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ginnsbaker · 5 months ago

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My Sundown

Summary: You’ve been a Hydra agent for as long as you can remember, when Wanda Maximoff and her brother, Pietro, volunteers for Hydra's human experiments.

Word count: 10K+ | Tags: Wanda Maximoff x GN!Reader | Warnings: Only mentions of smut. Hurt/comfort. Reader is a little older than Wanda. Some angst. | A/N: I missed writing for Wanda, and have always wanted to write canon-ish oneshots for the MCU character. Main Masterlist

When they first bring her in, she looks like she's been through hell—eyes hollow, skin pale, a storm simmering just beneath the surface. Her hands tremble, not from fear, but from the sheer, unbridled power flowing through her veins. The room seems to shrink under the weight of it, as if even the walls are aware of what she’s capable of. The other recruits are scared and jittery, but she’s different. Her brother too—both rough around the edges, like two sides of the same scarred coin.

“Where did they round up these rats now?” you mutter to Lev, who’s standing dutifully beside you—the only person you've let close enough to be called a friend in all your years with Hydra.

“Sokovian volunteers,” he corrects you, eyes fixed straight ahead, mirroring your own unblinking focus on the twins. Maybe he feels the strange energy coming off them too, or maybe it’s just the routine numbness that sets in after years of blindly following orders.

You nod slightly, though the term volunteer feels like a cruel joke. No one truly volunteers for this.

“Agent.”

Dr. List’s voice yanks you out of your thoughts, dreary and impersonal. He calls everyone that way, as if you're just another tool, interchangeable and anonymous. It’s an intentional tactic—strip away the names, and you strip any sense of humanity. Without a name, you’re not a person; you’re just a weapon at their disposal.

But you know he means you.

You step forward. “Sir,” you reply, maintaining a ramrod straight posture, your eyes fixed on a spot just beside his perpetually scowling face. It seems all villains share that same dour expression, but if this woman—this girl—makes it through the experiments and officially joins the ranks, she might just break the mold, looking more like an angel than a monster. You quickly shake off the thought, stifling a grimace at the odd turn your thoughts have taken.

When you risk a quick glance at her, you catch a ghost of a smirk playing on her lips, as if she knows exactly what you were just thinking.

“You’re to oversee Wanda Maximoff’s progress,” Dr. List continues without sparing you a second glance. “Ensure she complies. If she doesn’t…” He lets the threat hang, but you don't need him to spell it out. You know what Hydra does to those who don't meet expectations.

“And the boy?” you ask, genuinely curious about the other twin.

Dr. List gives you a sharp look, like he suspects something. Questions are frowned upon here, but ever since you laid eyes on Wanda, a persistent tingling has crept up the back of your neck.

To put it bluntly, she unnerves you, and you'd much prefer to deal with her brother.

“Strucker decided to…take a more hands-on approach with him,” Dr. List says.

“Understood, sir,” you reply crisply, reaffirming your commitment to your orders. You steal another glance at Wanda, only to feel a rush of heat when you realize she’s been watching you the entire time.

Wanda looks even more formidable once she’s showered and changed into fresh clothes. You can’t decide if it’s because the sinister gleam in her eyes remains untouched or because the grime and hardships of life on the streets have been washed away, revealing a haunting beauty beneath the dirt. Clean, she’s striking—but that beauty only makes her more dangerous. You’ve tried to delay any direct interaction with her, but this morning, Dr. List visited to follow up on the initial assessment, leaving you no more time to postpone. After a week of stalling, you’re out of excuses, and there’s a lot of ground to cover.

As she steps out of the small bathroom, her damp hair clings to her shoulders, softening her otherwise sharp features. The moment she becomes aware of your presence, her gaze locks onto you, and she begins to comb the wet tendrils back with her slender fingers. Your hand tightens around your keycard involuntarily as you take a deep breath, reminding yourself that Wanda is just like any other volunteer who entered the organization and never left its walls to see the light of day. Besides, you’re armed, and Wanda is not. It’s ridiculous to be this on edge around someone who's at a disadvantage.

“You,” Wanda murmurs, her accent rolling off her tongue like a slow, winding river.

“Shall we begin?” you ask, keeping your tone even and detached. You can’t afford to let her see how much she frighte—affects you.

Wanda ignores your request. Instead, she tilts her head slightly, studying you with a keenness that makes your skin prickle. You meet her stare, determined not to show any cracks, even though your heart's hammering away.

Finally, she nods—a small, almost imperceptible movement.

You clear your throat and motion towards the small cot given to them as beds. “Please, have a seat,” you say.

This time, Wanda complies without a word.

You glance around the room, searching for a seat, and silently berate yourself for not arranging one beforehand. It’s a small oversight, but it makes you feel foolish. With no other option, you settle against the farthest wall, opposite her, and lean against it, though it doesn’t make you feel any more grounded than you did a second ago.

In your hand is a file detailing everything Hydra knows about her, which isn’t much. You open it with a practiced ease, flipping through the pages, but you’re aptly aware of her eyes on you, watching your every move.

“Wanda Maximoff,” you start. “The procedures you're about to undergo are highly experimental. Hydra won't be held responsible for any injuries, no matter if they're permanent or temporary.”

Including death. But you are prohibited from disclosing this to avoid causing panic or stress among the subjects.

Wanda says nothing, her expression unreadable, but you can sense she’s lingering on a thought. Not sure what it is, you go on, falling back on the lines you've memorized these last few months.

“These procedures will enhance your natural abilities, giving you powers beyond what you may or may not currently possess. However, there are risks involved. Do you understand the nature of these risks?”

Wanda nods again. It’s the same answer you’ve received from countless other volunteers, most of whom had no idea what they were truly signing up for. But there’s something different about her, something in the way she holds herself that tells you she knows exactly what she’s getting into—and she’s not afraid.

“There will be a series of physical and psychological evaluations. We will push you to your breaking point and beyond. It is crucial that you cooperate fully. Resistance will only make the process more difficult, both for you and for us.”

You scan her face for any sign of fear or hesitation, but she's a blank slate. It’s as if she’s made peace with whatever fate awaits her here. That bothers you more than you’d care to admit.

“We will also be conducting interviews throughout the process,” you continue. “These will assess your mental state, your thoughts, your fears. Everything you say will be documented, and nothing will be private.”

Wanda's eyes narrow a touch, the first sign of any emotion since she sat down. It’s subtle, but you notice it. Maybe the thought of her mind being picked apart like a lab specimen is getting to her more than the threat of physical harm. Or it could be something else entirely.

“We’ll begin the physical tests tomorrow,” you say, closing the file and hugging it to your chest. “For now, you should rest and eat as much as you like. Your room is monitored constantly. If you need anything, just ask, though your movement around the facility will be restricted.”

The mask of indifference slips back into place. Wanda leans back on the bed, propping herself up on her elbows in a display of casual ease.

“Do you have any questions?” you ask, mostly because you have to, not because you really want to know. You figure she won't ask anything—most are too scared or too defeated to speak up.

But Wanda Maximoff isn't most people.

“Why do you do this?”

You can’t help it—a faint smile begins to creep across your face at her question. Most volunteers, when they ask anything at all, are fixated on their own impending ordeal, too scared of what's coming.

But Wanda isn't asking about herself; she's asking about you. It feels like forever since anyone showed that kind of interest.

Pausing at the doorway, you turn your head just enough for her to see the profile of your face.

“I do what I'm told,” you say, dodging the deeper question she posed—the real why behind your actions. The truth is, you stopped asking why a long time ago. Reasons tend to blur into excuses when moral lines are crossed in an organization you once trusted.

You're already tapping your keycard against the scanner when Wanda speaks again.

“Will doing what you're told bring them back?”

Her question spins you around so fast it's almost like whiplash. How did Wanda know about that? Was it just a wild guess meant to throw you off? Whatever it was, it worked.

You open your mouth to reply, but the words stick in your throat. You don’t even remember the last time you even thought about them. You've never shared this with anyone—not even Lev. Only a handful of Hydra figures were ever privy to your past.

Wanda couldn't possibly know. Unless—

“Good night, Y/N,” Wanda says, her tone dismissive as she curls into a fetal position, turning her back to you.

If your theory holds, Wanda might be the key Hydra has been searching for—the one who can unlock the powers of the scepter that have eluded so many others. Her apparent ability to read minds could be the very breakthrough Dr. List has been waiting for.

Finding yourself hesitating to report this discovery surprises you. It’s almost ironic how your conscience decides to kick in now, just when Hydra's goal seems tantalizingly close with the acquisition of the twins. You know what Hydra would do if they realized just how special she is, and the thought of them twisting her into something monstrous is something you can’t even begin to imagine.

In the days that follow, you keep quiet about your suspicions regarding Wanda’s innate abilities. You tell yourself that Dr. List will probably uncover them through his experiments soon enough. It’s definitely not because you're worried about what they might do if they decide to fast-track her program.

Yes, you’re just staying out of it, certainly not because you want to protect her.

At least, that's what you keep telling yourself.

Your next face-to-face with Wanda comes a week later.

Though you have merely been observing her through a two-way mirror, you've been plagued by sleepless nights since your last meeting, and not even the strongest sedatives at your disposal have helped. Thoughts of her well-being nag at you, despite Hydra's strict rules limiting interaction between volunteers and handlers to prevent any emotional attachments. Such attachments have formed before, and Hydra has always dealt with them ruthlessly.

When you enter her room, she's in the same position as before—curled up on her cot, making herself appear small and almost childlike. She looks up as the door closes behind you, her eyes meeting yours with a quiet recognition.

As you step closer, the hollowness of her cheeks, the dark circles under her eyes, and her pale complexion are unmistakable. The word weathered hardly does justice to the toll her first week has taken. You know exactly what she’s been through. The tests here aren’t just tests—they’re torture, meant to break people down, body and mind. Even with her powers and confidence, Wanda shows the same signs of strain. She's slight, frail, and clearly, she's had as rough a time as anyone else here.

This time, you come prepared with a metal chair and a freshly prepared tea set next to it, and take a seat across from her.

“How are you holding up?” you ask, although the answer seems painfully obvious.

Wanda shrugs, barely moving, as if the effort to appear okay is too much for her. But then she surprises you.

“How long until Hydra enhances my powers?”

You weren’t expecting that. After everything she’s been through, she’s asking for more? You thought she’d be wary, maybe even broken by now. But the question says otherwise. She’s been through hell, and she’s still pushing forward, demanding more. Is she courting death?

“You seem in a hurry,” you say, hiding your worry behind a soft chuckle.

Her eyes narrow. “I didn’t come here to wait around. If they want to use me, they need to make me stronger.”

Use me.

How disconcerting. She’s asking for more—more pain, more trials. As if everything she’s endured isn’t enough, as if she needs it to become something greater. It’s reckless and foolish, to say the least.

“We’re moving as fast as we can—”

“Move faster.”

“Wanda,” you say quietly. “What you’re asking for... it could break you.”

“I’m already broken,” she declares, cold and matter-of-fact. “If I weren’t, I wouldn’t be here.”

It’s only when you notice the disgust in her eyes that you realize you’ve been looking at her with pity. Wanda is about to snap back, likely to tell you she doesn’t need your sympathy, when her expression shifts abruptly to one of curiosity.

She tilts her head, studying you—or maybe, with the mirth in her eye, it’s more like she’s mocking you.

“You look at me like that again, and I’ll ask you a question,” Wanda says, her voice low, almost a whisper.

You stiffen, uncertain of what's coming next, but before you can say anything, she continues.

“Do you want to fuck me?”

The question startles a laugh out of you, abrupt and a bit too loud—almost like you're trying to convince both yourself and Wanda how absurd she’s being. But as the laughter dies down, you feel your face heat up, your cheeks flushing a telltale red that you can't hide.

“No,” you say, your gaze dropping to the floor as you shake your head. You clasp your hands behind your back, one finger nervously picking at a cuticle. “This isn’t what this is about.”

Wanda smirks slightly, her lips twitching, amused by your discomfort. “Isn't it?”

For a split second, you start to doubt everything. Did you really want to sleep with her? It's been ages since you've even considered intimacy with anyone—maybe too long. Life here doesn't leave space for that kind of thinking, and even if it did, the situation wouldn't allow it. Your heart's been shattered so often you're sure there's nothing left to give—especially not to someone you've only known for a week.

Wait—love?

This is, at best, lust—nothing more.

“No,” you repeat with more conviction.

Wanda’s smirk fades into a slow, knowing smile. “Fine. Just know the offer stands if you ever change your mind.”

A proposition. It’s not the first time you’ve received one, but this offer sticks with you longer than you’d like. Wanda’s already spent too much time in your thoughts, and you’re desperate to shake her off and get back to the task at hand. But she makes it maddeningly hard to do so.

Without looking at her, you clear your throat and begin the routine interview. You refuse to focus on the fact that she’s just openly considered a physical encounter with you—and you’re definitely not considering it in return.

“Have you noticed any unusual side effects since the last session? Headaches, nausea, dizziness?” you ask, skipping the pleasantries.

“No,” she says dryly. “No headaches. No nausea. No dizziness.”

You jot down her answers, ignoring her evident disinterest in the proceedings.

“Any changes in your sleep pattern?” you continue.

“No.”

“Any unusual pain or discomfort?” you ask, forcing yourself to meet her gaze, but her focus is on the rings on her fingers. The prisoners—volunteers, you correct yourself—aren't supposed to keep any personal items. It baffles you how she managed to hold on to those cheap pieces of metal and silver.

It takes Wanda a moment to respond. “Just the usual soreness.”

You suspect it's more than just soreness. She’s probably downplaying the pain, so you make a note beside her answer.

“Alright, we’ll keep an eye on that. Any changes in your mood? Irritability, anxiety, anything like that?”

Wanda shrugs. “Depends on the company, I suppose.”

You resist the urge to roll your eyes. “Noted. We’ll stick with the same regimen for now. Any concerns or questions about the next phase?”

“What happened to them?” Wanda asks, steering the interview off course.

Annoyance flares up as she probes again, prying into your business. “Don’t you already know?” you snap, your patience wearing thin.

But Wanda doesn’t even blink. She isn’t scared, and that just irks you even more. She should be, if she knew what you’ve done to others who’ve pushed your buttons. You’ve never hesitated to throw your weight around with those who make your job harder.

“Sometimes what really happened and how we remember it are two entirely different stories,” she says, taking a deep breath before she continues. “Our mind protects us from the truth. It obscures what’s real, and what’s not becomes all we remember.”

You're stone-still, your mind drifting back to the past Wanda keeps prodding at. You don't even have a picture of your family anymore. Their voices are gone from your memory, and you're barely holding onto their faces. It used to tear you apart, thinking about them, but now there's just emptiness. You realize Wanda can’t rattle you—she has no leverage because there’s nothing left inside you to disrupt.

You’ve got nothing.

“Y/N?” Wanda presses, her features tightening with concern.

You consider throwing her blunt words right back at her, but you hold off. Instead, you set the clipboard down on the counter with a soft clack. Turning to the medical cart, you grab a tray of needles and tools, then bring it over to her bed. Wanda's eyes widen slightly, and she scoots back as you sit down on the edge of the mattress. It’s satisfying to finally see her react with something other than that usual smug, unshakable attitude. You pick up a syringe, fill it with a bright yellow liquid from an unmarked bottle, and swipe a cotton ball soaked in alcohol over the top.

“What’s that?” Wanda asks evenly, though you can detect traces of doubt in it that suggest she’s trying to put up a brave front.

“Supplements.”

Wanda raises a skeptical brow.

You lift the syringe slightly, letting it catch the light so she can see exactly what you’re holding.

“May I?” you gesture toward her arm.

Wanda eyes you warily, then gives a quick nod.

With her consent, you scoot closer until your knees almost touch. You gently roll up the sleeve of her scrubs, exposing her arm. This close, you can see the goosebumps on her skin and feel the slight tremors running through her. You hadn't noticed before, but she's shivering—not from the cold, but probably from a fever.

Instinctively, you press your palm against her forehead. Wanda flinches but doesn’t pull away. Slowly, she settles into your touch and lets out a small sigh.

“You're hot,” you blurt out, and then quickly realize the unintended double entendre. Fortunately, Wanda lets it pass without comment. You retract your hand and hold the syringe up to her arm, poised but something stops you.

“What are you waiting for?” Wanda prompts impatiently.

You're thinking of straying from the usual protocol, knowing the yellow meds might worsen Wanda's condition, especially with her fever spiking. Deciding against it, you put the syringe down and grab another bottle off the cart, this one filled with a clear liquid.

“Change of plans,” you murmur, prepping the new syringe. You nod at her for her arm, and she shifts closer, making it easier for you. When you depress the plunger, it's quick—so quick that Wanda barely feels the needle's prick.

You pull out the needle and press a small bandage onto the spot. “All done,” you announce.

Wanda massages her arm, feeling no real pain at the injection site. “T-Thanks,” she murmurs softly.

You acknowledge her gratitude with a nod and start collecting your notebook and tools. As you rise to leave, Wanda's hand shoots out, her fingers wrapping around your wrist urgently. You turn, meeting her striking, green eyes.

“I’m sorry about your family,” she murmurs quietly. Her words solidify your suspicion: she came to Hydra with powers already in tow. Mind reading or memory extraction would be invaluable to Hydra, and now, with even more power at your fingertips, you find yourself hesitating to use it.

If Dr. List catches wind of your hesitations, the reprisals will be brutal.

You glance down pointedly at where she's holding your hand, but Wanda doesn’t let go.

“It was a long time ago,” you whisper.

“Time doesn't really heal that kind of loss,” she says, still holding onto you.

“No, but you learn to live with it,” you reply, feeling the truth of your own words.

Wanda's hold slackens but remains. You feel awkward standing there, yet something holds you back from pulling away. You hadn't realized until now how starved you were for such a simple, human connection.

“I lost my parents the same way,” she shares.

“I'm sorry,” you say, and you really mean it. You can't read Wanda like she seems to read you, but in this brief moment, with the walls down, you decide to ask, “Is that why you came to us? To avenge your parents?”

Wanda's grip loosens completely, and she lets go of your wrist. You rub the spot where her fingers were, still feeling the warmth she left behind.

“‘Avenge’,” she spits out. She draws her knees to her chest and hugs them close. “I hate that word. Pietro and I, we're here to stop them. I wish… I wish they’d just leave Sokovia alone. They won’t leave because we can’t fight back.”

Your own past with Hydra comes to mind as she speaks. Back then, you joined because you were out of options. No country to fight for, no people to call yours. It strikes you how different Wanda's motivations are—rooted in something far more personal and noble. She deserves more than what Hydra can offer.

Wanda looks at you, waiting for an answer. When you don't say anything, she pushes, “Do you think we made the right decision coming here?”

You're all too aware of Hydra’s real agenda. They're not about peace. They're here to extend their control, to bend the world around their so-called divine mission.

“Sometimes, you don't know if it’s the right choice until it's too late to change it,” you say, knowing it’s not much of an answer. It's just the bitter truth you've come to know. It's all you can offer Wanda.

“Can you do me a favor, Y/N? Will you look after Pietro?”

The same way you’ve been looking out for me, Wanda thinks to herself, relieved that there’s only one telepath in the room.

“No promises,” you say.

Wanda gives a slight nod and starts to withdraw again. She settles back down on the cot, turning away from you, the conversation clearly over.

Lev sneaks into your room just before midnight, the door giving a soft creak as it swings open. Though friends, you typically keep to your own spaces. You blink sleepily at him, fighting to sit up and shake off the grogginess.

“Dr. List decided to skip ahead,” Lev says in a rush, closing the door with a gentle click. “He’s moved forward with exposing the twins to the scepter.”

“When?” You're wide awake now, sitting bolt upright in bed.

Lev’s eyes dart to the small window in your room before returning to you, his Adam's apple bobbing as he swallows hard. “An hour ago.”

That can’t be good. It’s far sooner than anyone had anticipated. Dr. List’s decision to advance the timeline without further testing could have unpredictable consequences. You swing your legs off the bed, your brain ticking through the possible scenarios.

“What’s the status now? How did Wan—the twins react?” you ask, grabbing your jacket and shoes and throwing them on without taking your eyes off Lev.

He shakes his head. “I don’t know. They rushed them to the Observation Chamber right after the exposure. Everything’s been kept under wraps.”

You pace a few steps, mulling over your next move. Exposure to the scepter has been lethal for everyone. Even with Wanda's unique abilities, there’s no guarantee she’ll pull through when others haven't.

“We need more information. Can you get access to the observation logs?”

Lev nods, though his expression shows his apprehension. “I’ll try. But security has been tighter since the exposure.”

You catch the anxious twist of his mouth at the idea of sneaking around, and choose to spare him the risk. His relief is palpable when you tell him, “I'll handle it myself.”

He sighs in relief. “Be careful…”

Only a select few can get into the Observation Chamber, and your badge isn’t on that list. You're going to need something stronger than just caution.

You slip your underwear back on, feeling Laura’s eyes tracing the contours of your body.

After Lev left, you headed straight for her. Laura Brown, the Hydra director's daughter, hadn't seen you in almost a year, but the nature of your previous encounters left little doubt she'd be open to reconnecting.

Laura reclines on the bed, a sheet loosely draped around her, smirking as she watches you. “I knew you'd come back eventually,” she purrs, a gleam of satisfaction in her eyes.

You straighten up, deliberately avoiding her eyes as you button your shirt. “I need a favor, Laura.”

She leans back against the headboard, the sheet falling to her waist and revealing her bare chest. “This sounds serious.”

“I need to get into the Observation Chamber. Tonight,” you say. You despise asking her—or anyone, really—for favors, but you need to see Wanda. It's imperative.

Laura's eyebrows go up, her smile growing. “Direct and desperate. What's in it for me?”

“What do you want?” you ask, even though you already know the answer.

She thinks it over, then answers, “Keep me company tonight, no strings attached. Just like the old days.”

“Done.”

Laura claps her hands, clearly pleased, and tosses you the badge from the bedside table.

You pick it up, feeling a bit degraded, like you're picking up coins someone's thrown your way. “I'll be right back,” you promise.

The guards give you weird looks as you show up at the Observation Chamber. They had clear orders: only Dr. List or Baron Strucker can go in. But dropping the director’s daughter’s name does the trick. You flash her badge and they let you pass, no more questions asked.

The hallway is pitch-black. This place had been sleeping until now, woken up by the fact that Pietro and Wanda Maximoff hadn’t died like the others who met the scepter. Clearly labeled doors mark the new, grim function of the space.

You think about heading straight to Wanda's room, but you remember her earlier request and decide to check on Pietro first.

The soft beeping of monitors greets you as soon as you step inside his room. He's in rough shape, alive but barely hanging on. You quickly check the chart posted next to the door—it shows low blood pressure and a high dosage of Epinephrine administered, with a note that his chances of survival stand at only 57% as of 11:30 PM.

He looks much thinner and more worn than the last time you saw him, his condition evidently worse. His eyes are bloodshot, his skin pale and stretched tight over his bones. As you move closer, you notice his body trembling, a sheen of sweat covering him despite the room's chill.

Quickly, you pull the extra covers from beneath his bed and wrap them around him, trying to stabilize his shivering. Then, you snag a water bottle from a nearby stand, helping him take slow, measured sips.

Pietro looks at you, his eyes filled with confusion and pain, struggling to form the words. “Who are you?”

“Just someone who made your sister a promise,” you say, scooping up some water in your palm and gently drizzling it over his head. Pietro sighs in relief. “Get some rest now, and try not to die.”

His eyes flutter shut in seconds, his breath smoothing out as sleep claims him. You linger just a moment to make sure he's really out, then hurry off towards Wanda's room. Your heart pounds in your chest, fear pulsing through you. Pietro was in rough shape; how bad might Wanda be? You cling to a shred of hope that she's holding up better.

The air stays heavy as you enter Wanda’s quarters. You tread lightly, making sure not to disturb her sleep, and check the medical chart by her bed. Unlike Pietro’s dire prognosis, Wanda's stats are steady, but still troubling. Her breaths are regular, without the distressing shivers that torment her brother.

What strikes you is how normal, how peacefully she's sleeping, despite her recent exposure to Loki’s scepter.

Relieved to see her condition isn’t more severe, you end up at the foot of her bed. There isn’t much to do after confirming she’s stable, and you know you should head back to Laura. But leaving Wanda’s side proves difficult once you're there. Almost immediately, your mind floods with ideas on how to get her out of Hydra’s clutches. If they fully realized her potential, it wouldn't just be dangerous for her—it'd be catastrophic for anyone in their path. Internally, you start plotting escape routes and thinking about who might be willing to help.

It’s strange to think how you went from one of Hydra’s most devoted agents to scheming against them.

Lost in your plans, you're jolted back to the present when you feel a gentle nudge against your thigh. Wanda's foot is pressing against you. She's awake. You look up to find her eyes open, wary and searching.

“Y/N,” she murmurs, her voice raspy from lack of use. “What—what happened?”

You subtly shift on the bed, making sure her toes aren't touching you anymore. You're not sure when you became so acutely aware of Wanda’s proximity, or of the points where your bodies meet.

“What do you remember before all this?” you ask.

She rubs her forehead, straining to recall. “There was a room... a stone emerging from the scepter. Bright lights… then nothing.”

You nod, already knowing half of what Wanda just told you. This is the first time anyone has lived to tell about their experience with the scepter, and you were hoping for more insights into how it unleashes its power. You’d be lying if you said you hadn’t thought about trying it yourself, wondering if you could resist its effects. Being Hydra, curiosity about power was a constant temptation.

“You weren't supposed to be exposed to the scepter yet,” you admit quietly. “Dr. List sped things up, maybe because he suspected—”

“Pietro,” she cuts in, her thoughts finally catching up. “Was he exposed to it too?”

“Yes.”

Her eyes widen, clouded with worry. “Is he okay?”

“He’s alive,” you say. “I just saw him before coming here. He's stable, but it’s precarious.”

Wanda’s face crumples as soon as the words leave your lips. Before you can react, she throws her arms around you, her face buried in your shoulder. You freeze for a moment, uncertain how to respond. It’s been so long since you’ve held someone like this, since you’ve allowed yourself to care enough to even consider it. But then you feel it—tears, warm and wet against your neck. She’s crying.

After a moment, you hesitantly wrap your arms around her, holding her as she trembles against you. You can feel her fear, her desperation. It cuts through your defenses, the ones you’ve built so carefully over the years.

You tighten your hold on her, offering what little comfort you can, but inside, you’re battling your own fear. You can’t afford to care about her this much—not here, not now. But as you hold her, feeling every shake of her body, you know it’s already too late.

Wanda's sobs slowly subside, and you pull back slightly, intent on offering some kind of reassurance despite how foreign it feels to you. You reach up, brushing away her tears with your thumb, trying to find the right words, but they don’t come. Instead, as your hand lingers on her cheek, she pins you with a quiet stare. Before you realize what’s happening, Wanda leans in and presses her lips softly against yours.

The kiss is brief, just a fraction of a second, but it leaves you utterly breathless. She pulls back almost immediately, watching you, waiting to see how you’ll react. For a heartbeat, you're stunned, but then something ignites inside you, something you’ve been holding back without even recognizing it.

Acting on pure impulse, you reach up, grasp the back of her neck, and pull her in for another kiss. In an instant, you take control effortlessly, letting the animalistic and Hydra part of you come to the forefront. Your thumb presses roughly against her chin, coaxing her mouth open, and you slide your tongue in, staking your claim. Wanda responds with a gasp, her hands clutching at your shoulders, but you’re too far gone to think about anything except the taste of her, the way her body molds against yours.

You tilt her head back, deepening the kiss further, your other hand sliding down to grip her waist, pulling her closer still. The feel of her, the heat of her skin under your fingers, it’s intoxicating, and you can’t get enough. You've never allowed yourself to want someone this much. Just as you think you can't hold back any longer, Wanda's hand captures yours and guides it under her shirt. You're startled to find out she's wearing nothing underneath when your knuckles brush against her hardened nipple. That unexpected discovery is what compels you to pull back.

Wanda's lips leave yours with a wet sound, and she begins kissing down your jaw to your neck.

“Wanda, wait—”

“It’s okay, Y/N,” she says. Her breath is hot against your skin, and you feel her tongue trace a line up to your pulse point, leaving a fiery trail that makes you shiver. “You can claim your reward, you can have me.”

Her words snap you out of the haze, that single word—reward—ringing in your ears like a warning bell. You quickly place your hands on her shoulders, pushing her back gently but firmly.

Wanda blinks, confusion and hurt flashing in her eyes as she looks up at you. “What’s wrong?” She knows she’s attractive and has already glimpsed your desire for her during your visits, reading it in your thoughts. It’s why she finds your rejection so absurd—frustrating, even, given her openness.

“I'm not here for that,” you say, your voice coming out rougher than you intended.

“Then why are you here?”

You feel a blush creeping up your cheeks, unaccustomed to openly discussing your feelings. “I came to see how you're doing after... after the scepter.”

“I'm fine,” she answers flatly.

You nod, still feeling the residual heat of her closeness. “Do you feel any different?” you ask, partly out of concern but mostly to shift the conversation elsewhere.

“I'm just tired,” Wanda says, closing her eyes and running a hand through her tousled dark hair. “Can we do this tomorrow?” She sounds a bit let down, assuming you're here just for a routine check—looking for any new powers or changes—as if she had hoped for something more personal.

“I'm sorry,” you quickly say. “I’m not here on any official orders. In fact, I shouldn't even be here.”

This revelation softens her look, her eyes narrowing slightly with renewed interest.

Taking a deep breath, you continue, “I'm working on getting you and Pietro out of here. It's not set yet, but—”

“Out of here?” Wanda cuts in, her eyebrows knitting together in puzzlement. “Why would I want to leave?”

“You got what you came for, right? The power of the scepter? Now you can leave. Hydra isn’t what you think,” you explain, trying to make her see the danger.

“Look who's acting all self-righteous all of a sudden. You've been here for years, and I've seen you do things,” she retorts sharply.

“Stop looking into my mind,” you snap, irritated by her knack for sifting through your thoughts without permission and using your past against you. Just because she can doesn’t mean she should.

“You’re saying I’m wrong?” she sneers.

You shake your head. “Look, I’m just trying to help—”

“If you really want to help, just do your job.”

Her words hit you harder than any physical blow could. You knew better than to let someone get this close, to allow your emotions to cloud your judgment. But there’s no one to blame here but yourself. Wanda didn't even have to do much to earn your solicitude; it was your own doing, your own need to make things right that led you here.

Hydra’s training kicks in like second nature, and you shut down the emotions before they can show, your face hardening into a mask.

“Alright, Wanda. I'll do just that.”

It’s easier the second time you’re with Laura that night.

After Wanda's dismissal, you find Laura’s body to be the comfort you need. You lose yourself in her, the way she responds to every touch, every move you make. Pushing everything else from your mind, you focus solely on her, making her come again and again until she’s too bone-tired to do anything but black out beside you.

After it's over, you slip out of her bed, leaving her to sleep off the night’s weariness, and return to your room. You don't think about Wanda. Not even once.

In the following days, Wanda's recovery is swift—too swift for your level of clearance. Dr. List decides she’s beyond your oversight and assigns her to a higher clearance team. You’re left dealing with new recruits, volunteers who are eager yet naïve, none of whom survive the brutal exposure to the scepter. Each failure hardens you a little more, cements the necessity of detachment.

But even with countless deaths on their hands, Hydra doesn't back down. If anything, they’re more driven now, hungry for more power, spurred on by the success of the twins. Pietro develops superhuman speed, a skill Hydra quickly puts to use by dispatching him to enemy territories for intel. Wanda’s abilities become more varied, showing signs of what could be categorized as psionic powers. She demonstrates capabilities that suggest telekinesis, manipulating objects without touching them, and telepathy—which she employs at her whim.

Sometimes you wonder if she ever peeks into your mind anymore. But then, with the kind of power she wields, why would she even bother with what you're thinking? You're not special. Not even your badge, which doesn't get you into sections of the base without currying favor with Laura Brown first.

The Sokovian base is sprawling, and encounters with either of the Maximoff twins are rare but unavoidable. Pietro remembers your visit that night. Now and then, he nods at you politely. Wanda, on the other hand, acts as if you don’t exist. If you pass her in the hallways, she looks through you as if you're invisible. So, you make it a point to stay out of her way, blending into the dull walls and shadows as much as you can.

This detachment suits you in a way. It allows you to focus on your duties, on surviving one day at a time in an environment where the stakes are always high and the consequences often lethal.

It leaves you with nothing to lose, because there's no one left to lose.

Weeks pass quietly until rumors start floating around that Wanda's been seeing someone inside the complex. It’s hard to call it dating, really, since concepts like love and trust struggle to take root in a place as bleak as this. It’s probably just two people keeping each other company through the colder nights. Still, you can’t shake off how much this bothers you.

But it's not surprising. The twins' popularity has only grown, especially since, months later, no one else has matched their extraordinary feat of surviving an Infinity Stone—a term you picked up only after Hydra discovered what was really behind Loki's scepter.

Sometimes, you find yourself observing Wanda from afar, trying to figure out if there’s any substance to the rumors. Who makes her laugh? Who does she choose to sit with at meals? The more you notice your own scrutiny, the more you recognize a feeling of jealousy stirring within you, an emotion that’s prevalent among your peers but not in this regard. You're bewildered and annoyed by your own reaction—why should who Wanda spends time with matter to you? Whatever she does, whoever she fucks—it's none of your business.

You hate this feeling, but you combat it by heading to Laura’s room every night, as if she’s the cure you need to keep yourself in check.

“They’ll betray us someday,” Lev murmurs as you both amble through the dense woods, taking a rare break from the base for a smoke. He breathes out slowly, watching the smoke curl upwards. You don’t have to ask to know he’s talking about the twins.

“No sooner than Hydra will throw us under the bus when the Avengers show up,” you reply, stepping around a fallen branch. “We’re all expendable. You know that, right?”

Lev takes a deep drag, his gaze fixed on the trail ahead. “Yeah, I know,” he says at last, releasing a plume of smoke. There’s something in his eyes, a look that tells you he’s not saying all he could about the twins.

You eye him suspiciously. “There’s something you’re not telling me.”

Lev glances at you, the corner of his mouth twitching as if he's deciding how much to share. After a moment, he nods.

“Okay, I wasn't planning on telling you this yet, but I've been handed a special assignment—the Maximoff Contingency Plan,” he reveals.

You scoff at him. “You’re the contingency plan?”

“No, not just me,” Lev chuckles darkly as he tosses his cigarette to the ground and stomps it out. “I'm involved, but it's more than that. We're working on a weapon, one that borrows from the tech of the Infinity Stone.”

The seriousness of what he's saying sinks in. Leveraging the power of an Infinity Stone means they're not messing around.

“And what's this weapon supposed to do?” you ask, not sure if you want to hear the answer.

Lev’s expression darkens. “You know what weapons are supposed to do,” he says tersely, turning to head back. “Let’s go.”

Hydra does not tolerate treachery. Even the mildest punishment is a swift death—a quick end, but an end all the same.

It’s only a matter of time before the Avengers find the Sokovian Base. Tensions had been mounting and Hydra's movements had become increasingly aggressive, drawing unwanted attention. When it all goes down, you’re in your room, scrambling to suit up and arm yourself with pistols—not to confront the Avengers, who are essentially gods, but to fight for your way out.

As the base descends into turmoil, you hear that Wanda and Pietro are attempting to escape. Hydra has a ruthless protocol for such situations: eliminate the entire unit to prevent any leaks. It's cleaner to destroy and rebuild than to let loose ends compromise the organization. Knowing about the contingency plan to eliminate the twins, you grab your radio and contact Lev, asking where he is.

“You’re just in time. I need backup. I've got Wanda Maximoff in my sights, waiting for the right moment to take her down,” he radios back.

“On it, I’m with you,” you reply, feeling the sweat bead on your forehead as you move toward his location. When you get there, you find Lev, poised and ready, his eyes fixed on the target through the scope of his rifle. You scan the surroundings, looking for hazards until you spot Wanda among the debris. Iron Man's missiles have turned the area into a deadly maze of flying rocks. From her fingertips, streams of red magic swirl, skillfully steering the massive boulders away from crushing both Hydra agents and civilians.

Wanda isn’t trying to escape—she’s helping fend them off. Seeing her save these lives, something inside you breaks. Lev has his rifle aimed at her, ready to pull the trigger while she's busy playing the hero. The possible outcomes flash through your mind: Wanda dead or imprisoned by the Avengers. The thought is unbearable. You've spent months pretending you didn't care, but now, faced with the reality of losing her, you realize all you want is for her to live, to be free—something you've long given up for yourself.

You're about to dissuade Lev, to argue her worth, her potential, anything to stall, when an explosion nearby startles Wanda. She turns, momentarily distracted, and Lev's finger tightens on the trigger, ready to end it all.

But you're faster.

He collapses with a shocked gasp, the life leaving his eyes as he hits the ground. The noise of his body falling draws Wanda’s attention. She turns just in time to see what you've done—for her. Her eyes, wide and questioning, boring into yours.

Why did you save me? They seem to ask you, those green orbs that have hunted you ever since you looked into them. There's no time for lengthy explanations—not that you have a solid one anyway. But with each passing second, the chance of escaping undetected by these so-called superheroes dwindles.

“You need to leave, now!” you yell at her, but she doesn't budge. Instead, she looks at you, really looks at you, for the first time with something other than disdain. It’s the same look she gave you the night the scepter awakened her powers. It’s a look that tells you that maybe she’s been pretending too, these past few months.

You’re about to sprint toward her, to drag her to safety if you have to, when a blur of motion sweeps her away. Pietro appears out of nowhere, whisking them both out of the base before the Avengers close in.

For a second, you're left standing there, surrounded by the wreckage and the friend you just betrayed and killed. There's no time to grieve, no time to second-guess leaving his body behind—it's pure instinct that forces you to move quickly. You head towards an exit known only to the most important figures of the organization, a piece of information you picked up from Laura. She wouldn’t have given it away if you weren’t frequently sleeping together, those personal liaisons caused by trying to forget Wanda.

It’s strange, in a way, how you both just ended up saving each other.

Several weeks after the Avengers demolish the Sokovian base, Wanda finds you at a small cabin you own on the outskirts of Novi Grad. The modest structure sits on a 2-acre plot near the woods—a spot you picked up when your stint in Sokovia stretched past thirteen months. You never really planned on settling here; you thought you’d be moved to another location and sell this land at a profit eventually. But life, it seems, had other plans.

You’re chopping wood beside the cabin when you feel her presence. Dropping the axe, you straighten up and spot her at the edge of the clearing. Your eyes quickly sweep her surroundings for any sign of Pietro, but it appears she has come alone.

“Why did you do it?” she asks once she's close enough. You take a few moments to take her in, hardly believing she's actually here, and touched by the thought that she sought you out. You've missed her presence, even though the last few months have only found you both inhabiting the same compound, breathing the same air but never speaking.

Sometimes, lying in bed at night, you wonder why you can’t shake Wanda from your thoughts. You’ve even entertained the idea that she might have hexed you, that her magic has somehow ensnared your mind and… maybe your heart. It seems like the only logical explanation, because since the day you met, Wanda has never really left your mind.

“I did what I thought was right,” you finally answer, tucking your hands inside your pockets, not knowing what else to do with them.

“He was your friend,” Wanda points out softly.

Your lips curl into a strained smile; of course, she’d know. She knows things about you that you'd never voice out loud. Wanda’s ability to read minds makes hiding anything impossible. Does she understand how deeply you care for her? She must. Wanda has always seen right through you, so why does she need to ask?

“Did you ever think about me after that night?” she asks out of nowhere. The night the Infinity Stone changed everything, when you were closer to her than you’d ever been before.

You're taken aback by her directness. This, too, she probably knows the answer to because you've thought of little else.

“Everyday,” you say.

That night, you invite her to your home, the first person ever to share the space you once believed would always be just yours. Your living room is snug, with a three-seater couch and a medium-sized TV mounted on the wall. There’s also a fireplace that lights up the space with an amber glow as you hand Wanda a cup of hot chocolate.

You and Wanda find yourselves chatting about lighter topics. She shares her favorite shows from childhood, and you're surprised to learn she’s a big fan of American sitcoms. You enjoyed them too when you were younger, but not to the extent that you'd watch entire seasons over and over like Wanda did. Your preference leaned more toward books, gobbling up Agatha Christie novels when you were younger.

While you're in the middle of sharing a particularly funny memory from one of those old sitcom episodes, Wanda suddenly leans in and kisses you. Though your first instinct is to dive back into the kiss, you pull back instead. The last time you were this close, things escalated quickly before they crashed and burned.

“Are you sure?” you ask, searching her eyes for an answer. Learning from past mistakes, you want to make sure it's what she really wants.

She nods, her eyes steady and invitingly dark. “I’m sure.”

You close the distance between you, kissing her to your heart’s content. Before long, clothes are discarded, and you move from the couch to the bed, leisurely exploring each other, discovering how to bring one another to new heights of pleasure.

As you lie next to her afterward, breathless and tangled in the sheets, you realize there’s no way to pretend anymore—you care too much to go back.

The quiet doesn’t last long.

Tony Stark’s experiment goes awry, giving rise to Ultron—a global threat with ambitions that soon become clear. It seeks to bring about what he perceives as peace, by any means necessary. And just when you thought you and Wanda might have found some peace, she tells you she’s joining Ultron.

“It’s too dangerous,” you tell her. The twins and a robot against the entire Avengers team? The numbers alone put the odds against them. “We can stay here, help the people around us, and actually make a real difference.”

She shakes her head, her jaw set. “You don’t get it,” she argues. “You never will. You’re not…”

Special. Go ahead, Wanda, say it. Say what you really think of me.

“...you don’t have powers. You don’t know what it’s like to be able to change things and then just stand by, powerless.”

You were bracing for it, but it hurts all the same.

“So what am I then, Wanda? Just a bystander? Someone not worth listening to because I don't have powers?”

“I’m saying I have to do this,” Wanda mutters solemnly. “I’m the only one who can do this.”

You can see in her eyes that she’s already made up her mind. You’re still racking up your brain for something that might make a difference but she speaks again.

“I’m doing this for Sokovia,” she says quietly. “For everyone who's suffered because of Stark.”

You say nothing. Her fierce loyalty is one of the things you adore about her.

Wanda steps closer, her hand reaching out to touch your face, her thumb tracing the line of your jaw. “I’ll come back,” she promises. “When this is over, I’ll come back to you.”

You nod, resigned to the reality that you must let her go. “I’ll be here,” you say, your voice thick with regret that you can’t do more to protect her, to make sure she’s safe. “Waiting for you, right here.”

Pietro Maximoff dies riddled with bullet wounds—over a dozen of them. You learn the details of his death through a tabloid, days after witnessing Novi Grad being torn from the ground.

A week later, Wanda comes back to you, just as she promised, but she’s not the same. The light in her eyes is gone, replaced by a ghostly void. It’s a look you know all too well, the same one you’ve seen staring back at you in the mirror for years.

A loss of purpose.

In the days that follow, you try to restore some normalcy, but nothing feels right. You cook meals she barely touches, sit beside her during long stretches of silence, and listen when she occasionally finds the strength to talk. It's tough, seeing her struggle, but you stay by her side, hoping things will begin to heal.

But they don’t.

Every day, you see it—the guilt, the pain, the loss. She tries to find reasons to keep going, but nothing seems to hold. And as much as you want to be the one to help her, to pull her out of this darkness, you know you're not enough. Not this time.

Wanda is adrift, and no matter how hard you try, you can’t anchor her to this life you’re trying to build. She’s lost her brother, her home, and whatever sense of justice she thought she could achieve by joining Ultron. And you—you’ve been running from your past for so long, and you’re simply tired of it.

You start thinking about what’s best for her, about what she needs to move on and find a new purpose. Deep down, you recognize that maybe the best way for her to truly heal is if you step aside.

Like Wanda, you don’t trust Stark. So, with the skills you’ve honed during your time with Hydra, you manage to find a way to contact Steve Rogers instead.

The conversation happens one afternoon, over a phone call. You tell him everything—your past with Hydra, the things you’ve done, and why you’re ready to turn yourself in. He listens without interrupting, letting you confess everything. You mention that Wanda's with you, and make it clear this isn't about trying to reclaim some lost sense of patriotism. You're doing it for her.

“You did the right thing by coming to me,” Steve says when you finish. “Wanda has so much potential. She deserves a chance to become who she’s meant to be.”

“I know,” you reply, your voice dropping to a whisper. You’ve known it all along, perhaps better than anyone. It’s why you’re doing this, even though it feels like tearing yourself apart.

Over the course of the conversation, you and Steve work out an agreement. You’ll serve a reduced sentence in exchange for all the intel you have on the remaining Hydra heads still out there. You’ll act as an informant, helping to bring them to an end, once and for all. And maybe, after you’ve paid your dues, there’ll be a chance for you to live something close to a normal life. When the call ends, you're washed over with a feeling of real freedom, despite knowing it might cost you Wanda all over again.

Later that night, you find Wanda in the kitchen, stirring a pot and humming a tune you don't recognize, looking more alive than she has in weeks. Seeing her like this is bittersweet; she’s here, but soon, you might not be.

She notices you and gives a small, relieved smile. “You’re back,” she says.

“Yeah, I had a craving for this specific brand of red wine…” You say, tossing out a casual lie since you did swing by the grocery store, and errands are a regular part of your routine.

“Red wine?” Wanda perks up. “Perfect, I’m just about done with dinner. It should pair nicely.”

The kitchen smells foreign but amazing, and you can't help but compliment her. “It smells incredible in here,” you say as you start setting the table.

Wanda smiles softly as she turns down the stove and grabs a bowl to serve. You set out two wine glasses and place them on the table.

You pour a generous amount of red wine into each glass and watch as Wanda carries the meal over.

“Thanks for dinner,” you say with genuine appreciation.

“Try it and tell me what you think,” she urges, her lower lip caught between her teeth as she watches you with anticipation.

You take a bite, the flavors unique and perfectly blended. Looking up, you see her watching you, eager for your reaction.

“Well?” she asks impatiently.

You laugh, then wipe the corners of your mouth with your thumb. “Don't you already know?” you tease, hinting at her telepathic abilities.

Wanda pretends to be offended, crossing her arms. “I haven’t read your mind in a long time.”

You can’t help but be a little skeptical of her claim. “Since when?”

Wanda blinks, her gaze veering away as she hesitates, clearly not eager to revisit the memory.

You give her a gentle nudge, mimicking her earlier prodding “Well?”

Wanda turns to face you, her bottom lip pushed out slightly in a pout. “Since I saw you were sleeping with the director’s daughter.”

Saw? Did she see everything I did with Laura? The thought that Wanda witnessed it all like a scene playing out in front of her makes your stomach twist. You blush, mortified. “I’m sorry you had to see that,” you mumble, looking away.

Wanda shakes her head, trying to dispel her lingering jealousy. “I shouldn't have been peering into your head that much to begin with,” she says softly.

Your ears catch on a particular phrase. “‘That much’?”

It’s Wanda’s turn to blush, her cheeks flushing deeper as she quickly downs the rest of her wine and then holds out her glass for a refill. Deciding to show some mercy, you pour her another glass without prying further. The conversation stalls into an awkward silence until you finally decide to break it by giving your verdict on the dinner.

“By the way, this is delicious,” you say, adding another serving to your plate.

Wanda's face lights up, her smile stretching so wide that she looks almost like a giddy child. But then, she is young. You can’t help but imagine how she'll fit in with them. Steve, in particular, seems like he’d be good for her. Even though you don't know him well, that one phone call was enough to get a sense of his character and leadership. He seems like the kind of guy who'd really look out for Wanda, in ways you can't.

“Are you doing anything tomorrow?” Wanda suddenly asks.

Your smile falls a little, but you manage to keep it there. You wish she could read your mind now, that she could understand the choices you’ve made today better than you could ever explain them. You’re not abandoning her—you’re setting her free from this life. You've done too many unspeakable things to ever truly deserve a quiet life with her. Eventually, your past will catch up to you, and the opportunity for Wanda to do something good might slip away if she’s still tied to you. You wish she could see how much you care for her, how much she’s changed you. Because of her, you’ve felt the desire to be good again, to be human again. To open yourself not just to grief, but also to love.

You wish—

“Maybe we can visit that lake you mentioned? I've spent my whole life in Sokovia but never really left Novi Grad,” Wanda suggests.

“Rain check?” you say, trying your best to sound like tomorrow isn’t goodbye. Steve wanted to move quickly, and you’ll be expecting him and a small squad tomorrow, no later than noon. “I’m thinking I might just stay in, catch up on some reading.”

Wanda cocks her head, a puzzled look on her face. You’ve been the one pushing her to get out of the cabin more, so your answer isn’t what she’s expecting. But she likes the idea. She just wants to spend time with you. The hole Pietro left in her heart is only bearable when she’s with you.

“Okay,” she mumbles, starting to clear the dishes. You place a hand over hers, silently telling her you’ll take care of it later. Leaning in, you plant a soft kiss on her lips.

“You want to go to bed early?” you whisper quietly, tucking a strand of hair behind her ear.

She looks up at you, a playful gasp escaping her lips.

“Just to sleep,” you add quickly. I just want to hold you all night, one last time.

“I might not be sleepy right off the bat, maybe if you tire me out—”

“Naughty,” you chuckle softly, giving her nose a gentle tap.

“You love it.”

“I—” Love you. You want to say it, but you don’t want to make it harder for you both when the time comes.

Without another word, you grab her hand, holding on to this moment, to her, for as long as you can.

#wanda maximoff x reader #wanda maximoff imagine #wanda maximoff x you #wanda x you #wanda maximoff #unbetad #my writing #my fic #elizabeth olsen x reader #elizabeth olsen #wanda maximoff fanfiction #pietro maximoff #gender neutral reader #hydra #avengers age of ultron #Steve Rogers

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ckret2 · 11 months ago

Text

Chapter 41 of human Bill Cipher being really sick of being the Mystery Shack's prisoner: after absolutely terrorizing Gideon for projecting used car ads into Bill's dreams, tries to blackmail Gideon into working for him again.

But not before showing some unexpected sympathy for the plight of a child psychic on whose shoulders the family's financial future rests.

####

Dipper and Mabel were in the middle of a race on a roller coaster track when Bill wandered back downstairs. He sat on the couch armrest next to Mabel and precariously balanced as he crossed his legs. "So I've been thinking over this whole thing," Bill said. "I think I should apologize to Gideon."

"Work that out all by yourself?" Dipper glanced at the clock. "Wow. And it only took you half an hour."

Mabel finished a lap. While the roller coaster track slowly lifted her car to the top of the hill to start the next lap, she turned to give Bill an appraising look, ready to assess his work. "Apologize for what?"

"For terrorizing him! Is this a trick question?"

She nodded slowly—a little skeptical, but so far so good—but had to look away as she regained control of her car. "What's your angle?"

"I'm equilateral, work it out."

"Shut uuup, I'm serious."

"Why do I need to have an angle? Maybe I want to practice some of the apology lessons they're teaching on Color Critters! Aren't you the one who wanted me to be a decent person? You should be thrilled. You are thrilled."

"Bill."

"Okay fine, I want you to stop looking at me like I'm evil incarnate over a silly little prank letter." He nudged Mabel's head with his elbow. She smacked his arm away. "Isn't that the only reason anyone apologizes? To stop people from getting mad at them?" He lifted his eyepatch and squinted at the screen. "Goose in the left barrel."

Mabel swerved left. "Yes! Eat tail feathers, Dipper!"

"No no no no—!" His anguished groan mingled with angry honks. He tossed down his controller as Mabel sailed past his disabled car. "I'm not playing with Bill in the room."

Mabel laughed. "You're a sore loser!"

"I'll be out of your matted hair in a few minutes," Bill said. "You're cranky, go get a juice."

Dipper stomped from the room, grumbling. "Whatever, I'm getting a snack." He pointed at Bill, "Not because you told me to! I'm just hungry! It's got nothing to do with you!"

"Sure." Bill nudged Mabel again. "C'mon, let me use my training. Don't think I haven't noticed you're trying to mold me into a model citizen. Why bother if I never get a chance to act like one?"

Mabel looked at him thoughtfully. "You know what? Okay. I guess not wanting people to be mad at you is a good enough reason to apologize." She'd been hoping he'd land on genuine remorse, but she'd take what she could get.

"Great! Fisherman's out, Questiony's working, Sixer's gonna be in his cave til dinner, Dolores doesn't care—" Bill gestured toward the door, "so let's get the bracelets and get to the kid's house while the adults are distracted."

Mabel grimaced. "Oough. Right. We have to actually visit him."

"Unless you want me to mail an apology letter—"

"Definitely not." She sighed. "Well, if it's for the greater good... put on something other than a hoodie and let's go."

"You got it." Bill hopped off the couch and swung with one hand around the doorframe as he headed to the stairs.

####

Dipper tried to protest, but he'd missed his window to talk Mabel out of it; and so Bill and Mabel headed out, with Bill in a loose smiley face-covered Hawaiian shirt—Mabel approved of the friendly message—an undershirt, the leggings that looked like jeans, and his dress shoes. In other words, about as disarmingly unthreateningly un-Bill-like as he could get. He seemed to get bouncier and more energetic the longer they walked outside, until by the time they were turning onto Gideon's street he was cartwheeling up the sidewalk.

Bill waited for Mabel to open the gate in front of Gideon's house; but while Bill blithely passed through, Mabel lingered behind a few steps. Bill paused and glanced back. "Hey. All good, star girl?"

"Yeah." Mabel laughed nervously and caught up. "Just... haven't been to his house since before he got weird. Kinda gives me the willies now."

"Can't blame you. This is the guy who agreed to be my sheriff in exchange for custody of your bubble key."

Mabel cringed. "Did he really?"

"Oh yeah. Think he was planning to visit you in there until he wooed you? I never asked him. I didn't want the details."

"Ugh." Mabel shuddered.

Bill paused. "Maybe I shouldn't have mentioned that ten feet from his front door."

"It's... it's fine." She took a deep breath and slowly exhaled. "Greater good. Right?"

He didn't answer immediately, tapping a foot as he thought. "Listen. Once we're in there, do you want me to go somewhere private to talk with him? So you don't have to worry about him leering at you the whole time?"

"Would you?" Mabel's shoulders slumped as a little tension eased up, relief obvious on her face. "But how will I know if you've apologized properly?"

"That little tattle will tell you if I do an awful job." Bill laughed. "Come on! I don't need you grading me on a rubric! Gimme a chance to prove I can say 'I'm sorry' without my life coach telling me how to behave."

"Thanks, Bill." She gave him a quick hug.

"Sure, any time kid. I'm not about to let any creeps get to you on my watch." Bill stretched his arms out, fingers laced together. "Ready?" When Mabel nodded, Bill knocked on the door.

After a long moment, a worried-looking, gray-haired woman opened the door. "Hello?"

"Good afternoon, Mrs. Gleeful!" Bill offered a partial bow. "We're here to visit Gideon, he should be expecting us. Would you let him know we're here?"

"Oh. Yes, of course." Her voice was a hushed murmur, as though she were talking to herself—or perpetually concerned about being overheard. She didn't raise her voice much as she called into the house, "Gideon? You have visitors."

Voice muffled, Gideon shouted from upstairs, "Who is it!"

Joy glanced over Bill and Mabel, but her gaze lingered on Mabel's face. "Oh. Aren't you that girl he...?"

"It's Mabel."

Joy said, "It's Mabel, and—"

Gideon let out an alarmed squawk. "Ohmygoodness. JUST A MINUUUTE! Where did I leave my cologne—"

Joy watched the ceiling nervously, listening to the subtle thuds.

Bill glanced her up and down, as though sizing up what he had to work with; and then he smiled brightly and said, "Well, I'm sure the little star's preparing a big entrance! Shall we wait inside?"

Joy started a little. "Oh—yes, of course. Please, come in." She pulled the door open wider and gestured to the sitting area.

Bill and Mabel took a seat on the couch. Bill crossed one ankle over his knee in a casual figure 4, and gestured to the armchair as though he were the host giving his guest permission to sit. Joy hesitated, but took the seat, sitting straight up without touching the back of the seat, feet together and hands laced over her knees.

"And how has Gideon been lately?" Bill asked. "We haven't had a chance to catch up since last summer!"

"Oh—I'm sure he's probably fine," Joy said, eyes darting around—to the clean carpet, to the framed pictures hanging straight on the wall, to the doorway into the kitchen.

"'Probably'?" Bill echoed.

"Well. He's really closer to his father, you see..."

"Nonsense." Bill lowered his voice conspiratorially. "I trust a woman's intuition on this sort of thing." He paused. "I'd wink here, but uh..." He gestured at his eye patch and shrugged with a helpless grin.

Joy curled her lips into her mouth and, for the first time since she'd opened the door, for a fraction of a second, nearly almost smiled. But it faded quickly; and when she spoke, her voice was low enough that Mabel had to lean halfway across the coffee table to hear her. (Bill didn't even move.) "You should probably know before you see him: he... has seemed a little bit cranky, recently."

"Oh?" Bill prompted.

(Mabel mumbled, "'Recently'?" and Bill nudged her.)

"Nothing like he was when he—" Joy faltered and quickly course corrected, "before his arrest. But, a bit. But then he's going through so much—reintegrating into life on the outside, trying to make friends at school..."

"Say, that's nice to hear! Has he made many?"

Joy hesitated. "He's always been... such a precocious child. It makes it hard for him to relate to other... And honestly, I think most of the children are jealous of his talents."

Bill nodded sympathetically. "I'm sure they are. Kids can be so cruel when they notice someone special. The nail that sticks out gets hammered down."

Joy nodded. "Yes—exactly. And he's so... sensitive."

Bill gave Mabel a warning glance. She pursed her lips tightly and puffed out her cheeks. Satisfied she wasn't about to weigh in on why Gideon wasn't making friends, Bill turned back to Joy. "Do you think that's what's been bothering him lately?"

"Well, yes, there's that."

Voice a tad lower, Bill prompted, "And...?"

Joy paused. She twisted her hands together. "And—I think he might be concerned about his father's business."

"Oh, the auto dealership?" Bill sat up a little. "I hope it hasn't been struggling lately?"

"It's... been a slow few months," Joy said. "It must be weighing on him—"

"He doesn't feel responsible, does he?"

Joy quickly shook her head. "Of course not. It isn't his fault. But he's just a little boy, there's not much he can do to help. Besides perform in a commercial, maybe—and he doesn't like that, we don't make him do that anymore—or..." She trailed off. "Well. Not knowing how to help or what to do... I can imagine he must feel... guilty." She stared down at her hands as she spoke.

Bill's gaze never wavered from her face. He nodded slowly. "I'm sure the business must be weighing on the whole family. It can't be easy for you, Joy—keeping a household running during such a difficult time." He gave her a reassuring smile. "I'll see what I can do to help you all."

Joy stared at his face, eyes shining. "I'm, sorry—did I catch your name?"

"Mr. Locke is fine, thanks. I was in business talks with your son before his incarceration."

Mabel leaned against Bill and whispered, "You mean he hired you to invade my grunkle's brain—"

Bill elbowed her.

Footsteps scurried down the stairs. "I'm coming!" Gideon rushed into the room, tugging his sleeves down his wrists, all gussied up and reeking of three separate hair products. "Hi Mabel my honey pie! What a pleasant surprise, what brings you by so s—" His gaze fixed on Bill, and his sweet smile twisted into fury. "You!"

Joy quickly stood up. "I should be—vacuuming the dining room." She hurried from the room, giving Gideon a wide berth as she went. The sound of vacuuming quickly filled the house.

Gideon never looked away from Bill. "Just what do you think y—"

Bill was on his feet and sweeping across the room before Gideon could get more out. "Hello again! I don't think we were properly introduced. The name's Goldie Locke." He blinked. "Wink."

Gideon grimaced. "You serious? Goldilocks? That's the best you could do?"

"I thought it was funny!"

Mabel scooted up onto the arm of the sofa, took a leap off, and landed next to Bill. "I came up with it!"

Gideon smiled uncomfortably. "Oh—sure, sure. Real cute."

"We came by so Goldie here," Mabel poked Bill's arm with both hands, "could give you a proper apology for his... 'prank.'" She got behind Bill and poked him in the back, directing him toward the stairs. "So you two go off somewhere private and do that! Go! Go on!"

"Wh— private?" Gideon leaned around Bill to give Mabel a pleading look. "M-Mabel, aren't you coming too?"

Mabel laughed nervously. "No, definitely not. I'm staying right here."

"But—but—"

"It's fine! If he tries any—" her voice dropped to a whisper, "—weird space demon magic—you can just scream. But he's basically harmless! I promise."

"But... I don't wanna be alone with..."

Bill put a hand on Gideon's back, turned him around, and practically dragged him toward the stairs. "And she doesn't want to be alone with you, and I'm going to respect her wishes."

Gideon hissed at Bill. He wasn't quite sure what to do when Bill hissed back. No one had ever done that before.

"You've got nothing to worry about," Bill said, giving Gideon a very worrying smile. "I just want an opportunity to show you the sincerity of my remorse. A little heart-to-heart! And anyway, you and I have a lot of catching up to do."

####

The moment Gideon's bedroom door shut, Bill said, in an exaggeratedly innocent golly-gee-whiz voice, "'Well, Mabel, the thing is, I was just cranky because I haven't gotten a decent night's sleep in days, because Gideon's been broadcasting mind control dreams to the town multiple times a week! Yeah, you know how you've been waking up feeling hypnotically compelled to buy a car? Good ol' Gideon! But you're right, bullying isn't the solution! I should have just asked him to cast his brainwashing spell a little further from the Mystery Shack—'" Bill cut off with a laugh. "I take it you get the picture! Your flesh is as white as your hair! It's—it's creepy. Stop it."

Gideon was already on the far side of the room, holding a floating arm desk lamp toward Bill like a sword. Voice shaking, he asked, "How do you know about that spell? H-how are you even alive? And here like... like this?"

"Does it matter?" Bill meandered around the room, looking at Gideon's matching nightstands, his TV, the floppy teddy bear on his bed. "Here's the only important question: what's it worth to you for me not to spill the beans to your sweetheart?"

Gideon swallowed hard.

As Bill rounded the bed, Gideon backed away from him until his back was pressed against the wall between his vanity and his dresser. Bill leaned over to look under the bed and nudged a rolled-up tarp with his foot. It unrolled across the floor, revealing Gideon's magic circle. "Uh-huh."

"Please stop looking around my room."

"Relax, I just want to see what's changed! This is hardly the first time I've seen your room." He glanced down at the subtle depiction of his face woven into the pattern on Gideon's carpet. "I've had eyes in here since you were a baby."

He leaned over Gideon's bed, studying his knit zodiac blanket. "Although this eye is new. You went with red, white, and blue? How patriotic." He tugged at the blanket's edges, straightening it out. "Lots of pilling on the yarn, this thing's been very well loved. Does it still smell like Shooting Star, you cretin?"

"You keep your hands off of Mabel's blanket, you—!" Gideon swung his lamp toward Bill. It missed by a foot.

Bill didn't even flinch. "You're very lucky that you missed." For a moment, his voice was inhumanly low.

Gideon's blood ran cold. He clutched the lamp against his chest. "W-what do you want from me? I'm sorry I disturbed your sleep, all right? Is that what you want to hear?!"

"It's a good start!" Bill sat on Gideon's bed and made himself comfortable, propping himself up on his elbows, ankles crossed casually, resting in the center of his own zodiac. "Now, promise you'll stop advertising in people's dreams, and everything's forgiven!"

"I..." Gideon bit his lip.

Bill grinned a little wider. "What's the problem, kid? It's not like your daddy needs you running his advertising campaign! The family finances aren't resting on your shoulders!" He laughed.

Gideon just bit his lip harder.

"Oh wait. Maybe they are. Are they?"

He looked down at the tarp. "Mrrng."

Bill sat up, leaning forward until he caught Gideon's gaze again. "So sorry, Star Boy! I didn't realize how serious your situation is!" His wicked smile said otherwise. "Wow, that must be so hard for you—the family breadwinner, at such a young age. Knowing your family needs you to keep them afloat. And it's not like you can just go out and get a job! So what can you do, except... well, whatever it is you already know how to do? Putting on a good show, right?"

"It's not like that," Gideon snapped, ignoring the weight in the pit of his stomach. He looked down at his lamp weapon and tugged anxiously at one of his sleeves. "It—it's not as though we're broke! We just... might have to tighten our belts a little bit, that's all. It's normal, most businesses have their ups and downs."

"Of course. Just no big shopping trips for a while! Pity you're about to need a whole new wardrobe, though." Bill casually pushed himself off Gideon's bed, taking a step closer. "Hey, wanna know when your next growth spurt starts?"

Gideon shrank down. "No."

"It costs a lot to keep a growing kid clothed. And fed, and stocked with school supplies... If father asks for a little help, how can you refuse? If you don't, you could lose the business, lose your house, lose everything... all that, plus knowing it'd be your fault for not doing what you can? It's heartbreaking."

Bill leaned over Gideon, propping himself up with a hand on his dresser, trapping him in his shadow. Gideon cringed; but Bill asked, voice unexpectedly low and almost gentle, "You're so important. There's a helplessness that comes from wielding that kind of power, isn't there?"

The weight in Gideon's stomach grew heavier. Bill must have been watching his life ever since last fall; that was the only way he could have understood what Gideon was feeling so well. And yet—hearing someone else put it into words was a strange relief. He'd cut to the bleeding core of the issue. Gideon was the only one with the power to do anything, so he had to do something. It was a helplessness.

"Yeah." Gideon put his lamp back on his dresser, defeated. "Yeah, there is."

Bill crouched in front of Gideon, meeting him at eye level. "It just so happens that I'm sympathetic to your situation, kid. I get it." It was hard to read the mood in Bill's alien gaze; but for a moment, Gideon was sure he really did see a glimmer of sympathy in his slit pupil. "So how about this: I could help you out. Make some calls, pull some strings... give the family business a little boost," he said. "If you do me a couple small favors first."

Outraged, Gideon shouted, "You're blackmailing me into working for you again?! You—!" With a furious grunt, Gideon shoved Bill away from him.

To his surprise (and immediate horror), Bill lost balance, toppling onto his back with a yelp. But he just rolled onto his side and hopped back to his feet, laughing. "No no no! I'm blackmailing you into knocking off the annoying dream spell. That's all! Cut it out, or I'm telling Mabel. And—heck, how about the police while I'm at it?"

"You wouldn't—"

"I am pals with the sheriff and the mayor. Mind control happens to already be illegal in Gravity Falls, you can thank Quentin Trembley for that—such a forward thinker! I don't think there are any state-level laws yet, but I bet they'll wriiite ooone just for yoo-oou." The last sentence came out as a singsong taunt. "Anyway: drop the mind control. That's all I'm asking for. Okay?"

Gideon had circled around Bill to his bed, where he pulled off his zodiac blanket and bundled it against his chest. He wasn't sure which sounded worse. Prison probably should, but the thought of giving Mabel a fresh reason to hate him... He looked down at the blanket, and heaved a shaky sigh. "Okay."

"So? We're agreed? No more dream advertisements?"

"No more dream advertisements. You win."

"Great!" Bill beamed at Gideon. "But then, completely separately, if you want help saving the family business... well, offer's on the table! In fact, I'd happily offer to help without asking anything in return—"

"—you should, it's mostly your fault—"

"—except that, with my own situation being like it is, what with the limited access to my usual resources... I need you to help me help you." He spread his hands apologetically. "Nothing I can do about it."

Gideon pressed his lips together, looking down at his zodiac blanket. A fold in the fabric displayed part of the ripped heart. Gideon plucked out the blanket until he could glimpse the top of the shooting star.

He swallowed hard. "No. Absolutely not."

Bill blinked. "'Scuse me?"

"I can't accept your help," Gideon said. "I lead a support group of ex-cons—the very same ones I stupidly led into battle for you—and what would they say if they heard I was working for you again?"

The indulgent smile on Bill's face vanished. Rage flashed in his eye. "What would they say if they learned you're the first among them to reoffend?" He pointed at Gideon's magic circle. "Wouldn't they be disappointed. Aren't they your followers these days?"

Gideon squirmed under Bill's glare, backing away until he bumped into one of his nightstands. "F... 'followers'?"

"Your devotees—now that your Tent of Telepathy audience has abandoned you." The new smile that twisted across Bill's face now was hard and cruel, and his eye fixed like a prison searchlight on Gideon made Bill seem much closer than he was. "Isn't being worshiped sublime, Star Boy? That unconditional love? A worshiper will always be more reliable than some girl's fickle heart. But even the most 'unconditional' love always comes with fine print. How far are you willing to go to remain worthy of their love?"

Bill pulled a folded piece of paper out of his back pocket and waved it in the air. "We both know you'll help your daddy's business. The only question is if you'll do it your way, or mine." He placed the paper on Gideon's dresser and tapped it with his finger. "My way doesn't even involve breaking the law."

Gideon shook his head. "I won't..."

"I'll leave it with you anyway."

Bill strolled around the bed. "Well! I think we're finished here, how about you?" He stopped in front of the door.

He turned back. "Gideon, you're gonna have to get the door, I can't..."

"What?" Gideon asked. "Y'can't what?"

Bill huffed. "I'm sort of under this curse? So. If you could just—"

Gideon burst out laughing in disbelief. "The Amnesia Limina curse? You can't open doors?! Are you kidding me!"

"I can still ruin the rest of your embarrassingly short mortal life, you twit. Just—just get over here—"

Still laughing, Gideon crossed the room and got the door.

"Yeah. Thanks. Great."

As they came downstairs, Mabel hopped off the sofa. "Sooo? How'd the apology go?"

"Great!" Bill got in front before Gideon had a chance to speak. "I think we really understand each other better. Isn't that right, Gideon?"

Gideon grumped, "I think it's the worst 'apology' I've ever heard."

Bill gave him a dirty look powerful enough to kill a skittish horse; but he flinched under the weight of Mabel's disappointed frown. He laughed nervously, "Okay, so I still need some practice with my delivery! Human tones are finicky." He stared at Gideon. "But you accept the overall content of it, right?"

Bill was giving Gideon the creepiest smile he'd ever seen. But Mabel, on the other hand, was giving him this hopeful look—like she wanted this to go well so badly, and only Gideon could make or ruin her day. There's a helplessness that comes with wielding that kind of power.

In the world Gideon had been raised in, if someone who has transgressed against you apologizes, you don't have the right to withhold their forgiveness—it makes you as bad as the transgressor. The only way he could refuse was if he told Mabel he hadn't even gotten any apology; but there was no way to say that without admitting what they'd really discussed. "Yeah," Gideon muttered at his shoes. "I s'pose I accept it."

"Yes!" Mabel pumped a fist in the air so enthusiastically she lifted a few inches off the floor. "Great work! Happy face stickers for everybody!" She smacked a sticker on Bill's shirt and Gideon's lapel.

They tugged out their clothes to inspect their stickers. Bill's had a giant yellow smiley face over the words "Good job!" Gideon's had a smiling whale surrounded by the words "WHALE DONE". They were both disproportionately elated by their prizes.

"So can we go now?" Mabel whispered, "I feel like Mr. Gleeful's new clown painting is staring at me."

"Just one second. I should have a word with the missus of the house." Bill waved back at the kids as he trotted from the room. "Be right back!"

Mabel eyed Gideon warily.

Gideon smiled winningly. "So, Mabel. As long as you're already over here, would you like to stay for dinner—?"

"Nuh-uh." She turned and headed for the door. "Goodbye forever!"

"Aw."

Bill followed the sound of vacuuming through the kitchen into the dining room, and rapped on the doorframe. "Knock knock."

Joy flinched and spun around. "Oh." She turned off her vacuum. "Yes, Mr. Locke?"

"Just wanted to thank you for your hospitality before we leave!"

"Oh—yes, of course. You're welcome."

He lowered his voice, "And I also wanted to tell you not to worry about a thing. I'm sure everything will turn out fine for your family—and for you." He flashed her a winning smile.

She hesitantly nodded. "Thank you."

####

As they walked to the gate around the Gleeful property, Mabel said, "You weren't just all talk with Gideon's mom, were you? You actually are planning to help her."

Bill gave her a surprised look. "Something like that. How'd you know?"

"You told her to call you Mister. That means you mean business!"

A crooked smile stretched across his face. "Hey! No fair, you know too much. You're figuring out all my secrets."

Out on the sidewalk, Bill did a cartwheel, attempted to turn it into a handstand, and fell on the sidewalk. He brushed off a scraped elbow with a grumble and got back up. Well, it matched his burn on the other side.

"4 out of 10."

"I didn't ask."

Mabel snickered. "You know—your conversation with Gideon might not have gone perfectly. But you realized you did something wrong, you apologized for it, and you're gonna do better." She patted his arm. "I'm really proud of you, Bill. That's some serious growth."

"Really?"

"Really."

He beamed. He couldn't remember the last time anyone had been proud of him. (Granted, he didn't generally tolerate relationships in which somebody felt like they had enough superiority over him to feel "pride" toward his actions. Generally "awe" or "admiration" were more common.) He was basking in the praise. He was over the moon. He was euphoric. He was the best person to ever exist.

The fact that the praise was horribly misplaced didn't faze him in the least.

####

Gideon had spent the past minute picking peas out of his pot pie and scooting them to the edge of his plate.

Bud cleared his throat. "Son, you really ought to eat your vegetables. And they'll taste better mixed in with the rest of your food than all by themselves."

"I don't want my peas."

"But they're good for you! Don't you want to grow up big and strong—?"

Gideon flinched. He pounded the table. "I said I don't WANT my peas!"

"All right, okay, that's fine! Just thought I'd suggest it."

Gideon grumpily scooped up a forkful of chicken, carrots, and corn, eyed the carrots skeptically, and took a bite. It was fine. "So, father. How was work?"

Bud sighed. "Oh, it would've made more sense just to close for the day. At least then I wouldn't be wasting money on air conditioning the office."

"Oh." Gideon stabbed at a lone piece of corn with his fork. "Maybe we oughta... stop with the nighttime ads. It doesn't sound like they're helping."

"Ahh, you might be right."

Gideon heaved a sigh of relief.

"I just don't know what else to try." Bud shook his head. "I've tried newspaper ads, TV ads, radio ads, billboards, fliers, sales, cutting brake lines..." He settled his hand near Gideon's spot at the table. "Son, you know I know you're doing the best you can to help our family, and it means more to me than I can say. But, if there's anything else you can think of...?"

Gideon tried to avoid his father's gaze—and instead, spotted his mother. She usually kept to herself during dinner, wholly focused on her own plate when she wasn't setting out dishes or cleaning them up. But tonight, she was looking right at Gideon. Like she expected something out of him, too.

He shrank into his seat. "Well. I've got one other idea I could try."

####

Gideon shut the door to his room—and, just to be safe, stuck his chair under the doorknob. Then he gingerly picked up the paper on the dresser and unfolded it.

The same tall, thin handwriting as on the letter he'd received—but even more cramped, cramming as much text on one torn-out book page as possible. A terse paragraph of instructions, a phone number, a numbered list of questions, a prepared statement.

Gideon got his mobile phone and a notebook, set up to take notes at his vanity, took a deep breath, let it out, and dialed the number. As the phone rang, he looked at himself in the mirror and muttered, "Heaven help me if I'm facilitating the start of Armageddon."

Then someone picked up, and he held the phone up to his ear. "Hello? Oh, right, er—" He read off the paper Bill had given him, "'But rises gold over the pyramid.' ... Yes. Mhm, I'm calling on behalf of... of Bill Cipher. ... My name's not important, I'm just the messenger—oh, oh you recognize my voice! Haha!" He mopped his forehead with the back of his sleeve. "A-always nice to meet a fan! Yeah, we know each other. Small world. N... no, he didn't give me my... I was—was psychic before I met him, actually. Sorry, I didn't catch your name—who'm I speaking to?"

Gideon looked at Bill's list of questions, wrote a 1. in his notebook, and beside it wrote "Sue Blime." One question down. "I have a message to pass on."

####

He pushed harder.

Her skin fractured and peeled off, strand after strand. It filled the spaces between his fingertips, wrapped up his arms. He could shut his eye but he still saw it through his eyelid, still felt it tickling at the corners of his mouth. He let out an angry, hysterical, broken laugh.

And then he laughed louder, and louder—higher, shriller, echoing all the way to the distant stars. "What am I doing?" He opened his eye and looked at his hands, tangled with gold threads and soaked in blood. He laughed again, gleeful. "What am I doing! None of this is real! This is a dream! We're in my dreamscape. None of this matters! I control all of you!"

Bill controlled all of them.

He effortlessly peeled his arm off the plane of his dimension into the third, still tangled in gore, and spun his finger. The golden shreds of skin let go of his hand, rotating around his hand in a loose tornado. Cackling again, he rose up into space, looping like a paper airplane on a breeze, telekinetically twirling the countless golden shreds with him like he was doing a ribbon dance. And wasn't it beautiful? He was changing their color—yellow green blue violet red orange yellow—he was melting them down to floating drops of liquid gold, he was making them vanish into thin air. There was no blood on his hands. There never had been. He had never killed. His mother did not exist.

He glanced toward the stars. "Am I gonna have any meddling from you? Want to sell me any cars tonight?"

The stars didn't answer. Good. He didn't want his show interrupted by a commercial break.

"I control you," Bill announced to the crowd of assembled worshipers below, numb and thoughtless and unmoving while the god of this dream had no use for them to live. "You answer to me!" He jabbed his thumb against his golden face—not the internal organs exposed to the third dimension the rest of the shapes had, but the exoskeleton he wouldn't start wearing until centuries after this memory. "The only life you have is in my head! All of you, all of you have been burned away for a trillion years!" He paused, then flashed two finger guns at a red hexagon in the crowd. "All except you, Hect. Always great to see a long-time fan!"

In the field of frozen shapes, Bill's memory of Hectorgon hesitantly waved.

"But..." Beneath Bill, still as aghast as he'd been so many eons ago, still playing his part to move this dream along, his father said, "But... what are we going to tell your followers?"

"Ugh, you're such a downer. Give it a rest, you old square!" Bill did something no prisoner of the second dimension had ever been capable of doing: he snapped his fingers. His father silently dissolved into origami butterflies and fluttered into space. "You barely even liked her."

He floated back down to the plane, lacing his fingers together to stretch his arms in front of him. "I don't need you," he muttered. "I've got this handled. I've always been the one who had this handled. Now let's end this dream the right way."

Time to sucker his suckers.

He swooped through the open doors to speak to his assembled worshipers as effortlessly as though he'd been doing this a trillion years: "My beautiful, loving believers! I have wonderful news. Your high priestess—my mother—has passed on; but, you should be celebrating! Because she hasn't abandoned us! Her spirit's just ascended—not up, but out of our dimension and into the third, where the spirits of all departed shapes live on! Her spirit's formed a bridge from there to me, and through me to you! She's revealed the true nature of the third dimension—a sublime realm of color and life—and I'll reveal it to you, too!"

The black starry void of the third dimension above Bill mutated as he spoke; now, it was raucous colors, beams of light, and glittery gold. Faraway neon-colored shapes danced deliriously through nebulas and clouds.

"I'll teach you the secrets passed down to us from the enlightened third-dimensional spirits; I'll show you how to see it all for yourself... and if you follow me, if you devote yourself entirely to my teachings, if you trust me blindly—blindly, for I can see what others can't—then I'll guide you INTO the third dimension! I will be your teacher, your divine guide, your muse! So tell me: do you trust me?"

The worshipers cheered.

"Do you worship me?!"

The worshipers screamed.

"Do you love me!"

The worshipers howled, mad with love for Bill, ripping each other apart in a spontaneous outpouring of zealotry.

Bill's shrieking laughter rose up above the roar of his imaginary crowd.

####

For the first time since his death, Bill woke fully rested. Dawn streamed in through the attic window, shining golden on the cloud of curly hair dangling in front of his eyes. And wasn't it beautiful? He ran his fingers through his hair, smoothed it back, and pushed it into the right shape.

He checked to make sure no humans were coming for a while, slid Journal 4 out of its hiding place, and flipped to the page where he'd stuck his "Good Job!" sticker. He'd used his stolen half-dried marker to blacken the sides of the yellow smiley face, turning it from a circle into a triangle, draining the last of its ink in the process. He wasted four pages with every detail he could recollect from this dream, going on and on about how easy it had been to assert his rightful control, how effortless to control time and space. If he ever found the human who wrote that lucid dreaming guide, he was giving 'em a planet.

At the end, he wrote in English, "You'll regret turning me down as your teacher, Stanford. You can't even imagine how many people would have committed murder to get that kind of attention. But I gave it to you."

He tried to remember how that sermon had really gone.

What did he need to remember the truth for? It must have gone something like that. He wouldn't still be here if it hadn't, would he?

####

(Thanks for reading! If you enjoyed, I'd appreciate a comment!! Next week we kick off with more of Bill's history—and then start ramping up for the biggest, longest plot arc so far.)

#bill cipher #(for the art)#human bill cipher #gideon gleeful #(for the chapter)#gravity falls #gravity falls fic #gravity falls fanart #fanart #my art #my writing #(I'm disappointed i didn't get to draw Bill menacing Gideon; but i only had time for one illustration and i picked Lots Of Colors.)#(plus it's nice every once in a while to get a reminder of what Bill actually looks like)

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lets-try-some-writing · 4 months ago

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Transformers One: My Thoughts and Critiques

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

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

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

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

The Good

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beautiful.

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

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

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

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

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

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

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

The Bad

(Aka, my rant combined with actual critiques)

Oh boy here we go.

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

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

It weakened his character drastically.

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

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

No complaints about D-16's introduction.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No complaints about the cave scene.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

No complaints about the Sentinel and D-16 interaction.

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

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

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

The birth of Megatron was perfect. Zero complaints.

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

Optimus flying up to the surface like superman.

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

No commentary on the battle. It was perfect.

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

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

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

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

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

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

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

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

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

The Characters

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

Orion Pax/Optimus Prime:

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

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

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

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

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

D-16/Megatron:

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

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

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

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

Elita-One:

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

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

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

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

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

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

B-127:

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

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

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

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

Starscream:

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

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

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

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

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

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

"Scanning electrical impulses: He speaks the truth."

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

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

"He wouldn't stop talking."

Sentinel Prime:

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

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

Alpha Trion:

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

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

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

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

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

"I see everything."

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

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

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

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

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

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

The Plot

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

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

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

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

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

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

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

The World Building

(Current questions & Information + musings)

Cybertronians don't bleed, unlike other continuities.

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

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

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

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

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

Cycles are years. Days are days.

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

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

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

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

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

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

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

Is Cybertron in a post apocalyptic state?

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

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

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

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

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

Cogless bots are essentially children.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The bots have eyelids and tongues.

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

Some bots have real names. Other do not.

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

The Ending + Implications

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

My Suggested Adjustments

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

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

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

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

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

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

"Even to save a few lives?"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Then the traintop scene can play out as normal.

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

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

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

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

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

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

"I wouldn't expect anything else."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Arguments Against My Critiques

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A shiny turd is still a turd. Next question.

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

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

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

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

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

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

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

Why bother with such a long review at all?

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

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

Final Note

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

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

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

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

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

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

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

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

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

"We could have built the future together."

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

#transformers #maccadam #transformers one #tf one 2024 #tf one #tf one spoilers #tf one megatron #tf one elita #tf one orion pax #tf one bumblebee #tf one review #tf analysis #character analysis #this took me almost a week to write #be proud #I have put more work and study into this than pretty much anything else for transformers #enjoy my ravings #forgive any spelling errors I do not have a checker on here

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