existed in the first place.

izuku shakes his head and quickly swims up to follow the dual haired prince, who'd started swimming off in front of him.

both men finally rise up to shore. izuku hides besides a rock protruding from the sea floor while shoto decides to be a little bolder, peeking up to his chest from where he's perched up on the rock as well.

"ah ! shoto, you shouldn't !" izuku warns, but he simply shakes his head "it's fine, no one's here at this time of day." his eyes never leaving the sand in front of them, surveying the area like a hawk. he purses his lips. maybe he had been too late after all. he'd have to wait until tomorrow.

until he spots a mass of fluffy grey and white hairs. both he and izuku shrink back at the sound of a loud booming bark, shoto not as far sunk as izuku. then his gaze locks on to someone walking along with the furry beast.

a human.

the green haired merman has half a mind to warn his friend they should make their leave, however the young man is unmoving, seemingly entranced.

shoto breathes a sigh of relief, you've shown up at last.

it's usually at this hour that you walk along the beach with your companion. shoto's been watching you for a little while now and he's determined a routine. some days you stay longer than usual, but he's content to see you anytime, all the time. you're fascinating, the way you move around with those..legs of yours is something he can't his eyes off of. and you're breathtakingly beautiful to him, though is his father were to see you he's sure he'd think otherwise. he'd been told humans were hideous beasts, but he's never seen anything in all of the seas as beautiful as you in his years of living.

izuku snaps him out of his trance, urging him saying they should be on their way back lest the king get even more suspicious of both their absences. he wants to keep looking at you, forever if he could. part of him even wishes he could walk along the sand with you.

but he retreats after a final look to you, and dives back down towards his home, so far away from you.

he wished he'd never went back home though, when his father had decided to get on his last nerve yet again. constantly nagging, constantly berating him like he knew any better. lecturing him about how his behaviour was unacceptable for a future king.

he knows that, he's heard it all before. as he swims further and further away from home he wishes it could all just stop. this future king talk, the coronation. he wishes it could all just fucking cease.

and he wishes he could be with you above all else. you'd understand, you wouldn't nag him about his duties. hell, you wouldn't even have to know, you'd just see him for him. and that's all he wants.

if only, he wishes.

until he's being lured away by some sea creatures who for sure mean trouble, but they've intrigued him with promises of making his wishes come true. when he's suddenly faced with the sea witch, he knows he should get away and fast, making a deal with her was not advised if you cared for your own life.

..and yet, she says she can give him what he truly desires. and what he desires is a life where he doesn't have to gaze at you from afar. where he can only dream and wish for if only's.

and he can't turn back now.

it takes a lot longer to get used to the fact that you have a merman in your house. you've been glued to the tv in shock for an hour, not processing anything happening on it while the merman in question casually watches, munching on some candy you'd offered him when you'd first made it home.

it's funny, if you think about it a little bit. you're friendly with your coworkers yet not a single one of them has ever been to your house before. and now you've got a fucking mythical sea creature in sitting on your couch eating watermelon candies.

truly hilarious.

you catch a peek at him from the corner of your eye, you're surprised by how easily he's entertained, especially since he's only looking at an informercial but you think you can understand why now. why he seemed so confused, and maybe this was also why he can't talk ? but he could understand you perfectly.

god, your head hurt.

there's a weight against your skull and when you look up from your lap, the merman has his head pressed to yours. you hold back a squeal, because you are beyond tired of embarrassing yourself in front of him, a harsh intake of breath leaves you. he tilts his head at you, you've gotten good at de-cyphering what he means in the two hours you've known him. you sigh.

"i-i'm alright..thanks" you speak sincerely, his shoulders relax but he doesn't lean very far away from you, visibly comfortable being so close to you. "i'm just..in shock..i had no idea mermaids even existed..!" you chuckle, then quickly cover your mouth "merman, sorry !" he doesn't seem to mind, shaking his head with a barely there smile. it's a faint pull of his lips that could've been missed but you'd caught it and your heart hammers in your chest--were all mermen this pretty ?!

"well..um, i bet seeing a human up close like this is pretty surprising too ?" he nods and you laugh. "is it what you expected at least ?" he nods again, but it feels..softer, more personal. like it was directed at you and you only, for some reason. the close proximity between you both seems familiar.

you're everything he expected and more.

"do you..have a name ? ah !" you catch yourself quickly, running off to your room, not before telling him you'd be right back, you barely see him nod with widened eyes. you pull out a random book you left unfinished for..you don't remember how long now.

if he understood you speaking, maybe he could understand how to read ?

it's a possibility and you lose nothing by trying.

you're back next to him and place the book between you both, he leans in closer, inspecting the words on the page with an unreadable expression.

you tell him your name, and start spelling it out with the letters on the page. you hope it works, that'd make it a whole lote easier if it does, so you ask him for his name.

it takes him a second, but soon the dots start connecting, and he slowly points to five different letters

s-h-o-t-o

"shoto.." you sound out, you look back up at him. his face is soft and the small smile on your face makes you smile too "shoto ?" and he nods happily "it's nice, i like it." you admit, his eyes shine brightly and he points to you and nods. you think he's saying he likes your name too, so you thank him with a giggle and your hunch his confirmed when he smiles just a little wider, the corner of his eyes crinkling.

seriously are all mermen this pretty ? it's a little unfair that more mermen don't show up in town.

but you think even if they were to suddenly appear, you'd like shoto the best.

shoto seems to have superhuman abilities, besides the not being human part..

in only a week, he's learned how to write and you've been communicating by passing notes and using a white board you'd gotten him while you were out shopping, you figured it'd be easier and a little less confusing.

he's been here for two weeks now, and it's been fun. so fun in fact you forget he's not human with how easy he's adapted into your life. he goes shopping for and with you sometimes, he loves watching and he likes to take walks with max, the both of them being inseparable. you'd be a little jealous if it wasn't so damn adorable. you're still enjoying your break from work and shoto makes it much more enjoyable, it's nice to have someone else around for a change.

you've..talked, about a lot of stuff with shoto, but one thing he will not talk about is himself, and you've decided not to pry. especially because you hate seeing the conflicted, sad look on his face. he talks to you about his kind, and his friends, but never too much about himself. you don't pry, but it surprises you that even mermaids have baggage.

"is there anything you wanna do today, shoto ?" you wonder if he ever gets bored, he doesn't say anything about it, but you know you're not all that entertaining..maybe you'll take him go kart racing.

shoto stops petting max to grab at his white boards, quickly scratching something down.

can i watch a movie with you ?

your heart stutters. every time you suggest an activity for him to do he always adds you in it. it's stupidly endearing and makes him cuter than he already is.

"but don't you wanna do anything else ? " he tilts your head for you to continue "like..aren't you bored ? i know i don't do anything interesting...you don't wanna do something more exciting ?"

he blinks, and writes down something on his white board that has your mouth go dry.

i like doing anything because you do it with me.

"o-oh.." you mutter, fiddling with the texture of your couch, picking at it softly "that's nice.."

after a moment of quiet he presses his head to yours, as affectionate as ever to get your attention, you blink up at him holding up his whiteboard and a smile forms onto your face.

movie ?

you let him pick this time.

"if you want to be able to live with your beloved.. you must manage to do one thing.."

a kiss. a true love's kiss.

shoto has seen a lot of kisses in the few weeks he's been with you. he remembers the first kiss he'd received was when your elderly neighbour had knocked at your door thinking you were home while you were at the grocery store. she must've thought he was your mate, because she'd congratulated him and told him to treat you nice because you're a very sweet and pretty girl, which he'd intensely nodded at. she'd grabbed him by the shoulder and softly pressed both her cheeks to him, and you'd explained to him that she had kissed him as a sign of politeness. a common human courtesy.

he'd seen kisses on tv, kisses on the street, but none of them compared to the description of a true love's kiss. none of them felt fitting enough.

something on tv catches his eye. the movie has gotten to the climactic scene, a new term he'd learned. and the main love interests are desperately clinging to each other. their lips are touching, but it doesn't look like the kisses he's seen before..strange.

it confuses him, so he taps your shoulder and writes his thoughts down.

what are they doing ?

you clear your throat, your eyes widen. your eyes are so pretty. "they're kissing, shoto.. we've seen that before right ?"

but it looks different.

you hum in thought "well, i guess i can put it like.." you purse your lips in thought, you look so cute when you're deep in thought. "they love each other a lot, so being away from each other made them..um, do that. it's 'cus they care about each other alot..i think."

love..

have you done that before ?

you splutter as your eyes fly across the whiteboard, shoto shuffles so he can sit closer to you. you don't move away, you smell so nice.

"n-no..i don't think i've loved someone enough to.." you whisper, gaze flying from him to the small space between you both.

the sound of the white board dropping to the floor doesn't alarm you, neither does the way his hands slowly reach towards your cheeks. he does nothing but run his hands across your cheeks for a while, simply gazing at you. he presses his forehead to yours and you feel his breath his your face, your eyelashes flutter as his head softly bumps against yours. his nose nuzzles against yours, you're so soft.

you don't have to read anything to know what his eyes are asking you silently, you nod anyways.

shoto doesn't exactly know what love means by humans standards, but by his standards and the little he knows he thinks this might be it as he presses his lips to yours. it's not as desperate and dramatic as on tv, and there's no melodramatic music playing in the background.

but he loves this, he loves you.

you pull away when he presses you back against the couch, and suddenly something feels different. your chest feels warm. you feel loved.

"that..was nice..woah." you breathe, and shoto nods, mirroring the smile growing on your face. what you don't expect is for him to open his mouth and speak.

"it was.." he hums, your eyes are the size of saucers and he huffs out a light laugh "do you think..i could do that again with you ?"

you nod, in a trance, but as he leans in you grip his shoulders. he blinks up at you

"..wait, how long were you able to talk ?" you're unblinking, and it makes him chuckle lightly.

"just now." he answers simply, before you can ask more questions he stops you "i will explain later, i promise." he nuzzles his nose to yours "but for now.." he kisses your cheek "i'd like to learn about this..love feeling.with you." he kisses your other cheek, always adding you in "will you let me ? "

you're willing to let him do anything as long as he does it with you, as long as he keeps adding you in like you're the only one that matters, you want to keep mattering to him. and you want to learn more about your feelings too.

so you laugh, and with a smile, you pull him back into you.

a/n : eeeee i loved participating to this event theheheh ! tumblr quit deleting my drafts but i still had tons of fun ! hope yall enjoy reading MUAH MUAH !!

taglist ! : @queenpiranhadon @starieq @lovelyiida @lady-ashfade @angels-fantasy

@seonne @sweetnans @vexis-world @2melamoo2 @tootiecakes234

@4evapika

[starlightkun]

⇢ word count: 1.7k ⇢ genre: fluff, very suggestive (no smut but discussions about/implied sleeping together lol), strangers to one night stand to coworkers to lovers? lmao i think i got that progression right, holiday/christmas themed, sleeping with a hot stranger at the office holiday party when you’re tipsy and oops it turns out they’re your new coworker trope, part of my 2024 hallmark movie marathon ⇢ warnings: cursing, just look at the tags and decide if u want to read on tbh. honestly this has probably more horny energy than is warranted for it having zero smut lol ⇢ extra info: this was originally going to continue on after this ending but i ended up feeling like i was losing the plot, so the other stuff i was writing is going to be a separate fic. they’re not a part 1/part 2 at all, but you can kinda see the vision if u read both i think this is part of my 2024 hallmark movie marathon, three short, unrelated fics starring jisung all with cheesy hallmark christmas movie-esque premises. there’s no continuing plotline between fics in this series, they’re all standalone fics ⇢ author’s note: uhm so surprise hallmark movie marathon for jisung this year i guess! i did this last year where i had a(n unplanned) series of short fics with cheesy hallmark christmas movie-esque premises all starring kun and i guess i’m in my jisung era rn! so enjoy and happy holidays! ⇢ 2024 hallmark movie marathon

“I meant I usually wouldn’t have been looking to get laid at the office holiday party at all for this exact reason!” You whispered emphatically. “Except I already felt bad about myself because I got stood up, and I was tipsy, so I ended up throwing myself at the hottest stranger I could find. God, of course it bit me in the fucking ass.”

“Here. Fresh pot.” A cup of coffee was set on your desk in front of your face by Jaemin, as your other coworker Jeno helped himself to the bowl of peppermints perched on your desk.

“Are you seriously hungover?” Jeno snickered as you pulled your head out of your arms. “You left the holiday party like two hours early.”

You glared at him, taking a timid sip from the steaming cup.

“Smart choice, really, you got to miss Mr. Suh’s rendition of Santa Baby,” Jaemin informed you, hopping up on your desk and knocking your keyboard askew.

You rolled your eyes as you moved your things out of his way.

“Were we that boring? You didn’t even say bye or—”

Your gaze lazily drifted around the floor before you inhaled and immediately choked on the too-hot coffee, spitting it back out into the cup as it burned your tongue.

“Are you okay?” Jeno asked, his words garbled as he talked around the peppermint in his mouth.

“Ack—Fine,” you coughed, eyes still tracking the man who had stepped off the elevator with your boss. “Who’s that? With Mr. Suh?”

They both turned around to follow your line of sight curiously. Mr. Suh seemed to be giving him a tour, gesturing to various areas of the floor as he spoke.

Jaemin guessed, “Uh… transfer from the satellite office, maybe? I think I saw him at the party last night.”

“Oh yeah, Mr. Suh mentioned we were getting a transfer a couple weeks ago,” Jeno nodded. “That must be him.”

You quickly diverted your gaze as they changed trajectory towards your desk.

“And over here, as you can see, people tend to congregate around Y/N’s area,” Mr. Suh explained to the man with him, his tone playful. He fetched a peppermint from the bowl. “It’s the candy.”

“Good morning, Mr. Suh,” you greeted him, sitting up straight.

“She’s also my best employee, so I excuse it,” he continued.

“Jeno and I are right here,” Jaemin pointed out indignantly.

“This is Park Jisung, he started at the satellite office a couple months ago and is transferring to our team now,” Mr. Suh made introductions, not addressing your coworker’s complaints. “Jisung, this is Lee Jeno, Y/L/N Y/N, and Na Jaemin. You’ll come to know the rest of the team as well, but Y/N will handle your initial training as you settle in.”

Your alarm must have been visible on your face, as your boss’ features turned concerned. “Y/N? Is everything alright?”

“W-Well,” you began panicking even more, looking around at the folders on your desk. “It’s just that you said that the Q4 reports were top priority, and I don’t believe that I’ll be able to complete those on time to standard and train somebody thoroughly at the same time. Sir.”

Mr. Suh nodded thoughtfully. “You’re right. My apologies. Jaemin: I’ll leave Jisung to you then.”

“Second choice,” Jaemin tsked as you were using all your willpower not to audibly sigh in relief.

“How do you think I feel?” Jeno joked.

“Let me know if you have any questions, Jisung. We’re excited to have you on our team,” Mr. Suh smiled kindly.

Jisung finally spoke, his deep voice shooting up your spine. “Thank you, sir.”

As they all dispersed from your desk, you finally relaxed just a tiny bit. Until you felt a pair of eyes on you. You looked up just in time to catch Jisung’s gaze as he glanced at you over his shoulder as he followed Jaemin to his desk. You froze, unable to look away from those same eyes that just last night had stared into yours while—

Your phone ringing made you jump out of your skin, and you swore under your breath as you looked at the name on the screen. Reception.

“This is Y/N,” you answered, trying to keep your voice level.

“Oh!” Your receptionist gasped. “Sorry, wrong extension!”

“It’s fine,” you sighed, hanging up.

Time to do a very careful review of the Q4 reports that you already had finished.

Midday, Jaemin and Jeno stopped by your desk again, Jisung in tow.

“We’re taking Jisung out to lunch. You coming?” Jaemin offered.

You didn’t even spare the new employee another glance, staring at your computer monitor. “Thanks, but uh, maybe another time, guys. Have fun.”

“Alright, see you later,” Jeno shrugged and stole another peppermint.

You didn’t breathe until the elevator doors closed behind them. Once they were gone, you grabbed your purse and headed for the stairs to take your own lunch break.

As soon as the clock struck 5:00, you were gone. Mr. Suh had already sent out an invite for a team dinner at the end of next week to welcome Jisung, but tonight, you could at least leave. Hurrying into the stairwell, you made a rather embarrassing sound when you were face-to-face with Jisung on the other side, leaning against the railing, hands tucked into his slacks.

The door had already closed behind you, and he spoke before you could back out.

“You’re avoiding me,” he said plainly.

You huffed, hurrying past him to descend the stairs. “Can you blame me?”

He kept pace with you easily thanks to his long legs. “I mean, obviously I didn’t expect you to bring it up in front of everybody, but a hello would’ve been nice.”

“How quaint after your tongue was down my throat last night.”

“Pretty sure my tongue was other places too—”

“Okay, okay!” You hissed, screeching to a halt on the landing between floors to slap a hand over his mouth. He raised an eyebrow at you over your hand as you continued ranting quietly. “Seriously, how was I supposed to react when you showed up today? And how are you so normal?”

Jisung slowly reached up and wrapped his fingers around your wrist, pulling your hand off his mouth so he could talk. “I was surprised too, okay? But I was planning on at least being civil, except you never gave me the opportunity. I mean, it couldn’t have been that bad, right? You were awfully loud.”

“Pot, kettle,” you retorted. You yanked your arm from his grasp, suddenly aware of how close you were. “I was tipsy, got stood up by my date, and thought you were somebody’s plus-one. What’s your excuse?”

“Okay, ouch.” He put a hand over his chest. “I might’ve been a little less than sober and didn’t exactly consider the possibility that I would be transferring to your team of all people, but you weren’t a pity fuck, Y/N.”

“That’s not what I meant,” you groaned, your skin getting warm. You pivoted on your heel, rushing downstairs again.

Jisung just followed you, of course. “Then what did you mean?”

“I meant I usually wouldn’t have been looking to get laid at the office holiday party at all for this exact reason!” You whispered emphatically. “Except I already felt bad about myself because I got stood up, and I was tipsy, so I ended up throwing myself at the hottest stranger I could find. God, of course it bit me in the fucking ass.”

“I thought you were really smart.” Jisung’s sincere words caught you off-guard. “I mean, I know neither of us were all there, but you seemed to really know a lot about your job. And you were funny. Obviously hot too, I mean, whoever stood you up was a fucking—”

You pushed him against the wall by his shoulders, not covering his mouth now, but just staring him in the eye. The exit door of the stairwell was right next to you, which would lead into the employee parking under the building. Most employees took the elevators, so it was only the two of you.

“What do you want from me?” You asked him, eyes narrowed.

“What do you want?” He challenged, eyes glinting as he looked down at you.

Memories of last night that you had been trying to push away all day flooded your mind now. Jisung’s lips on yours, on your neck, collarbones, his deft fingers unzipping your dress so his big hands could caress your bare skin. You had worn red lip gloss to the party, and it looked so pretty scattered across his chest and abdomen.

“What are you thinking about, baby?” Jisung murmured, hands finding familiar holds on your hips, fingertips lining up to the bruises they’d left without even looking. “If it’ll be even better sober? Because I am…”

His pupils were blown, his breaths shallow and quick as his gaze flitted from your lips to eyes. Despite apparently being able to read your mind, he was still gauging your reaction, waiting to see if he’d crossed a line. Acknowledging what had already happened was one thing, suggesting a repeat was a whole other story.

Fuck it.

You nodded quickly, dropping your hands from his shoulders. “Is your car here?”

“I—Fuck, yeah.” He dug into his pants pocket for his keys as he grabbed the exit door with the other.

“Mm,” you sighed in content as Jisung pressed lazy kisses down your spine. “You were right.”

“Oh? About what?” He asked humorously, resting his cheek on your shoulder blade, mimicking your own position with your cheek squished against his pillow.

“It was even better sober.”

He laughed, running his hand down your arm to lace his fingers with yours. “I love when a hypothesis works out.”

You looked at where your linked hands rested on the mattress next to you, how natural it looked. It wasn’t the first time you held hands, tonight or last night. But it was the first time you’d done so when you weren’t in the act. Somehow, it felt even more intimate.

“What do you want from me?” You asked quietly, talking to your hands. That was easier than turning around.

“What do you want?” His voice was soft and gentle, patient yet at the same time, you could sense the underlying anxiety in the question.

You couldn’t take it, needing to see. Letting go of his hand, you turned over in his arms. When you met his eyes, you felt like you were looking at something you shouldn’t. Like he was letting you, hardly more than stranger, cradle his heart in your hands.

“I want more,” you confessed. “I-I don’t know if this is a good idea, it probably isn’t, but—”

“Okay.” He nodded quickly.

“Okay?”

“I can work with that,” he said, cupping the back of your head and kissing you again.

⇢ 2024 hallmark movie marathon

TAGLIST

@annenakamura @bee-the-loser @lotties-readings @ppddpjdr @reiofsuns2001

@giirlfriendd @shaqs-oatmeal @sofipolii01

@tearinka @yoursyuno @yutasputa69

@winkeuu

[oh-no-its-bird]

Body swap through time Kakashi and Tobirama at like, ages 12/13ish

Kakashi wakes up as Senju Tobirama at the height of the Uchiha/Senju conflicts

Tobirama wakes up as Kakashi in the lead up to the Kyuubi incident

They're actually alarmingly similar in skill level and personality, so they're able to get away with the switch on a surface level, even to those who know them well. But problems very quickly arise when it comes to fighting or anything that requires knowledge of history

""Tobirama"" taking to the field with a totally different skill set and jutsus than he's ever used before (Izuna is taken so off guard, it gets bad, fast)

""Kakashi"" suddenly does not seem to respond to any ANBU signals or codes, and where as before he was a shoe in for becoming an ANBU captain he suddenly seems to be fucking up at every other opportunity. You'd think the guy WANTS to lose his job with how suddenly awful at it he is, but he's Kakashi. There is no world where that kid fucks anything up on purpose

They're both definatley in a "holy shit I can NOT tell anyone ab this" position— Kakashi would probably be fr killed as an imposter, and while Tobirama would probably be ok (especially since Minato would be in charge of his detainment n stuff) he doesn't know that?? As far as he's aware, he is in enemy territory and will act accordingly.

Kakashi doesn't know how tf to interact with Tajima or Hashirama, but especially Tajima. He probably uses the wrong forms of address for people bc Tobirama uses more old fashioned honorifics than Kakashi is used to (Anija/Chichuie vs Nii-san/Otou-san)

Kakashi refusing to kill Uchiha bc like, village loyalty fuck you. Also just in general he probably has feelings ab killing anyone with a sharingan on multiple levels. But not just not killing them but going out of his way to help— these aren't his Uchiha, yeah, but it definatley fucks him up to see ANY uchiha die when all his life Uchiha = konoha = his people

Oooo, Kakashi instinctivley channeling chakra through Tobirama's eye after a solid couple years of getting used to the sharingan, possibly accidentally doing,,, something there. Idk what tho but SOMETHING

Meanwhile Tobirama is in that stupid fucking village of his brothers (that he will not shut up about, especially at that specific age) and its???? Real??????? It worked?????????? Huh.

He's surrounded by Uchiha and can't find any Senju (Tsunade just left the village rip Tsunade) but if he investigates it looks like the Senju died out naturally? Impossible, it has to be some kind of Uchiha plot—!

Hes also struggling to come to terms with there being a STOLEN SHARINGAN IN HIS FUCKING EYE !!!!!!!! Made extra super fucked up by the difference in intense hatred and taboo of bloodline theft in modern/warring era (with it being even more taboo in the warring states, like THE ultimate evil to any shinobi)

Maybe he, as Kakashi, is supposed to go to like special Uchiha class where they teach him ab the Uchiha n stuff bc of the eye, and Tobirama is sitting there eating all this shit UP (enemy intel!!!) But also, like, lowkey brainwashed kid brought up to do nothing but kill this one specific group of people, literally being forced to at least pretend to embrace their culture. He's in such a unique position to learn from and about them, and it'll probably end with him being some kind of sympathetic.

It helps that in modern Konoha, where the Uchiha may be considered overly traditional/religious, that's actually just Tobirama's normal. So there's also this added layer of "being around the Uchiha feels the closest to home / least strange than being around literally anyone else" which just pisses him off even more tbh

I'm tempted to say that somehow Rin is still alive just so I can have that one specific Rin and Kakashi queerplatonic codependent relationship from my other post, and then Rin being the one to finally notice that Kakashi isn't Kakashi anymore

Both Tobirama and Kakashi kind of piecing together the life stories of each other, immersed in eachothers histories and paths without ever directly interacting even once. Constant wonderings ab what the other boy was like / might do here, and if they're really so similar that no one has noticed the switch and all those implications (bc on one hand, that's good!! But on the other hand uhh— has anyone at home noticed...? Bc if not, fucking ow??? But also like, probably for the best tbh.)

[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: Budianskian, 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.

[alexisomnias]

— "HEY, HEY CLASSMATE!" . . .

⤷ you’re their seatmate!

angels notes: can be read as platonic or romantic

featuring the DORMLEADERS

RIDDLE ROSEHEARTS

—riddle as a seat mate is kinda a pain in the ass

—Especially during his first year; boy would scold you for breathing too loud!

—Upon second year though he’s a lot more mellowed out

—Your one of the only people who WOULD take a seat next to him, and in exchange he helps you with things you don’t understand.

—He also won’t speak a word if you copy off his homework… just don’t make it too obvious!!

—He’d also save you if your late to class by making up an excuse or such, but shh don’t tell him you know how down-bad he is for you.

LEONA KINGSCHOLAR

—goodluck getting him to even show up to class

—if he does he’s literally only coming for you. he’ll ask you to take notes for him and stuff but wont complain if you don’t

—in the end he does only show up to class because your next to him, so be sure too show up yourself!!

—if he catches someone else in the seat next to you he is LEAVING, or kicking them out, no way is he sitting through the class without you by his side

—he’s not that awful of a seatmate: he’s familiar with the material so if he's in a particularly good mood he’ll help!

AZUL ASHENGROTTO

—boy probably made a deal with some student to ensure he’s always sitting next to you. doesn’t matter what class he’s there

—totally believes in unassigned signed seating so will talk off someone if they take HIS spot next to you

—definitely helps you with your homework. in fact he encourages you to come to him for help (he wants you to know you can use him as a shoulder to lean on)

—also will make up an excuse on why your late, except its hella valid

—probably shares a textbook with you ngl, and definitely shares his notes

—definitely will share his school supplies. need an eraser? he has 3! a pencil? heres a newly sharpened one!

—probably will try extra hard to show off, he wants to impress you

—(he’s also extremely vigilant on whether his handwriting is neat or not when your next to him!!)

KALIM AL ASIM

—he’s such a fun seat mate. though he’s very distracting LMAOO

—definitely gets you both in trouble for talking during a lecture (he doesn’t care though, its you!)

—completely forgets about taking notes because he just wants to chat with you

—probably has been moved in class

—will buy you a thousand pencils so you never have to sharpen one LMAO

—drags you into group projects with him and stuff, he’s pure at heart, really!!

—actually pretty insightful, he’ll exchange answers with you, and go into convo about how you came up with such an opinion or answer

—“hey this is [name]’s seat!” he says to this poor clueless student. he’s your desk warden aha!

VIL SCHOENHEIT

—Vil is actually a good seatmate! he shows up on time, always hands in his work. has academic plot armor (has he ever failed??) and he’s willing to help! though he’ll still make you do it yourself

—he brings you snacks during class! only healthy ones of course, but he feeds you and he’s super sweet about it too! Literally that one friend that always shares their food for lunch

—definitely someone to look up too, and he’ll teach you concepts or help you catch up if you fall behind. He's your personal free tutor, he uses these sessions as excuses to see you, not gonna lie!

—he may occasionally scold you based on how you present yourself, especially if you are lazy with it, but its all out of care! He'll fix it himself anyway. He personally loves running his fingers through your hair.

—not seatmate behaviors :P he cares

IDIA SHROUD

—hes more of a text mate tbh

—bro will send u messages on twstcord and get you caught 😭😭

—he doesnt even show up in person hes just there to listen atp

—even then he ADORES listening to you talk, and although he really doesn't need help with homework since you know he's there?? he'll still ask you to bring homework to him because he's petty and he wants to see you.

—and if he invites you to a "study session" its really just him stammering over his words and playing video games

—oh god, he also imagines physically sitting next to you in class, and reenacting scenes from a shoujo! actually, nevermind... too many people...

MALLEUS DRACONIA

—Malleus finds you interesting. you have enough courage to sit next to him? how interesting

—literally the only one in class who doesn't sit like 5 kilometers away from him. He immediately grows a liking to you because of that.

—he’ll talk to you in class unknowingly getting you both caught LMAO, except your the only one getting in trouble unfortunately.

—he’ll have in dept conversations to you about certain topics, and almost always has an answer to give you in class

—he’s an encyclopedia, and he LOVES helping you! ask and hes already explaining.

—probably gets distracted by staring at you in class. Not sneaking glances, full on dazedly staring at you (in a totally not menacing way). he just likes looking at you! don't mind him!

—a sweetheart really, also super possessive over your seat. he ensures he's always on time to class so he can see you and sit next to you, and he’ll get all pouty if he cant.

[larkingame]

so, it's 2025...long time no see.

I'll skip they hi, how are yous and get down to the real meat and potatoes of what I'm here to say. TLDR: Larkin is still being worked on (screenshots + such below) and it's always going to remain a free game, but it's under heavy construction atm. thanks for checking in 🫡

for the two people who want to hear the long sob story that usually comes with these type of posts from online creators: I fucked up my back majorly and was out of work for a long time. I went back to work pre-maturely and! I've fucked it up again. the stress of this, lack of income and the fact that i've been taking a lot of meds to help the injuries (but mess with my ability to stay coherent) has made it really difficult to consistently focus on larkin, writing, social media in general, but it is still getting worked on in bits and pieces.

that said, some back story: I started working on larkin in 2019/2020 and it was really really fun! loved it. had a great time. but then i started posting about it and showed it to other people (and to my surprise they??????? liked it????) which made me put a very large amount of pressure on myself that made it not so fun any more. over time i would go through cycles of it's fun! to it's not fun! and so on and so forth. throughout this time I also had pressure from a lot of people around me (irl) to somehow like. strictly monetize larkin somehow, and as someone who was like VERY INSECURE and obsessed with people like mishka making like insane funds off of her game of the same type?/genre? i gave in to that pressure (if you could not tell by all my occasional dirty deletes of shade towards twc. truly pathetic and if any of yall saw. apologies and thanks for ignoring it.) addressing that: i liked twc when it came out, it was fun for what it was and larkin would not exist without it. so thanks for that miss jenkins and i will probably still passively engage with it on my own time.

but, back to larkin. anyways, the looming pressure of this need to monetize made me hate everything that i was doing and constantly feel like i needed to re-evolve and rework and just, overall not have a fun time with it. throughout the months of november, december and january when i was really missing the days of larkin's existence as an idea when me and my sister would just like walk around our neighborhood and i would just infodump to her about my cowboy vampire ocs. so i found my old larkin notebook and the stickies i made planning plot stuff and avoiding tumblr i just. had fun working on my little cowboy vampire game. like not really thinking about other stuff. and that's essentially it.

so I came to a conclusion: larkin is something i love, and i want to continue loving it. so essentially, i won't be monetizing the game itself. episodes/chapters whatever they end up being in the end will always be free. yay. if you want extra content/want to support me in some way monetarily, feel free to join the patreon, however, I won't really be active on it until i have something substantial to show you game wise. that being said, you can still subscribe for access to the backlog of short stories and art etc. I'm turning off charges each month until i have like a real game for you to play that doesn't make me sick to my stomach to look at or think about. another note: pc players are going to be priority until it's finished. I will have a mobile version but i can't promise you she will be all that pretty.

another note, because larkin is free i can't promise quick turnarounds on anything but what i'll be offering on patreon when i start charging again and additionally: i'm back to making larkin a game for me. i really lost a lot of enjoyment for doing this stuff when i thought about that pressure i put on myself like i mentioned above but also, when i started writing it for other people in mind. first and foremost i am making larkin because i like cowboys, i like vampires, i like horror and religious trauma themes. i'm writing this for me: kc, so i can go on my computer and teehee at all the kissing scenes and make a cool cowboy character with fights. i'm going to make it gay and self-indulgent and basically just have fun with it because it's my game and i am making it and i said so.

all that said here are some of the major things i've done with larkin over this past little while:

updated the website so that it is now useable :)

done a lot of work on the ui:

and i have been rewriting a lot of stuff because I FEEL like it was not good and was not fun for me. THE DEMO FROM LAST JUNE ESPECIALLY. it hurts my stomach to look at.

visually, dan (@tapeworrmart ) has been on his fucking a-game with the art even through my crisis. here's the male ace portrait he put together for me last fall and the art for the main menu:

we also have some more art in the works that i am very excited for because they are in pursuit of new fun features :D

all that said. thanks for the continued support if you're still reading this, appreciate any interest you have in my game.