#now with extra autobot

[velvetwyrme]

aHhh okay so the discussions of Titan!Megatron on @callsign-relic's blog have fully. FULLY taken over my brain and ive been drawing stuff for it for like the last few days nonstop

the tl;dr of this is AU is pretty much "what if Megatron got turned into a titan/cityformer as a form of penance/imprisonment and now roams the empty wasteland of Cybertron forever" plus "IDW Megatron has really fucked up internals so... what if that, but as a City?"

and of course since he's a Titan, that also means he has a cityspeaker... or three. One per sub-AU thing. Theres 3 options. 3 flavours of AU.

i have so much art to make. but in the meantime, for more info! check out the #titan au tag on Relic's blog :]!! (also uhh potential ns//fw warning for the link shfjbdkd)

Hi. My battery is running out once again so design and art notes get chucked here instead of an image.

The cuffs and collar are hardwired into Megatron, so I made the lights the same colour as his biolights!

I imagine that on the tops of his shoulders there are solar panels, even if you can't see them here lol.

I really wanted to keep the swirly bits on Megatron's chest from IDW

Other art notes:

The second picture with the seekers is (loosely) inspired by a discussion about whether or not Megatron gets visitors or not. I thought about who would visit him and well... I think this is as close as Starscream realistically gets to visiting him.

Extra detail about that piece is that Thundercracker and Skywarp are keeping watch from above! Also drawing Megatron took me like 8 hours because I was struggling with his legs really badly kshffkbfkdsbdk,, the background went much faster, funnily enough.

Optimus specifically isn't wearing his Autobot badge any more.

This isn't relevant in this series of images, but Ultra Magnus's eye markings are only on the Magnus armour. His other two forms do not have them :] (... until he begins to discard the armour, that is.)

Megatron is roughly 3200m/2 miles tall. Technically he could have clouds around his knees, but I thought this looked a little bit cooler lol.

Also, height chart! Him big. I didn't even attempt to put a human for scale because that'd be. near impossible with this scale.

[cybertron-after-dark]

Average transformers g1 episode:

Megatron is attempting to black out the entire sky across a hundred mile radius and funnel all the sunlight into one, concentrated solar death ray to target a heavy duty solar panel he's having soundwave and the cassetticons build in order to convert it to energon. Then he plans to hit the autobot base with the death ray just for funsies. Starscream plans to push Megatron directly into the death ray, also just for funsies.

Optimus sends Wheeljack and Spike to deal with it, along with two bots you're pretty sure have not been in this show before this point, but you're kind of past asking how many of these fuckers were on the ark offscreen when it crashed. One of them has the worst fake Canadian accent you have ever heard, and the other's name sounds inexplicably dirty.

Starscream tries to get Megatron to stand in the spot he told Skywarp and Ramjet to direct the death ray, but is interrupted when Rumble asks why Starscream stuck him with extra work (a task Megatron assigned specifically to Starscream). This vexes Megatron. The autobots show up and try to figure out what the point of the blacked out sky is while Starscream attempts to talk his way out of it. Then the death ray goes off two feet away from Megatron, which only pisses him off further.

The Canadian bot yells "AH BINARY-BEAVERS!!" because the death ray caught him off guard and completely gives away the bots' position. Soundwave immediately fires on them. Gratuitous robot violence ensues. Spike is generally useless and tries chucking rocks at Rumble. Megatron is too busy trying to almost-murder Starscream to bother with the autobots and just lets Soundwave handle it.

Probably-an-innuendo-name-bot is luckily a flier and takes the chance to see what's blocking the sun now that their cover's blown anyway. He gets up there and the seekers are sticking tinfoil on the clouds to make the tops reflective. The writers are really just hoping you don't think too hard about it.

Skywarp starts firing on dirty-name and calls him a nerd. Dirty-name takes evasive action. Skywarp runs out of ammo and starts just chucking tin foil at him. Dirty-name calls him dumb and says his processor is made of spare toaster parts. Then he crash lands and canada-bot asks if dirty-name's wings are spare toaster parts as well. Wheeljack yells that they'll all be spare toaster parts if they don't focus on the decepticons. The death ray goes off again and barely misses the autobots. Wheeljack corrects himself to Melted spare toaster parts.

Dirty-name gives Wheeljack the rundown on the tinfoil clouds so he can figure out a way to get rid of them while Canada-bot fights Soundwave and the cassettes in the background. Spike is kind of helping too sort of almost. Those rocks hes chucking sure are damaging. Ravage gets straight up drop kicked. It cuts back to Wheeljack whipping up a good old fashioned Device™️.

Starscream flies up past the tinfoil barrier while Megatron shoots at him. All the holes he's shooting in the blackout barrier are just making more, slightly shittier death rays and the main one is losing concentration. One of them hits Megatron right in the optic and he keels over with an over the top screech. Starscream descends, breaking another hole in the tinfoil to see a golden opportunity.

"MEGATRON HAS BEEN BLINDED!!! I, STARSCREAM AM NOW YOUR LEADER!!!"

Wheeljack finishes his Device™️: A grenade that makes tinfoil entirely invisible, thus rendering the whole weapon unusable. The writers are hungover, please do not think about it too hard. Pretty please. Dirty-name doesn't know if he can throw it into one of the holes in the barrier on his own since he can't fly in robot mode and he cant throw in altmode. Spike offers to get on his back and throw it in for him if he can get close enough. And he's just SO good at throwing things. The other two agree he's their best shot, they're so happy spike is around, couldn't do it without him.

Starscream is hovering in the air as he gives his Decepticon Leader Acceptance Speech he's prepared for this very occasion, golden light streaming in from the him-shaped hole in the barrier. Dirty-name and spike zip past him and spike makes the best goddamn throw of his life. Before starscream can properly question the Fucking Audacity of these autobots interrupting him while he's trying to have a moment, the invisible explosion goes off that the animators are just happy they don't have to put that much effort into drawing. Starscream gets knocked out of the air and crashes directly onto Megatron. This vexes Megatron.

Sky's normal again. Don't worry that there's still tinfoil there, don't even fuckin worry about it dude. Spike and Dirty-name touch back down. Round of applause for spike for throwing super good. Wheeljack comments that he's just happy it blew up the way it was supposed to. Cue uncomfortably long laughing. Megatron manages to roll starscream off him and calls for a retreat.

Back at the decepticon base, Megatron has an eyepatch and is skulking. Starscream yaps about how it makes him look like a proper tyrant, brooding and battle scarred, and, dare he say, darkly handsome? This vexes Megatron.

[transformers-spike]

Since you were so graceful to deliver us that magnificent Optimus (and autobots) x Human in their heat cycle, another question arises. What are the autobots' thoughts on eating pussy? What about their styles?? Please and thank u

Good god, I’m going to assume this is general TFP pussy eating and nothing to do with the heatverse. For now I’ll stick to the main cast and add Wheeljack/Ultra Magnus/Smokescreen when I get a better feel for how I want to write them. (also fuck making gifs, thank you for existing, Tenor)

Back when he went by Orion Pax, he was as chaste as a lily. Not from lack of fuckability, oh no. His small frame at the time made him especially cute to onlookers, but it was nigh impossible to hang around him when he was too busy working as a clerk or researching Cybertron’s history in his downtime. There's certainly a possibility he ate at least (1) valve back on Cybertron. Whose? Who fucking knows. My bet would be on Megatronus, but he wouldn’t have horribly fumbled the bag if that was the case. Maybe cunnilingus could have saved their planet… Having, to an extent, merged his consciousness with the thirteen primes, he has gained their wisdom and become something akin to a demi-God by Cybertronian standards. Except with none of the praise, and the weight of the world on his shoulders. Anyway, let’s cease philosophizing about his nature as a Prime, what we’re looking for is how good he is at eating pussy with that extra knowledge. Answer: it depends on the receiver. Considering the size difference, he makes it work without catching your clit between his glossa’s mesh plating. He prefers supporting you in his massive servos, carefully wrapping his digits around your frame in case you start squirming too much and fall off. He applies slow languid licks between pauses, waiting to gauge your reaction in case he’s hurting you. It’s sweet of him, but please Optimus, you need to make your partner cum else they’ll die.

Ratchet has been alive for Primus knows how many slutty millenia. Of course he can eat valves. And if he can eat valves, he can eat human pussy just fine. The hard part is dragging him away from his workstation. Don’t get him wrong, he would love to bury his face between your legs, but he’s got things to do, nevermind a whole ass team to keep alive on top of manning the ground bridge and fixing whatever alien technical bullshittery Raf can’t help with (seeing as the little guy only takes care of the human technical bullshittery). He’s perpetually exhausted, and if Cybertronians had an equivalent to coffee, you’re sure he’d be downing it like a single father after losing everything in the divorce except the kids. So when he gets the chance to eat pussy, he takes his damn time with it, pressing his face against your groin for so long you think he’s fallen into recharge. When he gets to work, he’s savoring every inch of you, making a point to complain there isn’t enough energon to mass displace and taste you completely. The size difference is especially annoying to him, but he makes due nonetheless by slipping the tip of his glossa between your folds, pushing it as far as it can go without hurting you. His engine growls from desperate hunger as he grinds his spike against the ground, grunting and scoffing against your pussy as he has to contend with the smallest sample he’s ever received. Ratchet is going to kill Megatron.

Bulkhead is a complicated case. Yes, he’s tried valves. Any wrecker worth their weight in energon has eaten valves like no tomorrow. But the point is, when you look at his jaw, things get a bit complicated. An overbite in humans is mildly bothersome for a giver, but it gets even worse when you look at Cybertronian anatomy and realize that oh, he’s going to do some major jaw exercises to stick his glossa out properly and eat you out. Thank fuck you’re so small in this case, you have no idea much easier this makes his job. To be fair, his main worry is hurting you. Optimus is careful, yes, but Bulkhead has known destruction for the vast majority of his life, not only as a career, but as a way of life. So when he finds you naked in his servos, smiling up at him, his spike retracts into his panel from anxiety alone. If he so much as bruises you, he will shrivel up and offline. He can handle humans just fine, but during interface? He already has to take a breather before he tries anything in the Cybertronian equivalent of a panic attack. His cooling fans are screeching, and if he could sweat, he’d be causing a major flood in Nevada and all its neighboring states. In conclusion, yes, he can eat out. Not perfectly, but he puts in some valiant effort that’s sure to pay off sooner or later.

At first glance, you may exclaim “Wowzers! Bumblebee doesn’t have a mouth! How can he eat pussy without glossa or lips?” – well guess what! Take a vibrator and stick it between your legs. That’s Bumblebee right there. They should add him as a synonym for it in the dictionary. He may not be able to lick up your juices, but he can buzz incessantly against your groin at a near illegal setting until you come undone. He is so proud of himself. And for his own sake, let’s hope he never got to experience valves before he lost his oral equipment. He tries to be comforting, beeping words of encouragement that you absolutely do not understand but get the gist off anyways. Chances are, he’s either helping you balance on top of his face to get the full hitachi magic wand duct taped to the floor experience, or you’re both lying down while you’re cupped in his servos as he buzzes excitedly between your legs; equal parts cute and overwhelming. You feel bad for using him like this, but he beeps reassuringly and urges you to lie back in his servos and enjoy the ride. He’s such a hitachi toy it’s not even funny anymore. You start giving him setting levels which he eagerly follows like the boyscout he is, keeping the same vibration pace even as you start humping his face plate. You pray to Primus Raf isn’t looking for his guardian, else he’s going to overhear things you would rather die than explain.

Arcee is… way too good at eating out. On Cybertron, she could eat a valve like her life depended on it, sucking on the anterior node and wiggling her glossa inside of it well after her partners would overload, begging her to stop from overstimulation alone. Nowadays, she still has it. With her two-wheeler frame type, she can easily access a human pussy without any trouble, treating it like the cutest minicon valve she’s ever seen. She’s all rapid licks and wandering digits, stuffing you to the brim when she’s busy torturing your clit between her lips, then circling around it as she pushes her tongue between your folds. Arcee’s a fucking menace. She leaves you a crying hyperventilating mess as you plead with her to let you breathe. Yes, she’ll take your words into account and stop at some point. Key word: some. You get a break whenever she fancies. This, or you go into cardiac arrest and she has to deal with your metaphorical blood on her juice-soaked servos, all from eating pussy too good. No one should have that sort of power. But Arcee does, because she’s an unstoppable force. Prepare yourself from some light pillow talk after she takes mercy on you, stroking your cheek and leaning in for a kiss. You can taste yourself on her intake, and she wants you to contemplate the flavor as she wraps her arms around your squishy body in a protective hug, the blue glow of her optics dancing over your skin.

[transformers-synergize]

TF Synergized master post

Things are always getting added to the master post, Transformed Synergized is written and illustrated by @kray-zay co-written and edited by @hazydaisyislazy

comic

ch1 pages 1-29 ch1 pages 30-45 ch2 pages 1-5 ch2 page 6-10 ch2 page 11-15 ch2 page 16-20 ch2 page 21-26 ch2 page 27-30 ch2 page 31-36 ch2 page 37-40 ch2 page 41-48 ch2 page 49-53 ch2 page 54-60 ch2 page 61-66 ch2 page 67-71 ch2 page 72-75 ch2 page 76-79 ch2 page 80-83

ref images

Prowl Hound Cliffjumper Red Alert Smokescreen Wheeljack Moonracer Tracks Sunstreacker and Sideswipe main humans (Spike, Sparkplug, Raoul, Carly, Chip) Ransack if a character ref is not listed here, they were either cut, will show up at a later point, or the design and original role have been heavily changed do not go off old ref images not linked on the master post, some of the characters in the Autobot old lineup I posted are now canonically dead before the story even starts

cybertronian lore

cybertronian noises optic color lore cybertronian diet cybertronian gender (or lack there of) cybertronians proboscis Wheeljacks jaw holoforms? energon effect on organics? flyer and seeker lore cybertonian lifespan more cybertronain lifespan stuff and some seeker stuff cybertronain body laugue and optic exprsions how bug like? bot sizing rules basics on cybertronain cords Lore not on the master post is likely out of date.

story stuff

main human ages when does synergized take place the war ark built for, and its pincers what are the bots looking for? are their any ocs? they/them

project related

voice claims/ VA headcanons? what age range is synergized intended for main character? Will my fav show up? all the bots kinda look like bugs? fanart?

uncompressed pages https://transformers-synergize.thecomicseries.com/comics/1/#content-start

help support the project coming soon... discord https://discord.gg/kf5KWH9qbU discord is 18+ sfw

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

check the tags of some of these posts to get a lil extra info

[vhaos-chaotic-writing]

HIII HELLO1!!1 (I'm 19 btw just too shy cause this is like. My first time requesting. So sorry if this is kinda weird!)

Could I request Optimus (your choice of incarnation) x a reader who's an outlaw and commits crime 24 hours??(bonus if reader is a deception hehe), like when they first met, they were both at each other throat, but now? THEY'RE KISSING IN SLOPPY MODE-

Sorry if this request is too hard, i don't mind if it short! Thanks and love your writing!!

Finally got to your ask!! (It's okay, bestie!!) - oh Primus, a chaotic reader with an Optimus Prime to deal (and love) with it!! - Vhaos likes it! ( •̀ ω •́ )✧ Hehe... I think I know the perfect incarnation of Optimus to use here!

TFP Optimus Prime w/ a Cybertronian!Reader who is a Decepticon... and a danger to society.

WARNINGS: Kind of suggestive (heavy sloppy make out session), I'll even categorize this as crack, somehow. Reader is a cybertronian, a decepticon and gender neutral. Megastar implied (you'll understand).

A pain in the aft and a danger to any kind of society - that's how the Autobots described you.

... Well, nearly aaall of them, since one of them had an extra title for you.

A pain in the aft, a danger to any kind of society and the bot that makes Optimus fragging Prime actually NOT think before acting.

Oh my Primus - said deity and the past Primes are definitely disappointed in him. And he wants to kick his own aft!

You were one of the most crazy Decepticon any of the Autobots have ever seen - and they've dealt with Megatron and Starscream before!

You were a constant 'keep-an-optic-on' for the Autobots, as you would be sent to cause a couple of problems here and there, the typical tactic about having your enemy doing multitasking between the main problem (aka. The war and Megatron) and other problems to deal with (Aka. You).

Last week you got a whole factory on fire (thanks to Primus no human got hurt in the process), a couple of days ago you managed to get Arcee, Bee and Bulkhead lost inside of a cave system after having chased you. And so on.

And lately, Optimus has been dealing with you, trying to stop you from whatever and such.

And by Primus, you knew how to put a fight, make a disaster and even have Optimus give his everything to keep up with you. Even when he got to land a hit or such on you, you would cackle and stand up back, and the cycle continues.

Although... And Primus, it was so wrong to admit it. He found you... optic-catching. Yes, you were a serious problem and a crazy-aft Decepticon.

Still... that didn't stop Optimus Prime from feeling his spark twirl and beat loudly against his chestplate.

Somehow in this battle, Optimus and Megatron weren't fighting faceplate to faceplate - instead, Arcee, Smokescreen and BumbleBee were doing such a good job at dealing with the Warlord while Optimus had to deal with you.

"C'mon, Prime! Land a hit already!" You shout, wide smile on your faceplate as you shoot with your firing weapon at the taller mech.

And Optimus did fire at your pedes, which got to make you trip back - alas, when you fell backwards you fired and it got to his kneeplate, making him fall foward. In the end, the Prime had you caged on the floor.

Blue optics meet (color) optics with astonishment expressions. Suddenly the sound of his teammates fighting Megatron in the background became such a far, far away sound. Were you always this pretty this close? Well, you always kept moving, this may be the first time Optimus got to see you still! And well, he wasn't thaaat bad looking, right? You think, a small sly smirk forming on your faceplate.

Maybe that's why your cheekplates got a soft blue hue on them. And Optimus' cheekplates, too.

"Bee-wee-beep?"

Arcee and Smokescreen, with Megatron doing the same, turn their helms at you and Optimus were... to then feel like frozen in place.

Optics closed and holding each other closer as if long lost lovers (or two young bots with too many hormonal systems doing their jobs), you and the Prime were... making out. Primus, it was too much! (Bee swears, feeling his spark leaving his frame, he saw your glossa all tangled with Optimus'). It was sloppy, loud. Frag, you were even holding Optimus' helm from the back with your servos, preventing him from pulling back. Not like he was actually planning on doing it, with how he was holding your frame with his own servos.

While Arcee, Smokescreen and Bee were frozen in place, feeling like their softwares just fried up, in the blink of an optic, Megatron punched Optimus on his back, managing to sent him flying and separate him from you.

"YOUNG BOT, WHAT THE FRAG ARE YOU DOING?!" Megatron yells. angrily as he picks you from the back of your neck like a cat.

"That fine mech is a wiiild ride!" You answer back, giggling and cackling, all limp in Megatron's hold.

"WAIT UNTIL YOUR CARRI- I MEAN, STARSCREAM KNOWS ABOUT THIS - YOU'LL BE IN SERIOUS TROUBLE!" Megatron warns, throwing you over his right shoulderplate, turning around and starting to walk away.

"You two are not even my two creators - babe-Prime! I'll be back, I promise!" You shout your promise at the Prime, wide smiling and waving your servo at him, and then at his teammates before you and your leader enter an opened ground bridge.

Optimus stands up from the ground, dusting off his lap to then turn towards his three teammates, who still have shocked expressions on their faceplates.

"Heh... well..." He starts.

"Nah, Optimus - are you serious?" Smokescreen interrupted, wincing.

"Down bad." Arcee groaned, trying to forget the whole making out session she saw as Bee gave a few pats to her back, understanding her pain.

Well - this was going to be a funny story to tell back at the base!

Hehehehehehe (≧∀≦)ゞ Vhaos out!

[the-sheep]

Is Starscream now a part of the Malto Family? If so how did the rest of the family react? I think Hashtag is happy and will probably call Starscream "Uncle Star" or something

oh gosh i was joking when i mentioned being an ask blog. my curse continues, so i must answer

Pretty much all i draw/write of ES starscream is part of my "fast track to redemption" au! (title not final) Most easily seen in the fics I've written.

Rather than ignore season 2 entirely, I like the fandom notion that the quintessons perhaps attempted to get Starscream to do their dirty work by taking control of the titan AND killing all the other bots. Since. Well Starscream really needed a Starscream to tell him his plan was absolute dogshit. His plan benefits the Quintessons more than it does the Decepticons.

And i personally believe that ES Starscream would never kill a child, let alone two.

Starting with just a little bit of influence to kickstart things, to more and more interference with all of his systems in order to get him to do what is required, only for him to fail and be made useless to the quints. He snaps out of a haze where he's barely in control of his own body and can barely even comprehend what's happening, dropped back into consciousness hard enough to shatter his spinal strut.

Anyway I made it so that gave him brain damage.

Once everything is over and they do a quick little scan of his body for damage or weapons, discoveries are made.

To extra super fast track my favorite setting of "everyone is kinda friends and casually near each other", i needed to essentially declaw Starscream. Without the mind control he's still an asshole who will try and destroy everyone's trust in him as often as possible, which without external assurance that he's genuinely not a threat, would make all the adults keep him in jail for years.

AND i think he wouldn't even stay at the autobot base if he didnt have to rely on them.

Yeah thats about the minimum i think it would take for starscream to mayyyybe admit weakness. The quintessons gave him a tummyache :(

Thus, we got ourselves a seeker wandering the base within months.

and then we have someone much more willing to confront the sadder feelings Hashtag has about so many things. And relates on the mind control front, since she isn't very close with Grimlock.

They connected, if only for a moment. by primus they'll connect again. he's adopting her if its the last thing he'll do.

and then hes made fun of for adopting 7-9 teens because hes being a stereotypical nesting seeker.

this gives me the setting to do what i wish.

[muletia]

ugh the optimus ruining your garden ask makes me wanna be mean to him. just a little 🤏. maybe he's being extra clingy when you're trying to get smth done or he accidentally breaks smth again. so you're scolding him while jerking his spike and he's trying to make a cohesive apology, but it's the 5th time you've made him cum and words are starting to be harder and harder to find. then you can tease him about how someone who's given so many inspirational, articulated speeches to his fellow autobots now can't even sob out a "sorry" :(

-💕

cw: sub!optimus, dom!reader, handjob, overstimulation, multiple orgasms, teasing

word count: 750

thank you primus for the existence of overstimulation and for allowing me to torture my favorite characters with it ����

"Really, darling, twice in a row is just too much." You click your tongue a few times.

Your hand moves steadily, gripping and tugging at the swollen but valiantly enduring spike. Your skin, slick with pink transfluid, glides smoothly over the impressive length, maintaining the same irritated rhythm, channeling your frustration caused entirely by Optimus.

"I already explained to you, don’t step on my flowers. And don’t even try to tell me it was an accident. I’m absolutely certain you did it on purpose just to get me to punish you a little."

"A little" is quite the understatement when you’ve forced him to overload multiple times in a row. You’ve completely worn him out. His processor is fried, helm’s insides reduced to mush, leaving him incapable of thinking about anything other than the pleasure flooding his entire frame. How exquisitely stupid and helpless he felt, to the point where he kept pushing his hips into your hand, desperately trying to match the rhythm you set. Syncing his movements with yours, chasing another overload. And then another. And another, if it meant more of your touch and your attention focused solely on him.

"I-I a-am so sowwrhy!" he stammers, barely capable of forming words anymore.

"I don’t know, I just don’t see any remorse on your face, Opti. Are you sure you’re truly sorry?"

With his optics rolled back and his intake hanging wide open, coolant dripping from its corners, all you can read from his expression is that he’s having the time of his life. Not a single trace of guilt, no regret for your poor, trampled flowers.

Which is why you don’t believe the dramatic nodding he’s offering you. Especially not when his spike spasms, already preparing for another overload, even though Optimus doesn’t have any more transfluid left to give you — not even a single drop. That doesn’t stop him from shooting blanks, still thrusting his hips without pause, while you relentlessly and methodically jerk off his hard spike.

"Well? Use your words, darling. Are you sorry?"

"Ah, hah!"

"Moans aren’t words," you sigh, propping your elbow on his overheated thigh and resting your head on your outstretched hand. "Try again."

"Y- ah! Yew... mmMm!"

"Should I stop milking your spike? Would that help you find the words?"

He shakes his head frantically. You can’t help the slightly sadistic smile that creeps onto your lips.

"Then keep trying, sweetheart. I won’t let you go until you properly apologize to me."

"A-ah, so-sowwhry!" he sobs.

Your grip tightens around his spike, your hand firmly pressing against the living metal. He knows he’s being punished; understands that he’s failing to accomplish this one simple task, but he’s no longer capable of forming coherent words — nothing more complex than moans.

"Is that supposed to be an apology?" you scoff, the sharpness in your tone drawing a quick yelp from Optimus.

"Sow-Sowrhy!" he repeats, once again. He tries, programmed to obey your every command, but the result is pitiful and pathetic as he fails, breaking down when he can’t manage even one simple word.

Not when his entire frame is focused solely on chasing the next overload. On your soft hand milking his spike, your elbow digging into his trembling, oversensitive thigh. On your voice, icy and cutting against his spark. On simple, easy-to-understand directives, because anything more complex is far beyond the capacity of his poor, overworked processor right now.

"Oh, Opti. Is that the best you can do?"

"Ah! So-hah!"

"The great Prime, gifted with the talent for composing beautiful, inspiring speeches, and he can’t even string together a single simple apology."

He scrapes his servo against the floor as another empty overload wracks his spent spike. Yet you don’t stop moving your hand, forcing him to prepare for the next one.

This time, he doesn’t even bother trying to use his vocalizer, reduced to mindless whimpering.

"I expected more from you. A full essay on how sorry you are. I thought you’d rise to the challenge. You’re Optimus Prime. Prime! The gift of stirring oratory runs through your circuits!"

"Hah, so-sowwh..."

"And you can’t even manage a simple ‘sorry’?"

"S-sorwh... AH!"

You sigh and subtly slow the pace of your hand on his spike. Playtime is one thing, but you don’t want to accidentally kill him.

Though, knowing his submissive tendencies, he wouldn’t have any objections to dying by your hand.

"Let’s try again. And this time, I want an apology worthy of a Prime."

[glitchgh0sty]

asking on anon because i’m scared, but i’m genuinely obsessed with your con!prowl stuff.. do you have like, a definitive static reference of him for fanart purposes.. RAAAAAH

Do not be afraid little anon! Come’ere! 😭🫶

This is the main design I’ll probably be sticking to,, but for real? As long as the eye colors match up feel free to draw inspo from whichever continuity soup you like <333

So,, now’s the time to discuss this techy nonsense Prowler’s hooked himself up to <33

All over his body he’s got attachments that help him transfer over to the “hive mind” of databases and simulative scenarios. They help further immerse him into the soldiers surroundings so he can better quantify what can and can’t work for each specific division,,

Because in each important task unit, there might be one or two special soldiers,, hooked with extra sensors, Prowl can slide into their perspectives and feed their generals data through his live observations [capturing these soldiers has only fed into the ghost stories around Autobot camps 🤫]

ALSO Yes,, he can take these extensions off by himself [albeit not easily], think of it like wearing headphones all day, but like all over [and inside-ish] your body,, so taking them off is just like a pressure release and lets you know how hot you’ve been running [not really nice on his processor so they’ve got him hooked up to coolant almost 24-7]

ALSO ALSO Extra,, the setup he’s got in his lil office has a simulatory area specifically for his wings, [more techy nonsense ✨] but he’s basically able to feel the surroundings of the units better, helping with reaction time,, and no, his wings are not supposed to be extended that far for that long, like ever, so they get cold and sore frequently [like when you hold your fingers apart for too long 👀]

All in all, he’s having a positively lovely time following the rules and fighting for the heroic Decepticon cause,, ^u^7

[raileurta]

Symbiosis

Imagine a universe where humans and Cybertronians are from the same planet; where it's a combination of earth and cybertron just extra big. On this planet organic and inorganic life coexist rather peacefully. A lot of them actually rely on each other. For transformers until they have a human partner they are unable to be a full combat efficiency and they can't really groom themselves. Humans being on a rather large hard to traverse planet with a lot of dangerous creatures is hard for them to protect themselves and travel far distances. There are emotional benefits of course as they are both fairly sociable species who likes having companions.

So every few weeks or so transformers and humans will get together to talk and exchange services. No matter if the Cybertronian is an autobot or a decepticon. During these events bots will try to get a human buddy; with bribes, friendships, anything of the sort.

Humans are quite valuable to the inorganic species considering their ever lasting centuries-long war. So all bots are pretty protective over their human charges. This has led to many problems of bots becoming too controlling and or overly possessive. Which causes humans to be more reluctant to bond with a transformer causing these relationships to be more rare that causes bots to be more possessive over their human(s). It's a nasty cycle that keeps feeding into itself that is definitely going to lead problems down the road but for now things are relatively peaceful.

[thewadapan]

So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That's all any of this stuff is.

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

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

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

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

...

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

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

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

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

When Eric Pearson came onto the project,

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

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

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

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

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

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

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

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

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

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

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

[revelboo]

Do you know what this beautiful world is lacking? TFA Shockwave interacting with a human reader… Like imagine it: Shockwave being sent to Earth to grab stuff for fixing Omega Supreme and reader just to happens to be there in the wrong place at the wrong time: In the middle of a firefight between Shockwave and the Autobots?

Sure! Sounds fun (not for reader, though) plus I feel like he’d just be extra unsettling all the time

Safe In The Dark

TFA Shockwave x Reader

• You hear the first scream, but can’t tell where it comes from. See car doors opening ahead of you. People bailing and running. And then you catch a glimpse of something huge. Heart stuttering, you can’t tear your eyes away. Trapped in horrified fascination as car alarms go off and there’s an explosion. And you realize you’re the only one not running. Too scared to move as you begin to tremble. See a car go flying and see the first monster.

• Autobot scum. Driving him back through sheer numbers as he returns fire. Metal crunching under his peds as he steps back on a car. Retrieving more parts and materials was necessary. A calculated risk. But he hadn’t expected this much of a response. And he can’t be captured, his knowledge too dangerous to fall into Autobot hands. Can’t fail Megatron. Can’t fail his mission. To be captured and outmaneuvered by weak minded little Autobots? Unacceptable.

• Unhook the seatbelt. Get out of the car. Now. Your hands won’t move off the wheel. Won’t stop shaking as the truck in front of you gets shoved back and hits your car. And then you can move. Scrambling in a panic and unable to figure out the seatbelt as the bigger purple monster falls beside your car. There’s an impression of size. A huge red optic seeing you as it struggles to right itself. Seatbelt finally releasing, you throw open the door to run only to get grabbed. Screaming as you’re squeezed in that grip, the monster holding out his arm and the other monsters faltering. “Trust me, I’ll delight in crushing this little insect,” it snarls at the others as you struggle to get free.

• Of course they won’t risk hurting the pathetic, little organic. You might just be useful. Straightening slowly, he tightens his grip when one of the Autobots moves as if to flank him and you scream louder. “What color are they inside? I know I’m curious,” he taunts as he keeps backing up. Just needs to get clear of the cars littering the road so he can transform. But if he lets you go, they’ll immediately attack again. Same thing will happen if he just crushes you. If he takes you, though? Will they risk harming you to stop him or will their code of honor mean letting him escape so you might live? Little fools.

• That head turns to stare at you and your skin crawls. There’s no face there, no expression, but you’re sure this thing doesn’t care if you live or die. That you’re nothing to it. It’s backing away from the others still, holding you out between itself and them. Using you as a living shield. And you want to cry out for help, but there’s no one around but you and the monsters. Caught in the middle because you’d been too scared to react in time. And you’re yanked back against the one holding you, screaming all over again as it comes apart and reforms around you, taking off with you as you hyperventilate.

Next

[in1-nutshell]

HEY HELLO‼️ SO hopefully, you'll get around to doing this before it gets deleted, but i was wondering if u could do Tfp Human buddy getting kicked out of their house and with no where else to go they decide on walking to the autobots base but obviously that'd be dangerous since it's basically in a desert and I'd like to see how youd go around it‼️ I can't wait to see what u come up with, it'd be like a birthday present cuz today's my birthday‼️ 🎉

HAPPY BIRTHDAY!!!!!!

Wishing you had a great day today!!! Hope this is a good gift for you!!!

Hope you enjoy!

Team Prime react to Human Buddy getting kicked out

SFW, Platonic, Angst, Human reader

TFP

It was late night when it happened.

The team had just finished dropping off the kids and had just finished their nightly patrols.

It was time to turn in for the night.

Ratchet was the one who noticed something strange on one of the larger scanners outside the base.

One of the kid’s phones, Buddy’s specifically, was slowly heading to the base.

Ratchet alerted Prime on this.

Optimus decided to investigate this himself and drove out of the base.

A couple of minutes passed before Optimus pulled in, transforming while cupping a sleeping Buddy in his servos.

Everyone was rightfully worried about the human doing so far out in the desert at night alone.

Optimus gently placed them on the battered sofa.

They didn’t move at all.

Optimus told the rest of the team that Buddy had told him that they had a fight with their parents that ended up with them getting kicked out of the house, something that happened a bit from time to time.

The best the bots could do now was give them a place to rest.

Optimus

The Prime could not believe that someone, much less a parent, could do this to their child.

He wants to know why they even fathomed doing that to their child.

When Optimus pulled up besides Buddy, he could already tell that they were exhausted from their miles walk from their home.

It did not take a lot to get them inside his cabin.

Even less to get them to open up about what happened.

It hurt him to see them look so defeated and too tired.

He gently turns on the radio on a soft station and watches them fall asleep.

When they wake up the next morning, he takes them to Ratchet to make sure that they are okay.

 Optimus tells them that if they ever got kicked out again, to just call one of them and so they could get to the base safe.

Optimus: “If you ever need a place to stay, a home if you will, the base will always greet you with open arms. Never think for a second you are alone and a burden. You are our friend, part of our family, we will always be there for you.”

Ratchet

The chief medic is furious when he finds out why Buddy was outside at this hour.

He wishes he could do more for the human other than scan for any superficial injuries.

Ratchet makes sure to leave a water bottle, an apple and a blanket with them.

Makes it a habit to make regular scans to make sure that Buddy was doing okay.

Gets the least amount of sleep from the bots besides Optimus.

When Buddy does wake up, he makes sure that they are actually okay.

He might not know too much on human medicine, but he isn’t going to sit there and not try.

Eventually, does consult with June to see if he missed anything on his check up.

In which June is just as furious as he is when she finds out that Buddy was kicked out.

June and Jack make it very clear to Buddy that their house would always welcome them if their parents pulled a stunt like this again.

Ratchet does mention to Buddy that they could have just called and someone would have came to get them.

Makes sure to have a little list of what needs to be restocked and needs in case Buddy needs to stay at the base again.

Ratchet: “Make sure you have an extra tube of paste in your bag—no I don’t know what its called—Toothpaste?! Its made of teeth!?” Ratchet starts making a mental note to ask June what in the world was in the paste.

Arcee

Arcee wants to beat someone up so bad but can’t.

How dare they do this to Buddy!?

Feels like she should have checked in with Buddy and the other kids before heading back to base.

Secretly fixes Buddy’s blanket from time to time when its her turn to watch.

Next morning after she gets Jack back to the base, Arcee watches over Buddy like a hawk.

Is happy to know that the Darby’s also have Buddy’s back in case their parents do this again.

Does casually mention that she would personally get them to the base if another fight broke out at their home.

She updates June on Buddy throughout the day.

Arcee: “… You want to ride around for a while? It’s a nice day outside, perfect driving conditions too. Just make sure Jack hands you the helmet before we go.”

Bulkhead

Actually broke something in a fit of rage.

Ratchet is not happy that he has to fix another tool.

Is surprised that Buddy didn’t even wake up to the sound of something breaking.

It makes Bulkhead even sadder to know that they were this exhausted.

Gently strokes Buddy’s back for a bit before watching over them.

Next morning Bulkhead goes to pick up Miko and tells her what happened.

He is once again reminded that the Fury of Miko is not something he wants to be at the opposite end of.

The Wrecker does ask Buddy how they are doing once he gets back to base.

Miko already lets Buddy know that they can crash at her place when something like this happens or let her know to tell Bulkhead to pick them up.

Bulkhead also lets Buddy know that they can always call him whenever.

Now makes it a habit of going by Buddy’s place before leaving.

Bulkhead: “Miko and I are going Dune bashing in a few minutes, you wanna come? Its okay if you don’t wanna. I think Bee is having a movie marathon with Raf in case your interested.”

Bumblebee

Just as upset as everyone else, but is a bit more concerned about Buddy right now.

He knows humans are supposed to sleep a certain amount of hours, how would this affect Buddy.

It unsettles him how deep asleep they are.

Throws a couple more blankets on Buddy and watches them for a while.

When Bumblebee goes to pick up Raf the next morning, he mentions what happened with Buddy.

Raf is just as worried as he was asking if they were okay.

Once they get to the base, Bumblebee pats Buddy’s head gently when they wake up.

Idly waits for them to get the green light from Ratchet.

He helps out Raf make a card for them.

It is also the day he learns that humans can cry out of happiness and sadness at the same time.

Mentions that if they need a place to sleep to call literally anyone on the team and they would come and get them.

Buddy gets more head pats than usual for the next couple of days.

Bumblebee: “Beep bop boop bep bop bop. (Raf and I are going to be watching some movies after the racing tournament, you want to join in? You can have first picks!”

Concern Prime noises seeing Buddy alone at night.

[fandom-lover2]

Sacrifices

Optimus is faced with an impossible decision

Word Count - 1347

Sacrifices - pt 2

Optimus stared down at the floor, spark heavy. The Star Saber lay discarded at his side, resting against the wall of his berthroom.

Alpha Trion had showed him the truth, told him truths. Truths he’d been trying to avoid for almost a year now.

He was too close to the humans. The sweet young beings that had become allies to his team.

His Autobots have become close to these human friends, and that was understandable. He had assigned the Cybertronian’s to be their guardians, and spending so much time with the small humans was bound to lead to friendships blossoming.

It was sweet, seeing his war-torn friends become so soft around the little flesh beings. Even Ratchet had allowed himself a few moments to let down some of his guard and interact with the children.

These children did not seem to understand it, that one day they would outgrow the youth-like wonder of being around the ‘Bots, that their curiosity would run out eventually and they would get bored and move on with their lives, leaving the aliens behind.

They also seemed to lack the true understanding of how each moment they had with the Autobots was truly a miracle, and that any second could be the last time the humans ever saw their guardians.

The children did not realize how much the ‘Bots held back when around the children, how much information they withheld. The Cybertronians knew how delicate their human charges were, how even one misplaced arm swing could be the difference of life and death. The tiny humans didn’t seem to see how much the Autobots actually feared being so close to something so fragile.

Still, the ‘Bots acted as though they had no care in the world, acted as though they didn’t cast one extra glance over to their companions in fear that that look would be the last before every mission.

Optimus couldn’t only put these characteristics to his Autobots alone, he too was guilty of the same thing. He’d gotten too close to you, and Alpha Trion had reminded him of that.

Optimus knew what he needed to do, in order to protect his team and attempt to restore his planet, but you had become his only priority lately.

Sure, he still did energon patrols and led his team on missions, but they were always done half-heartedly, or he patrolled in areas he knew Decepticons wouldn’t be and by default, no energron, just to allow you the chance to feel included.

Alpha Trion had reminded him of what this war was, what his role was.

Getting this close to you was a mistake. Something that needed to be corrected as soon as possible so he could begin down his path once more.

“You ok?”

His helm snapped up to your voice. You stood by the human door, waiting for permission to enter.

“You kinda just left us in the dark there.”

Optimus remained silent, once again bowing his head. You took a few steps into the room.

“What did Alpha Trion say?”

Should he tell you the truth? If this plan succeeds then, well then that will solve his struggle, won’t it?

“Optimus?” you called, moving closer to him.

“Alpha Trion revealed to me a way to restore Cybertron.”

He saw your eyebrows raise, the beaming smile. You were so happy, for him. For his team, his kind.

 Did you even stop to think that that meant never seeing him again! How could you so blindly be so happy about him having to leave you, them having to leave Earth?

How was he going to tell you? He’d have to watch as your eyes filled with tears, hold you through your pain as he tried to desperately to tell you he’d never forget the memories you’d made with him. He’d be responsible for so much pain.

“That’s great!”

Why did you have to be so… so pure, and kind hearted, and why did you have to want to be his friend so bad?

“Now we can-”

“We?” He spoke without thinking, the internal rage he felt towards himself making his processor lose track of what was in is helm and what wasn’t.

“Yeah, we.” you said so hesitantly, so unsure of why Optimus was acting this way, what was going on inside his mind.

“You think some starry-eyed human girl is able to have any comprehension of what is happening?”

Curse his advanced senses. He heard the air knock from your lungs, his scanners saw the drop in your heartrate for just a moment before it picked up again, faster than when you entered.

And why in the Pits of Kaon was he saying this? Primus he couldn’t count the number of times you’d helped on a mission, providing information only an Earth dweller would know. How much you helped just by keeping track of Jack, Miko and Raf. How you helped the guardians understand why their charges acted a certain way, or translated the nonsense Fowler spewed in his attempts of a ‘debrief’ from the human governments.

“Optimus, I’m just trying to help. We’re a team.”

“Team?”

He hadn’t meant to sound so incredulous, as he stood to his full height and looked down at you rather than picking you up.

Whether conscious or from fear, you took a few steps back. He could see the wetness in your eyes forming. Tears, you had explained, were a way for the body to express emotion when words could not.

“You’re not even of my species.” he continued, hating himself even more with every word he spoke. “You speak as though your life means anything to me.”

You stopped moving, stopped breathing.

Optimus did the same, frozen by his own words. Your life meaning nothing to him? That was the exact opposite to what was true. Your life was the only reason he still found strength to fight. Your death would be the final straw that would leave him broken, that would end him.

You still hadn’t taken a breath, and Optimus didn’t know what to do.

No words would ever be able to convey his sorrow, his regret, his lies. No action would console your breaking heart.

Just as he was about to reach out, you sucked in a shaky breath, finally looking away from his optics.

“I’m sorry.” And then you turned, leaving his berthroom without a sound and closed the door behind you.

He heard you begin running as soon as the door was shut, probably going to find somewhere in the base where no one would be able to find you and you’d cry.

You’d cry till your throat burned and your lungs ached. And it was all his fault.

Optimus hated himself.

He thought he had, for years he thought he hated who he was and what he’d done, but now he truly understood the meaning of loathing yourself.

And all for what? To spare himself having to say goodbye to you? To make what he was going to do so much easier for him? That saying goodbye to one that hates you is easier than explaining why their love is not enough to keep you.

Primus did he care for you, love you in the way you described the word to mean between friends, between family. And if he could, he’d walk away from all of this in a sparkbeat to stay by your side.

And that was what Alpha Trion warned him of, that he’d strayed too far from the war, forgotten too many sacrifices all for one human.

He wasn’t strong enough to do it himself, to do what was necessary to end this war if it meant leaving you behind. But if you hated him, then it was easier.

If your bright, curious eyes weren’t tracking his every move then he could do what was needed to be done without stopping to consider what you would think of the plan, of the detriment to his health the mission posed. You hating him was a lot easier than telling you you were losing him.

[transformers-spike]

Out of all the TFP Decepticons (or even the Autobots), who do you think would want the most kids with their (female) human significant other?

Man this gets even better if we interpret this as a complete genetic fuckery where the bots aren't even supposed to reproduce this way Megatron is the type who wants to have a cake and eat it too, so you know his greedy ass wants more than one kid. But for now he's distracted trying to figure out how parenting works and making sure he doesn't crush his extra small offspring. Watch him invent Cybertronian nepotism Starscream uh... probably won't make a good dad, and this goes beyond the whole "being a parent isn't really a thing on Cybertron". He just wants the glory of "discovering" this new mode of reproduction. Parenthood freaks him out. Keep it to one kid, whose life he will be absent from Soundwave wouldn't mind more than one offspring - but have fun being a single parent if he sacrifices himself for Megatron's sake. And if his Lord wants you studied (as long as it doesn't kill you), he will accept on your behalf (Soundwave, you bitch) Shockwave wants would want more kids, but in the name of science. Now watch him enact the most terrifying experiments on other humans (or even his own) and terminate the pregnancies earlier just to study the developmental stages. Knock Out and Breakdown would probably be the only ones able to co-parent even if the other's offspring isn't technically theirs. Even if this doesn't start off as a throuple, it soon becomes one. This will probably lead to a whole "Escaping the Decepticons" plotline because Megatron will want to have tests run on the human and the offspring... Airachnid is... definitely up there when it comes to wanting more offsprings. Seeing how detached she is from others of her own kind, I feel like she will see this as an opportunity to manipulate her kids into trusting her completely and doing her bidding as they grow up. Like making your own child army... just like a real spider-parent. At this point, just go for Dreadwing. I may be influenced by my "Tell me it's alright to cry" fic, but as long as he gets away from the Decepticons he's going to adopt his human's children. He is not coping well with his trauma, so what better thing to do than adopt a bunch of human offspring in the middle of his worst depressive episode? Anyway, if he makes even 1 child with his partner, he's going to be extremely anxious and protective of it. Think of this:

[quirekey]

Hello! Hope you’re doing well! Can I ask for HCS for tfp Megatron x femme autobot reader? Like for background he met her on cybertron before he became the leader of the decepticons and they’d spar together. Like he was literally in love with her and now they’re supposed to be enemies💔 thank you!

I am doing well, thank you!! This is an interesting one and I will try my best to write this, thank you for the request!

MEGATRON x FEMME!READER

[ megatron x cybertron!femme!autobot!reader ]

( We will be going straight into headcanons because I am unsure how I’d wrote the cause of the war in a span of 200-400 words 😭😭)

HEADCANONS

- When you chose your side to be with the Autobots, Megatron has not been taking anything lightly. He has been putting his army to an impossible amount of work. He basically has been letting all of his anger out because he just missed you so much. You were a burden to him but it was hard to let you go when he’s literally in love with you.

- Megatron is sleepless, he never recharges. It’s hard for him to recharge when he is so restless. He’s leading an army, that’s hard. Having you on his mind is harder. Honestly, it’s almost impossible that he has to eat extra energon just to stay awake.

- Megatron definitely just stands in his quarters, staring into nothingness. When he has time alone, he’s replaying the memories he had with you back when it was perfect. He definitely tries to forget but just can’t, so he embraces what he had. When he is relaxing, he constantly cherishes every single second he had back then with you. He enjoyed everything about you. Your voice, your appearance, your personality and how you sparred.

- When Megatron first battles with the Autobots, he sees you on the field. He is absolutely distraught and disappointed because he tried so hard to forget about you. Let’s just say he always targets you, because you both sparred many times in the past.

- Overtime, Megatron becomes obsessed with seeing you on the field. When he is about to fight the Autobots, he would always ask, ‘Where’s my darling?’. At first the Autobots are confused, but only Optimus really understands.

- Optimus actually knows about your relationship with you and Megatron. Back then in Iacon, D16, you and Orion Pax were all really close, like a trio that worked. D16 felt his spark light up like a pile of fireworks exploding everytime he was around you. Orion knew and he and D16 spoke to each other about it. You gained your love for him a little too late…

- The rest of the autobots find out when Optimus explains his close relationship with you. He also does not mention about your and his love for each other, unwilling to make the tensions worse.

- Megatron never confessed to you because he was scared. He spoke to Orion, he rehearsed his confession overtime and has tried so many times to let his true feelings out. He was scared to face the truth if you did not feel the same, how everything you had would’ve been all for nothing.

- You do dearly miss Megatron and actually love him too, but you don’t think Megatron loves you back. You wanted to confess but the war then started and the stakes were just too high. You wanted to let your spark out so badly for him, to keep him as yours forever, but it was merely impossible.

- The reason why you chose the Autobots is because you knew what was right. Though it was extremely tempting, you just couldn’t. You have too much of a strong heart to choose the evil side. You did not wanna be parted from Megatron, but it was inevitable.

[oddthumbswetsleeves]

Hiding - Oneshot

Inspired by this post by @crumb-crumblet-s-crumbington <3

“Have you heard from B today?”

Elita-1 looked up from her datapad at her former-incompetent-subordinate turned leader. He looked stressed, or maybe nervous? It was hard to tell ever since he received the matrix.

“No. I haven’t seen him since the last time he messed up putting the supplies in storage.’ She looked back at the forms she was filling out. “He’s probably avoiding us cause he’s embarrassed.

“Embarrassed?” Optimus sounded confused. Elita realised she had neglected to tell the prime about B’s latest incident.

“He put a lot of the supplies he was sorting into the wrong places. I mean, seriously! I gave him possibly the easiest job I could have, and he still messed it up.” Optimus didn’t look like her answer had put him at ease. “He’ll be fine. If he’s embarrassed it might teach him to listen a little more.”

“Just-“ They met optics, “Tell me if you see him, or if you can get through to him. He won’t answer my comms.” He sighed. “I’m worried.”

He definitely looked nervous now.

“Yeah, sure.” Elita went back to reading. Optimus was silent for a moment, as if he wanted to say something else, but left quickly.

Once he was out of audial-range she tried B-127’s comm, certain Optimus was exaggerating. B never missed an opportunity to blabber.

“B”

Nothing

“B-127, respond.”

Still nothing

“B, this isn’t funny. Answer me.”

Silence

Elita never thought she would be able to use that word to describe the yellow bot. She started feeling slightly worried before it was replaced with something else.

How dare he hide away from his duties as an Autobot because he was embarrassed. He wasn’t the only one struggling with his new status. Being the Autobot commander and essentially second-in-command of Cybertron was exhausting. Every moment she wasn’t recharging or refuelling she was working. B was not going to get away with skirting his duties.

She was gonna find him.

Where the frag was he?

Elita had spent nearly half the orn asking around for the little mech. No one had seen him since she had. Not Jazz, not Ratchet, not even Prowl, who was usually aware of all Autobot activity. The other scouts had gibed her about B-127’s unrivalled skills in what they called “Extreme Hide and Seek”.

“If B’s hiding from you there’s no chance you’ll find him” one taunted. Primus, she hated being around the scouts, nosy bunch.

“Wait, why do you think he’s hiding from me?”

“Why else would you be looking for him? He’s told us about how busy you are.” Another one answered.

“Well, you’re not helping!” She stormed off before they could peeve her off more.

Elita was definitely getting hangry, so she decided to stop to get energon before anyone could risk mentioning it to her. Everyone had really been enjoying the abundance of it. The decreasing rations had been affecting the cogless bots hard. She remembered after being transferred to waste management seeing how some of the supervisors were stealing others rations off the delivery lines for themselves. That was one of the first things she fixed, especially since many of the bots on lower levels didn’t leave their stations during their breaks. Mostly the bots on the sub-

The sub-levels

“The best hiding spots are ones that other bots don’t know exist.” B-127 told her that once while he was training to be a scout. He was mostly talking about places that taller bots couldn’t get to, but almost no one knew about the 10 extra sub-levels.

“Scrap”

The elevator rattled more the lower it went. It was also getting noticeably hotter. The doors opened and after stepping out they surprisingly didn’t close behind her. Strange. She didn’t say anything at first, trying to hear any noise that wasn’t coming from the furnace.

She felt isolated.

Even though Elita knew she could contact anyone she wanted instantly, there was just something about the room emanated loneliness, but B had to be here.

She looked around. The room was small, nothing besides the furnace, the conveyor belt, and the trash chute.

Unless…

One of the walls seemed to have a handle, and when she moved it... Another room! She pushed it over.

What on Cybertron?

The walls were lined with multicolour string lights. The room had a table and chairs, but in the chairs were 3 piles of trash. They were kind of bot shaped. She guessed one of these were what “Steve” was, who Orion supposedly killed and D-16 insisted wasn’t real. Primus this guy was weird. Just before she turned away, she saw it. There was something golden-yellow barely poking up from behind the table. Elita had to stop herself from groaning. Some hiding expert he was.

“B” He didn’t move. Elita crossed her arms.

“B-127 I can see you.” He slowly ducked out of view. Elita’s face scrunched up, “Get out here right now or so help me, I will drag you back up to Iacon by your finials.”

The bot cautiously stood up, looking anywhere except her face. Neither one said anything for a few moments. Elita tapped her finger against her arm, making sure B could hear it. He still did not say anything. Elita started feeling nervous again, B didn’t even recharge this quietly. She wouldn’t show it though, he wasn’t getting any pity from her.

“Well?” she prompted.

“Why are you down here?” He asked quietly.

“I could ask you the same thing.” Elita leaned forward, but B still didn’t look up. “Why are you hiding? Do you think I’ll just forget your screw-up if I don’t see you for a few orns?”

“I’m not hiding. You know I’m here now, you can go back to work.” He fidgeted with his servos.

“What, so you can keep sulking here?”

“I’m not sulking.” His voice was low, but a bit rough.

Had he been crying?

“Then why are you down here?”

“You were really mad at me the last time I messed up. You said I was running out of chances.”

“So?” Her gaze steeled. His breath hitched.

Was he going to cry again?

“Well, that’s what supervisors used to say to me before I would get demoted” their optics met, “and you were a supervisor…”

“So, you came down here?” She gripped her arms a bit tighter.

“I’ve never had a boss who was my friend before.” He looked down at his servos, still keeping his voice low. “I just didn’t want to see your face when you decided to give up on me.” Fluid dripped from his optics.

“Give up?” Her voice was suddenly much softer. She cleared her throat. “Why would you think I’d give up on you? We’re friends, you said it yourself.”

“Megatron was Optimus’ friend, and he dropped him to the centre of Cybertron.”

Elita felt a pang in her spark. That might have been the scariest moment of her life, including everything that happened leading up to it. B had been the one to stop her from trying to grab Orion as he plummeted. In the frenzy she might have fallen after him. B had probably saved her life.

She was definitely failing to hide her pity now.

They were both silent for a while, the furnace rumbling softly behind her. Elita sighed and walked around the table. B shrunk under her gaze. This was the first time she had ever felt bad about making a subordinate scared of her. She put her servos on his shoulders, taking care to be gentle, and bent down slightly to be at optic level with the scout.

He was definitely crying.

Elita wrapped her arms around him tightly. He tentatively moved his servos up to her back. She felt him shake.

“Are you not mad at me?” B’s voice quivered. She sighed, squeezing tighter.

“I’m not sure I am anymore.” Letting go to hold his shoulders again. He sniffled and she moved her servos to cup his face. “Why haven’t you answered any comms? Optimus is practically beside himself.”

“I didn’t know you guys were calling me.”

“What?! Is your commlink broken?” She turned his helm to look at his audials. He pulled her servos away from his face. They had tears on them.

“No.” He looked towards the furnace. “I’m pretty sure no signals reach down here from the surface.

Elita’s face scrunched. She turned away, reaching a digit up to her commlink.

“Optimus, come in.”

No response. She swore quietly.

“We’re going back to Iacon before the boss starts pulling walls down to find you.” She held her servo out. B hesitated.

“He’s looking for me?”

“Of course he is. Why wouldn’t he be?” B tapped his pedes nervously.

“I thought you guys were kinda fed up of me.” Elita chose not to address that. She grabbed his servo and pulled him towards the elevator. It was still open.

“How come these doors didn’t close behind me?”

“Cause they don’t open from this side. It’s so if somebot comes down here to get something they won’t get stuck.”

“But that means…” Her spark sank in her chassis.

“Yeah, I can’t call the elevator.”

She stared at him. She felt the rage she frequently had for Sentinel and his lackeys build up.

“So you planned on staying down here forever?” B started wringing his servos again.

“I dunno”

“Well how would you have come back up if I hadn’t found you here?”

“Optimus, Megatron and I climbed up through the chute.” He pointed at it. “I probably could have done that again.”

“Would you have?”

B didn’t answer.

“You’re coming back to Iacon with me.” She put a servo on his shoulder. “I cleared my schedule when I went looking for you so we can do whatever you want, ok?” She led him into the lift. He shrugged. “There are a couple movies I’ve been too busy to watch. We can watch them in my quarters if you want.”

“Sure” He smiled for the first time since she found him.

“We do have to go see Prime first. I’m a bit worried he has actually turned headquarters upside down in my absence.” B giggled. Elita felt a weight lift off her spark. Once the elevator started moving, she pulled him into another hug, more forcefully this time.

“Never scare me like that again, or I will actually kill you.”

“Okay”