#sorry to be so uk based

[atldiscourse]

happy holidays everyone

[wavetapper]

rb this and tag your favourite soundtracks! they can be anything like games or movies or shows or whatever i wanna know what the best ones are 👀

[butchvamp]

we know EA interfered a lot with veilguard, i definitely do attribute the "sanitization" of the setting directly to EA's meddling, i even think to some extent taash's quest and the corporate representation feel of it all was influenced heavily by EA and not just weekes. and i think a lot of the companions being so shallow and their quests feeling half-baked is also mostly due to time constraints and rewrites/cut content-- the writers genuinely did do the best they could with what they had, and i feel for them and their frustrations. but. there are also just a lot of really bad decisions made elsewhere, too. like i said the racism has always been present in these games and it's always been a problem, it's literally baked into the worldbuilding, though i can definitely agree that some of it was potentially made worse specifically in veilguard due to constant rewrites and the loss of context and cohesion, but like... it was always there to begin with... and it's not "unfair" for players to point this out.

both things can be true-- EA absolutely fucked these people over, and we shouldn't be speculating conspiracy theory-type shit about the writers hating fans or whatever when we know. we know EA interfered, we know there were creative differences, we know they ruthlessly laid off a lot of the people that poured their blood, sweat, and tears into this game! EA is both stupid and actively malicious, they get no sympathy from me. veilguard absolutely is a casualty of the current state of the gaming industry. and i also think there were a lot of poor writing decisions made independently of that as well, that are fair to criticize and question. a lot of these problems are the same problems we've seen in every single DA game, and this consistency makes it clear this is not just an issue with corporate overreach.

but i really feel for everyone involved with making this game, this shit was clearly a very long and tiring fight, i can't even imagine the kind of constant corporate shitstorm they had to deal with for ten fucking years, and personally there is no NDA in the world that would keep me from talking shit. so these guys are stronger than me lol

[spicyicymeloncat]

I DONT WANT TO SEE ANYMORE JKR I HATE HER SO FUCKING MUCH

YOU DO NOT UNDERSTAND I LIVE IN BRITAIN EVERY SHOP HAS A HP SECTION YOU CAN GO INTO A CLAIRES OR A WHSMITHES OR A FUCKING BUILD A BEAR AND THERE IS A WALL DEDIDCATED TO THIS ASSHOLE AND HER MEDIOCRE ASS BOOKS THAT HAVE SO MANY RACIST UNDERTONES AND THESE BOOKS CAME OUT YEARS AGO IM SO MAD AT THIS ENTIRE COUNTRY FOR HAVING THE FOULEST TASTE IN LITERATURE LIKE

JKR IS TRANSPHOBIC RACIST AND A WHOLE LOTTA OTHER SHIT AND SHES ONLY USING HER CONTROVERSY TO GET MORE FAMOUS

[faaun]

critical thinking is taught in literature and/or philosophy classes you're just usamerican

king i think you might be the one lacking reading comprehension skills i'm a philosophy undergrad, i was raised in iran, i live in the UK where we ARE taught to think critically, have never once been to the usa, and i'm talking from my own perspective as an asian person combined w that of all my peers from diff asian countries who all have had the same experience/perspective on this . if you read the tags on that post i say clearly that i'm iranian :)

[seaofreverie]

Delivery day!!!!!!!

[undescribed1mage]

Rating, Category, & Archive Warning(s): Teen & Up, Gen, & Graphic Descriptions of Violence

Fandom(s): Newsies!: The Musical, Newsies - All Media Types

Relationship(s): Splint & Ritz (Newsies), Splint & Tommy Boy (Newsies), Splint & Skittery (Newsies)

Character(s): Splint (Newsies), Ritz (Newsies), Tommy Boy (Newsies), Skittery (Newsies), Mentioned JoJo (Newsies

Additional Tag(s): Whumptober 2023, The Refuge (Newsies), Based on Newsies!: The Musical (UK), Delirium, Serious Injuries, Child Abuse, Memory Loss, Whump, Illnesses, Ambiguous / Open Ending, Hallucinations, Title from a Mitski Song, Blood & Injury, Mild Gore, which is really just. one graphic description of an injury but, Pre-Canon, only by a few months though, Bad Things Happen Bingo, Dissociation, I think? i am tagging it as a warning just incase, Child Neglect, Archive Warning is really just a precaution because this is rough!

Summary:

Splint isn't a stranger to injuries. She isn't a stranger to broken arms, or gashes, or road rashes, or anything of the sort — her arm has been in a sling as long as she can remember, her name is Splint. But — It's never quite felt like this before.

The other girls (there are about fifteen of them, all pushed into this tiny room) avoid looking at her arm, or if they can, her in general, (the last that one did look at her arm, a littler one, maybe about nine, she threw up — it's still there, rotting in the corner of the room, — so Splint assumes that her arm probably looks awful, she honestly can't bring herself to look) but they're still confined to sharing a bed with her, often, the girl on her right shifts so that her arm rubs against the sheets, causing her stomach to lurch.

Or — Splint's been injured plenty times before — why does this one feel so different?

[WRITTEN FOR WHUMPTOBER DAY 2: DELIRIUM, & THE @badthingshappenbingo PROMPT NEGLECT / ABANDONMENT.]

[calltainn]

I've been getting ads for TikTok on here and they're amusingly off the mark. Starting a collection.

Today it's one of the most boring straight people you went to school with and forgot to unfriend on facebook.

[criminalamnesia]

Not a request but NEW TRAITOR CHAP WHEN??? prioritize urself no rush Pookie just the ppl gotta know

part 7 is here 🙏

ALL PARTS CAN BE FOUND HERE

it was pouring rain as you slid from the taxi, the driver attempting to yell at you to shut the door as thunder rumbled overhead.

you paid him no heed; boots splashed in murky puddles as you pushed the door closed and moved towards the yellow cab’s trunk.

you could barely hear yourself think. the rain was battering the ground as if locked in a viscous war with the cracked pavement— puddles forming as the asphalt resisted with all its might. it wasn’t enough, water seeping into the ground and muddying the grass nearby, drowning it mercilessly.

you grabbed your bag, slinging it over your shoulder before shutting the trunk. you’d barely stepped back from the car before it was speeding off, kicking up water and splashing your legs.

you didn’t mind— you were soaked through to the bone, anyways. besides, you didn’t mind the storm. it was comfort— a distraction from what lay ahead.

your new team. a small, covert operations group made up of the best of the best. two sergeants, a lieutenant, a captain— and they wanted one more soldier.

the opening couldn’t have come at a better time. you’d run your course with your old squad. they’d been fine— until they weren’t. carelessness and ignorance from teammates almost resulted in your untimely death, and laswell hadn’t questioned your transfer request after hearing the tale.

in fact, she’d recommended the one-four-one to you.

you thought you’d be meeting them on base, but the captain had requested you meet them here, instead. a run-down old diner, with its bright, neon pink sign blinking down at you through the rain.

you inhaled, then exhaled. clenched your fists, then unclenched them. it was a habit you’d had since you were a child. it forced you to slow down and think, to overcome the emotions you were lost in.

you blinked. rain ran down your face, creating false tears as it streamed from the corners of your eyes. you were sure you looked a sight.

another inhale, another exhale, and then you moved towards the diner’s door. you pushed it open, stepping inside and wiping your boots on the mat in front of the door.

“I think you’re gonna need to do more than that to dry off, sweetheart” a woman’s voice calls to you, causing you to look up towards the counter. she’s grimacing, looking you up and down. no doubt she’ll be following your path through the building with a mop in hand.

“sorry,” you tell her, trying to brush some water from your jacket. “forgot my umbrella.”

the woman gave a huff, waving her hand before turning and attending to an ancient-looking coffee maker.

you take the time to glance around the diner then, noting the substantial lack of customers. only two booths were occupied, one containing a young couple tangled in each other’s arms, and the other containing a man wearing a baseball cap with the UK flag patched on it.

he looked up from his phone as you approached, seemingly unsurprised based on the grin he gave you.

“glad to see you got here in one piece,” he says as you shrug off your bag, placing it on the floor as you slide into the seat across from him.

“one drenched piece,” you say, and he gives a small chuckle.

“im kyle,” the man tells you. “don’t know what laswell told you,” he clicks off his phone and places it on the table. “but im one of the sergeants.”

you nod. “callsign ‘gaz,’ right?”

he gives a nod of his own. his phone buzzes, the screen lighting up. his eyes glance down, scan the message, then meet yours once more.

“rest of the team got held up. price is in a meeting. johnny and ghost are on assignment, but they’re due back any day now.”

“so you’re the welcome committee by default, huh?” you say, and he laughs.

“guess i am. have i scared you off yet?”

“dunno,” you tell him. “but laswell sings your praises. the captain’s, especially.”

“she sings yours, too.” kyle says.

you give a small nod, your mind racing at what laswell may have told the task force. you weren’t bad at your job— you were great at it. a great shot, a reliable solider, a tireless sentry.

your emotions got the better of you at times, that was all. attachments and bonds that formed, linking you and your fellow soldiers together in the web of warfare. tying you around the wrist and dragging you along, for better or worse. little siblings or lovers evolving from what once had been just another set of boots on the ground.

this job was all you had. you found family where you had too, and it made you all the more loyal. but when you were spurned? when the fire leapt from the pit and scorched your skin?

you weren’t quick to forgive, and you found that reasonable in this line of work. mistakes by teammates could get you killed. who could blame you for holding a grudge against an ally who had almost cost you your life?

it’s why you were here now. a new start with a new team— a team of the best, you included.

kyle’s phone buzzes again. he picks it up, the screen illuminating his face as the lights flicker overhead. the storm wasn’t letting up.

“cap’s on his way— says he’ll be here in less than 30.”

“price, right?” you recall his name. kyle nods.

“don’t tell him I told you,” he leans in, a mischievous look in his eyes, “but he’s been lookin’ forward to meeting you. maybe even more than johnny has.”

“why’s that?”

“said the one-four-one is overdue for someone else who can kick johnny’s ass. wants you to knock him down a few more pegs.”

you laugh at that, giving a small shake of your head. kyle’s lips curl into a smile. “nah, he’s just happy to have some more hands on deck. always helps to have another person that’ll watch your back.”

as kyle starts talking again, you find your nerves settling.

maybe this team could be your new family.

you looked down at your hands, noting the slight shake of them. you don’t think they’d been steady since before everything happened.

your eyes glance to the ugly, scarred stump of the finger you’d lost. simon hadn’t chopped it off prettily, and it’d been stitched up hastily. you couldn’t blame the doctor, there had been more pressing injuries to attend to.

such as the bone-deep cut to one leg, growing infected from your time spent in the chair. the scar was long, stretching from the top of your thigh to your knee. it was still pink, a sign of your body still trying to put itself back together.

your torso wasn’t much better. jagged scars and puckered knots of skin marred your image. both from before and from after.

your eyes met your own in the mirror. you barely recognized yourself. the anger within you still burned, but its flame had reduced to a simmer. exhaustion, apathy, and shame had taken its place.

perhaps that was a good thing. it saved you the energy of fighting the men you inevitably saw every day. despite your numerous pleas and demands for them to simply leave you alone, they seemed to have a hard time listening. it made you want to scream. to hurt them, digging your fingers into skin until they understood the pain behind your words.

a knock sounded at the door. you didn’t move.

a knock again. you could hear the shuffle of feet outside the door. you wished whoever it was would leave you be.

another knock, accompanied by the soft timbre of kyle’s voice.

“love, you alright in there?” he was saying. you still stood before the mirror.

things had been different since you attacked the doctor. it had only been a few days, but word spread quickly through base. if people had avoided you before, you were like the plague now.

and the shame you felt was insurmountable. the pain and regret and fury were building like a tidal wave in your stomach, rising and choking the air from your lungs.

you wanted to leave this place. get away from the men you once called family, the one you once called yours.

but leaving meant the end of your career. you just had to hold out until kate arranged your transfer, that’s all. just a few more days, right?

and then this place and these people wouldn’t be a constant reminder of what had happened to you. of what it had done to you, physically and mentally.

“go, kyle,” you called out to him, breaking from your trance as you reached for the scratchy robe johnny had gifted you one christmas.

“not until i see you breathin’, love.”

you sigh, tying the robe shut and hugging the material to your body. you moved to the door, turning the lock before inching it open.

“breathing,” you tell him, watching as his eyes flick away from yours. god, it made you want to strangle him.

to yell at him, to yell at all of them— "you did this, and you should be able to look me in the eyes and see it.”

“now go.”

he looks at you again, eyebrows furrowed in worry. “will you let me in?” he asks, and you scoff as you move to slam the door.

“fuck off, kyle.”

but he’s quick, and his hand shoots out, grasping the door’s wooden edge and keeping it from closing.

“we need to talk.”

“whatever you need to say, you can say it from there,” you tell him, and he pauses for a minute before he nods.

“doc is asking about you again. she’s up and runnin’ around. said she wants to see you.”

your lips press into a thin line. you didn’t deserve that woman’s kindness, not after what you’d done to her.

you hadn’t been in your right mind, but that didn’t excuse it. you had bloodied your fists; harmed an innocent in the war between you and your own mind.

you didn’t want to see her still worrying about you when you had assured her you were fine. you had left her supervision, and then you’d attacked her. and you hadn’t stopped until simon had pulled you away.

you would’ve killed her, you know that in your heart. you would’ve killed her, thinking she was one of the men who had wanted to kill you.

“tell her im fine,” you said, your hand tightening around the door’s knob.

“i think she’d rather see that for herself,” he says.

“im fine,” you repeat. “i’ll be out of everyone’s hair in a few days, anyways.”

kyle’s eyebrows lifted in surprise. “you’re leaving?”

he knew this, they all did. perhaps they just didn’t truly believe it. all of them, every single one, still thought you’d turn around and run back into their arms.

bastards.

“as soon as laswell gives the word,” you reply. “should be soon.”

kyle doesn’t speak. he’s obviously biting his tongue— you’d seen the expression that was on his face enough to know when he was holding back, but you didn’t prod like you would’ve before.

let him keep his secrets, lies, promises, and sorries. you didn’t need them anymore.

“don’t bother me again,” you said before shutting the door in his face.

you hear him sigh on the other side of the wood, then hear the retreat of his steps. you turn back to the mirror, snarl, and grab the alarm clock from your nightstand.

you throw it into the glass, shattering it to pieces. seven years of bad luck, you think.

well, it couldn’t get much worse, could it?

kyle sighs, staring at your door for a second longer before turning away. simon looks down at him from where he was leaning against the wall, hidden from your view, his muscled arms crossed over his chest.

“surprised?” simon asks as the two of them retreat down the hallway. he makes sure they’re far enough from your door before speaking, so that you won’t hear his voice.

“we knew it was happening, price said as much after that whole thing with johnny,” kyle replies, shoving his hands into the pockets of his pants. “just thought this might change things.”

“change ‘em how?” simon says. “if anythin’, this speeds it up. they’re a liability now.”

“they’re hurt, ghost,” kyle retorts, his eyes meeting his superior’s. “that’s ptsd. not everyone’s as forgiving as the doc. they attack someone outside and that’s a fucking felony.”

“that’s not our problem, sergeant,” comes simon’s baritone reply, and kyle stops.

“you’re a fuckin’ case yourself, y’know that, LT?” he says, and simon stops. “we all played a part,” kyle continues. “but you? you would’ve killed ‘em if we never knew the truth. i know you would’ve. i’ve seen you do it.”

the men stare at each other. simon’s expression is hidden underneath his balaclava, but kyle knows it’s unreadable regardless.

mean, old ghost. heartless bastard, loyal to the mission only. that’s what the others around base whispered to each other.

kyle had seen proof to the contrary. yes, simon was loyal to the mission. but he was also loyal to his team, his family. you.

he was loyal to you.

“watch yourself, sergeant,” simon speaks, his voice a dangerous rumble.

kyle scoffs and walks off, shaking his head.

simon watches him go, his breath steady.

kyle didn’t understand him, not really. not the way you had begun to. and that was his own fault, he knows it. forever holding those close to him at arms length for fear of the worst.

he’d let you in— let you invade that space he enforced so ruthlessly. and the worst had happened.

kyle doesn’t know this is tearing him in half; none of the team does. they don’t understand that simon wants you to stay because you’re you, but he wants you gone because he can see how this is killing you.

even when he’s the villain in your story, he’s still trying to look out for you— in his own, twisted way.

he doesn’t regret it. that is cemented in his mind. but as he grapples with his own emotions, his mind in its own turmoil, he knows he wants you to be okay.

“im sorry,” he had spoken to deaf ears.

sorry for the ripping apart of your life, but not sorry for what he had done.

deep down, he knew you would never forgive them. he knew that leaving this team would be the best thing for you.

he knew, he knew, he knew.

knowing and accepting are two different things.

hope this was worth the wait! i think the next part will be the end, unless my idea changes 👀

[wandascosmic]

so american

wanda maximoff x fem!reader

summary: in which you struggle with the aftermath of your relationship with natasha, but wanda never fails to help you through it all.

or, the one based off so american by olivia rodrigo.

word count: 11,499

tags: fluff, angst, natasha being a bitch in one scene, this was supposed to be completely fluffy but then i added angst and ended up loving it, they're mostly just two idiots in love, reader gets insecure a couple times, wanda's so in love, everyone say thank you to olivia rodrigo for fuelling all my fic ideas

part one: enough for you

“Why do Americans drive on the right side of the road,” Wanda grumbles as she sits behind the wheel, driving the two of you to your favorite road trip destination, your family’s cottage in Nevada. 

You laugh, kissing her cheek. “Baby, Sokovians do too.” 

“Well, yeah, but that doesn’t mean I’m happy about it,” Wanda mutters, cursing under her breath when another right-hand turn takes her by surprise. 

“I think that’s what you get for getting your license in the UK, Wanda,” you tease. “Now you’re all grumpy, and angry, and that milkshake we shared a couple of hours ago definitely didn’t help–”

Wanda gives you a look and you give a cheeky smile in return.

“For the record,” she replies, looking at the road once more. “I didn’t have a choice. I was on a recon mission with Steve, and he told me I couldn’t rely on my powers for transportation all the time.” 

“Well, I think your powers are hot, though.” 

Wanda laughs. “Thanks, detka.” 

“Jesus, I’m cold,” you mutter as goosebumps start to form on your skin. 

Wanda immediately turns down the AC in the car, and you reach into the back for the first piece of outerwear you can find. As you pull your hand back to your body, you realize it’s Wanda’s navy blue hoodie, your favorite piece of clothing of hers. Smiling, you pull it over your head, comforted by the scent of her that enraptures your senses. 

Sighing in satisfaction, you lean your head back into your chair, feeling so much more content than you did a year ago. 

Wanda notices you out of the corner of her eye, and softly says, “You look so pretty wearing my clothes.” 

You smile at her, and Wanda takes your hand in return, as she keeps her other on the wheel, intertwining your fingers together. 

“You’re so warm,” you whisper, feeling so so loved. 

Wanda squeezes your hand tighter. 

***

Wanda’s laugh is the most beautiful sound in the world, you realized the first day you met her. 

You had been sitting and talking the entire morning, Wanda’s smile awakening the constant butterflies in your stomach and setting your heart alive. 

“So,” Wanda rests her chin onto her hand and leans onto her elbow. “What profession are you in?” 

You smile, “I’m an oncologist, but I much prefer the research aspect of things. I find it thrilling.” 

Wanda scrunches her nose. “You find spending countless hours in front of your computer and in a lab thrilling?” 

You laugh. “Sure do. What about you? What profession are you in?” 

“I’m an Avenger, but I work part-time as an English professor at a local university,” Wanda replies, and before you can compliment her on her work as a superhero, she asks another question, still curious about your job. “Why oncology, though?” she asks with her shiny eyes ever so inquisitive. 

“My mom died of cancer when I was 8,” you look into your coffee cup, staring at the liquid as you pop the lid off. “You can probably figure out the rest,” you give a small smile. 

Wanda frowns. “I’m sorry.” 

“Don’t be, it was a long time ago. I’ve made peace with it, honestly.” 

“That’s really amazing though,” Wanda says, struck by how beautiful you were on the outside and inside. 

You blush. “Thanks.” Feeling overwhelmed by everything Wanda was making you feel you decide to tell a joke. “Hey, what do you call an apology written in dots and dashes?”

Wanda tilts her head curiously. “What?” 

“Re-morse code,” you give a small smile. 

Wanda takes a second to process it, but once she does, a huge grin makes its way on her face and she’s laughing. 

She’s laughing, and you want to keep hearing it for the rest of your life. 

Once she’s done, she looks at you with a shake of her head. “That was awful.” 

You shrug. “Made you laugh, though.” 

“You did,” Wanda nods. “And something tells me you’ll keep making me laugh.” 

You blush, people had never really found you funny. Nat didn’t especially. 

But here Wanda was, with her comforting smile that made you feel like you were on fire, and her soft green eyes that made you feel safe, cared for, and loved already. 

Who made you feel like you were funny for the first time in your life. 

***

“Here we are,” Wanda says, stepping out of the car and slamming the door shut. 

You sigh contently, so incredibly happy compared to the dark place you were at two years ago. Sometimes, you still felt the weight of how unloved you had felt. Of how you never felt good enough, never felt worthy of someone caring for you. And every time you ran back into your thoughts, Wanda was there to pull you out of your head and reassure you that you deserved the world. Telling you that she would do her best to give it to you. 

It all felt surreal. Gently, you hear Wanda open the car door to the passenger side. The simple action made your heart flutter. “Ready, detka?” she says, smiling at you. 

Nodding, you exit the car, planting a kiss on her lips before she shuts the door. 

Putting her sunglasses on, she comments, “You know, you’re pretty American for having a cottage. With the beach, and everything.” 

“Is that supposed to be a compliment?” you ask. 

“Yep, because you’re an adorable American,” she smiles, kissing you quickly. 

It wasn’t fair of her, to make you feel this much. 

***

Wanda’s on a mission in Russia, and you miss her desperately. You found yourself struggling whenever you were alone, still grappling with the feelings of whether you were enough from two years ago. Your rock was all the way on another continent, too far to reassure you of the constant echoes of awful thoughts that rang in your head. 

“Can I go with you?” you had asked as you sat on Wanda’s bed while she packed the night before with you. 

Wanda kisses your lips. “As much as I would love that, detka, I want you to be safe,” she rubs your arm. 

“I’m gonna miss you,” you say quietly. 

Wanda frowns. “I know, baby, I’m gonna miss you too. So much.” 

You nod, and as you sit quietly on her bed, Wanda can tell your head is somewhere else. 

Grabbing your hand softly, Wanda sits in front of you, staring into your eyes. “What’s going on?”

“Nothing,” you look away. 

Kissing your forehead gently, Wanda pulls back with encouraging and comforting eyes. “I love you,” she says softly. 

And it’s all you need, because it’s the most delicate, soft, unspoken gesture you’ve ever heard. One that screams that she cares, that she won’t leave you, that she won’t hurt you, and that she truly honestly loves you with all her heart and you can feel it radiating off of her. 

Wanda Maximoff made you feel like you were the most important person in the world to her. 

Little did you know, you truly were, and to confirm it Wanda had a ring in her back pocket which she bought a week after she started dating you with her at all times. 

“I love you too,” you reply, giving her a small smile. “I just want to be anywhere you are,” you confess as you start blushing timidly. 

“Oh? That’s cute,” Wanda teases. 

“Shut up,” you groan, hiding your face in the crook of her neck. 

Wanda laughs, kissing your temple. “I do too, detka.” 

“Really?” you pull your head away to meet her gaze. 

“Of course,” Wanda smiles. “Being with you is my favorite thing in the world. Why wouldn’t I want it all the time?” 

You blush furiously. “You know, if you keep this up–” 

“What?” she asks gently.

I might just marry you. You think, oblivious to the fact that Wanda’s already had the thought countless times. 

You shake your head with a smile. 

***

When Wanda’s on her mission, she buys a small chocolate chip cookie keychain that reminds her of you. They were your favorite food, and every Sunday, Wanda made sure to bake a fresh batch for the week so you never had to run out of one of your favorite things. 

And when she gets back, only seconds after she puts her bags down she feels her arms fill with you and her heart becomes so much bigger than it was before. She kisses you deeply, smiling to herself at the person she loves in her arms.

Whispering against your lips, she pulls the keychain out of her left back pocket, her right one carrying the ring she’s planning on proposing to you with. “I bought this for you,” she tells you, letting it dangle off of her index finger by the silver ring that she later finds out gets attached to the zipper of your favorite backpack. 

And God, Wanda would be a fool not to be eternally charmed by the way your eyes light up with joy once you see it, the happy tears in your eyes making her want to hug you so tightly and never ever let go. “I love it,” you reply, grabbing it softly as if it’s made of the most delicate china. “I love you,” you kiss her lips. 

Wanda shakes her head. “So American,” she teases, referring to your love for chocolate chip cookies.

“Yeah, but I’m your American,” you reply cheekily. 

Wanda nods, kissing you once more. “My beautiful, perfect, so American girlfriend.”  

Wanda feels her heart skip a beat when you blush all over. 

***

You’re crying. You’re crying because you saw Natasha for the first time since the two of you broke up, and her words don’t hurt any less than they did when the two of you were dating. Natasha had just seen you and Wanda, wrapped up in each other’s arms, admiring one another at Tony’s enormous birthday party. 

Once Wanda had left to go let Pietro in, who had run back all the way from Australia where he was taking a break from the superhero life, Natasha had come up to you. Ready to poison your world with her venomous tongue. 

“You know, she’ll get sick of you,” Natasha had snapped you out of your thoughts as you stared at the door where Wanda had just left. 

“What?” you reply as you turn to face her on the leather stool. Her calculating and judging eyes causing you to gulp. Even now, you still felt her hurtful words ring the bells of your insecurities back to life. 

“She’ll get sick of you,” Nat repeats. “I mean, why do you think we broke up? You’re boring, you’re rude, and you’re obsessive. All my friends told me about how you couldn’t shut up about me when we were together. I mean, clingy much?” 

“I didn’t mean–” you try. 

Nat scoffs. “Yeah, whatever.” She takes a sip of her drink.

You feel the need to apologize, for you never meant to make Nat feel suffocated that way, when suddenly a brunette witch is making her way over to you. And she looks like she’s about to rain down hellfire on Natasha. 

“Excuse me.” Wanda’s eyes narrow as she wraps an arm around your shoulder. “I believe she’s my girlfriend, Natasha.” 

“Just warning her.” Natasha shrugs. “And you.” 

You stare at the spot on your lap, deciding on whether or not to blink away the tears in your eyes or cry, because ever since you dated Natasha you had learned how to cry silently so you wouldn’t bother her. 

Wanda raises an eyebrow, and her accent comes out thicker than ever before, “And what would you be warning me about?” 

“Of her,” Natasha shrugs. 

Wanda’s eyes go red before she calms down, and her arm around you tightens in the most gentle way somehow. “I’ll give you five seconds to leave us alone.” 

“You’re gonna regret this, Wanda,” Natasha says. 

“The only person with regret is you, for never treating her the way she deserves to be treated,” Wanda replies sharply. 

Natasha scoffs, turning around. “As if she deserves anything.” 

Suddenly, Natasha’s glass explodes in her hands, ‘causing everyone in the party to look her way. You can tell it was Wanda based on the way you saw a spark of red flash in her hands briefly. 

Natasha turns and narrows her eyes venomously at Wanda, before stalking off to go clean the cut that’s very visible on her hand. 

You’re still staring at the same spot on your lap when Wanda turns to face you, cupping your cheeks in her hands as she looks at you. 

“Are you alright, milaya?” she asks, the heartbroken expression on your face making her heart drop to her stomach. You didn’t deserve this. You didn’t deserve this at all. 

“Do you hate me?” you whisper brokenly, the tears finally escaping your eyes as you can no longer keep them at bay. 

“No, baby, no,” Wanda wipes the tears running down your cheeks with her thumbs. “I could never, ever, hate you.” 

“What did I do to make her hate me so much? What’s wrong with me?” you ask with a sob. 

“Nothing,” Wanda feels her own tears build up behind her eyes. “Nothing is wrong with you, baby, you’re the most amazing human being I know.” 

And Wanda’s heart breaks even more, as you cry more and more, silently. 

Somehow, it’s even more heartbreaking than if you were to ever make a sound. 

You cry even more as you replay tonight’s events in your head, still in the navy blue dress Wanda had picked for you for the party, telling you how pretty you looked once she saw you in it. You felt so wrong, like you didn’t deserve any of what Wanda was giving you, like she would get sick of you the same way Natasha did. Because maybe Natasha was right, maybe you didn’t deserve anything. Because if you did deserve anything, then why would Natasha treat you so awfully, why would your mom have left you as a child and why would your brother leave you too, so overridden with the pain of the lack of your mom that he couldn’t bear to watch you, leaving you with your abusive father who reeked of alcohol every night. 

The thoughts sicken you, because your mother never ever meant to have cancer. And it wasn’t your brother’s fault that he couldn’t handle a life without your beautiful, loving mother in it. And it wasn’t your father’s fault either that he had a drinking problem. 

Maybe it was all your fault. 

You hear the knock on your door, and you can tell by the pattern that it’s Wanda. “Detka, can I come in?” she says gently from the other side of the door. 

Quietly, you get up from your bed, turning the doorknob, and opening the door. The motions feel unnatural to you, like you’re some stranger who’s been playing the role of having a loving girlfriend, but your world was shattered earlier and you don’t know who you are anymore. You don’t know if you deserve anything anymore. 

“Oh, baby,” Wanda says heartbroken as she wraps you in a tight hug. 

This was your fault, seeing the sad look in her eyes you realize that you hurt Wanda. 

You hurt the one person in your life whom you never meant to hurt. 

It was all your fault. 

You hug her back, because maybe if you hug her back it would make her feel better and it would be less of your fault. 

Wanda tightens her grip on you, wanting to convey how much she loves you. Wanting to convey how much you didn’t deserve any of this. Wanting to wordlessly tell you that despite all the pain you’ve been through you handle it with so much grace, and you’re the most beautiful person Wanda’s ever met in her life. 

But Wanda can tell that you’re not okay, that your mind is somewhere else–

Then she hears you sob. And it’s the first sound of a cry that Wanda’s ever heard from you. 

And Wanda can feel the tears fall onto her shoulder and she holds you tighter, she holds you tighter and tighter until Natasha’s hurtful words are overrun by Wanda’s overwhelming love she feels for you. 

Wanda can only hope you understand what she’s saying. 

And once you’re done crying at 3 in the morning, she keeps hoping. 

***

Wanda’s worried about you, ever since Nat had spoken to you at the party you had been more quiet. More reserved. Like your mind was somewhere else.

“Baby?” she asks one morning when you’re both alone in the compound and Wanda wants to cook you breakfast. 

“Yeah?” you ask, staring absentmindedly at the sitcom running on the TV. 

You were ecstatic when the first day Wanda met you, you had both found out about your shared love for sitcoms. 

But Wanda watches you know, the complete lack of interest in Malcolm in the Middle worrying her because it was your favorite sitcom of them all and typically you would have a completely enraptured look in your eye. The same one Wanda was lucky enough to receive from you. 

Frowning, Wanda pauses in her cooking, turning the heat off the stove and coming over to meet you on the couch. 

You don’t register when Wanda sits down next to you, still lost in your thoughts as she gently grabs your hand.

“What’s going on?” she asks softly, running her thumb over the back of your hand. 

“Nothing,” you reply, sitting up slightly. 

“Detka, I know you’re not okay. And you don’t have to tell me anything you don’t want to, but just know that I care about you, ok?” Wanda kisses your forehead gently. “I’m always here if you need me.” 

You frown, feeling so guilty that you were making Wanda worried about you. You couldn’t pretend to be okay, and now you’ve hurt her even more. How long until she gets sick of you? How long until she gets sick of the feelings you give her?  

“How long–” your voice breaks. “How long until you get sick of me?” 

“What?” Wanda asks, dumbfounded. 

“I keep making you worry, keep making you need to constantly reassure me, and it must be so tiring for you, so,” you shut your eyes tightly. “How long until you don’t want me anymore?” 

Wanda’s heart breaks. “Never,” she breathes out. “I could never stop wanting you, even if I tried.” Wanda squeezes your hand tightly. “And I would never want to try.” 

“But I’m–” you bite your lip to stop a cry from coming out. “I’m so much to deal with, and I’m not even that interesting, and it would be so much easier for you to date someone who’s actually worthy of how amazing you are–” 

Wanda cuts you off with a kiss. Cupping your cheek, she states, “You are so worthy of love, Y/N.” 

You stay silent, staring back at her green eyes and feeling them pull you out of toxic puddle that was your thoughts like they always did. 

“Loving you is the greatest gift the world has ever given me,” Wanda says, rubbing her thumb against your cheek. “And I could never get sick of you. You are the most incredible thing to ever exist, and loving you, for me, is like breathing. It’s the easiest thing in the world, and it’s everywhere.” 

“I just feel like I’m putting you through a lot,” you say quietly. 

“You’re not,” Wanda shakes her head. “You’re actually making everything I go through easier than it’s ever been.”

“I’m sorry,” you say. 

“Sorry for what?” Wanda asks. “This is everything I love about you.” 

You laugh. “You like when I start crying and get insecure?” 

“I like every part of you. And if you need me to calm you down every single day, I’ll do it in a heartbeat,” Wanda replies, and you smile slightly at her. “But I do hate seeing you cry.” She frowns. 

You scoff. “I hate feeling like this,” you mutter. 

“And I hate Natasha for making you feel like this,” Wanda pulls you into her side and you tuck your head into her shoulder, closing your eyes. 

“I don’t think it was just her,” you say softly. “I think it was a buildup of everything, and Nat just amped it up more. I never really worked through how much that relationship affected me before jumping into one with you.” 

Wanda nods. “Do you want me to give you some space for you to figure it out?” 

You shake your head, wrapping your arms around her waist. “I never want–” you stop yourself, worrying she’ll find you too clingy as Nat’s words ring in your head again. Space from you. 

Wanda doesn’t mean to, but your thoughts echo so loudly in your head that she can’t help but hear them. And she wants to kill Natasha all over again. “What did Natasha say to you at the party?” she asks quietly. 

“Um,” you grapple with your feelings as you relive that night, when Nat made all of your feelings of inadequacy come alive once more. Wanda frowns, rubbing her palm against your side to calm you down. “She said, that–, that you would get sick of me eventually. That I’m boring. And rude. And,” you swallow past the lump in your throat. “Too clingy.” 

“What a bitch,” Wanda mutters. 

“Do you think she’s right?” you ask Wanda, squeezing her waist tighter as your fears that Wanda will get sick of you come alive, and these are your last few moments with the person who lit up your entire world. 

“No, baby, she’s so so wrong,” Wanda replies, her eyes turning red before she looks down at you and frowns as she sees your eyes squeezed tightly shut. 

“The clingy one hurts me the most,” you whisper. “All I wanted was to love her and for her to love me back. But maybe I’m too much.” 

You recall all the times you memorized her new coffee order every few months, the countless hours you had spent re-reading her self-help books, memorizing every fact, listening to all of her favorite songs from the information you had gathered about her. And the way you felt so proud to be Natasha’s girlfriend, the greatest assassin in the world and she chose you to be her partner. How could you have not talked about her? 

Maybe it was too much? 

“I think you’re the most amazing person in the world,” Wanda says, as her powers run amok once more and she sees all the lovely gestures you had done for Natasha. “I think Nat was an idiot for not seeing how kind and loving you are. And you are never too much.” 

You look up at Wanda as she looks down at you with a small smile. Kissing your forehead softly, she says, “You’re not boring. And you’re not rude. In fact, you’re the most interesting person I’ve ever met, as well as the kindest. And if someone is lucky enough to be loved by you, they should realize how rare it is to find someone as incredible as you.” 

You shake your head softly in disbelief. “How do you do it?” you ask. 

“Do what?” 

“Make me feel like I’m actually worthy of being loved.” 

Wanda kisses you deeply this time. 

“You are, I’m just the one who helps you see it.” 

Later that night, Wanda hears you on the phone with one of your oncology friends, and she hears you talk about her. How amazing she is, and how lucky you are to have her. And when she sees you flop back onto the bed through the crack of your door, an elated expression on your face, as you speak dreamily about the way Wanda dresses and the books she reads, Wanda thinks that you’re the greatest thing the world has ever created. And she knows it’s true. 

***

“Baby?” you say, turning to face Wanda in the dark in your bed. Wanda has her arm over your side, and she hums groggily as she was about to fall asleep. 

“What’s going on?” she asks, her voice still heavy with sleep.

“Nothing,” you say quickly, before slowly saying, “It’s just, I really, really, love you.” 

Wanda smiles. “You woke me up to say that?” 

“I didn’t know you were basically asleep,” you reply guiltily. “Guess the mission wore you out more than a night-shift wears me out. Sorry.” 

Wanda kisses you. “Don’t be, you’re adorable.” 

“Can I tell you something?” 

“Of course, milaya.” 

“It’s really hard to sleep when you’re next to me,” you confess.

Wanda grins into the dark. “Oh, yeah? Is it because I’m so attractive?” 

You laugh. “Yes,” you reply, and Wanda’s grin turns smug. “But it’s also because it’s so surreal that I’m with you, at all. And it’s even more surreal that you’re in my bed with me, cuddling me, and you’re so warm and soft and it just makes me want to–” 

Wanda cuts you off with a kiss. 

God, she was so in love with you. 

You grin sheepishly, “Sorry.” 

Wanda rolls her eyes. “Stop apologizing, detka.” 

“Okay,” you nod.  

“Feel better?” Wanda asks, and you understand her question. It’s been a month since Nat confronted you at the party, and moments like this were a big step for you in coming to terms with yourself overall. 

“Much,” you reply. “Especially because you’re here.” 

Wanda smiles. “I’m glad.” 

Wanda’s heart swells when she cuddles you once more, and you hold her hand that’s around your middle as tightly as you can. She feels an overwhelming love for you, and she thinks about the ring in her desk drawer back in her room. 

***

Wanda’s laughing at your joke on the couch. Wanda’s the only one who has ever laughed at your jokes, and it makes you feel so much lighter than ever before, while also making you fall deeper and deeper in love with the woman you’re lucky enough to call your girlfriend. 

“You know, you’re the only person who’s ever laughed at my jokes,” you say. 

Wanda smiles. “Well, then everyone else doesn’t have as sophisticated sense of humor as we do.” 

You give her an incredulous look. “The first day I met you, you laughed at a stupid pun I made.” 

“Exactly,” Wanda shrugs. “Sophisticated.” 

You shake your head with a smile, taking a sip of your tea as your heart feels bigger and more full than you ever thought possible.

And Wanda watches you, awestruck at your striking beauty that she struggles to believe is reality. 

***

Wanda’s sick. Wanda’s sick and you’re worried because your girlfriend is in pain and you don’t want her to be. 

When you came in this morning back from your shift in the hospital, excited to see her, your heart had dropped at seeing her pained expression in bed, her voice croaky and her brows furrowed as she battled the feeling of nausea that overcame her. Not to mention her shivers as her high fever caused her even more misery. 

You sat down on the edge of her bed, softly brushing away the strands of hair that stuck to her forehead due to her high temperature, ‘causing Wanda to stir eventually. 

Slowly opening her eyes, her eyes lit up as she greeted you with a soft smile. “Hi,” she whispered. 

Frowning, you put the back of your hand against her forehead. “Baby, you’re warm,” you told her, suddenly very worried. 

“I’m fine,” Wanda replied, trying to sit up but letting out a groan. “I’m not fine,” she joked, as you helped her lay back down.

“Stay here, I’ll go get you some medicine,” you said, kissing her forehead quickly before heading to the cabinets full of medicine in the bathroom.

“Don’t take too long, Dr. L/N,” Wanda said sleepily as she shut her eyes once more, trying her best to fight her exhaustion so she would still be awake when you came back. 

Shaking your head with a smile, you searched through the cabinets to find the proper medication to give her, already planning how you were going to take care of her the rest of the day and for as long as she needed you while she combatted her illness. Despite your worry, you were grateful that you were finally able to take care of your girlfriend, the same way she did to you every single day. 

Wanda’s condition had subsided slightly, particularly her fever which had gone down quite a bit, but she was still feeling most of the effects of the sickness. 

“Wands,” you say softly, putting the bowl of soup on her nightstand as you kneel down on her side to wake her up gently with a kiss on her cheek. 

Wanda wakes from her slumber with a groan, still slightly disoriented causing you to frown.  

“Is your fever back?” you ask, putting the back of your hand on her forehead like you had done previously this morning. It wasn’t as hot as before, calming your worry a bit. 

Wanda shakes her head before resting it on your shoulder, letting out a sigh. “You’re so good,” she says, turning her head to kiss your neck gently.

“Good at what?” you say with a laugh. 

“Just good,” she says contently, relaxing in your presence. 

“I made you some soup,” you tell her, kissing her temple as she hums. 

“I don’t want it,” she says, muffled by your shirt. 

“I’ll stay with you if you have a couple bites,” you offer. 

Wanda removes her head from your shoulder and raises a brow. “You were going to stay with me anyways,” she says matter-of-factly, trying her best to appear intimidating.  

You smile at her cute expression. Wanda could never be intimidating, especially now when her hair was slightly tousled from her pillow and she was wearing an old T-shirt of yours that was full of wrinkles from her time in bed. 

She was about as intimidating as a baby sea otter. 

“Not anymore,” you shrug, ‘causing Wanda to narrow her eyes slightly. 

“Well, you better,” she retorts, crossing her arms over her chest. “Otherwise I’m never getting over this fever.” 

You smile once more. 

“You know, you’re really cute when you’re sick.” 

“You’re insufferable when I’m sick.”  

You laugh, “Please, will you have some soup?” 

“Only if you cuddle with me when I’m better.”

“I’ll cuddle you right now if you eat a couple spoonfuls,” you say. “I’ll even feed you.”

“I don’t want to get you sick,” Wanda says before her eyes narrow at you once more. “Also, I’m not a child.” 

“I got my flu shot last month,” you tell her, reassuring her worries. “And you’re kinda acting like one,” you tease, before kissing her forehead. “But it’s really cute.” 

Finally, Wanda relents. “Fine, I’ll have some soup.” 

“Thank you, love.” 

You grab the soup from the nightstand and hand it to her, and as she eats you rest your head on her shoulder, one of Wanda’s top 3 favorite ways to be next to you.  

She eats about half before she’s full, and you tell her you’re proud of her before heading off to the kitchen to put the bowl away. 

However, as you get up from her bed, Wanda stops you by grabbing your wrist. 

“Where are you going?” she asks, sitting up slightly as she was already laying back down with the blankets tucked under her chin. 

“To put the bowl away,” you respond gently. “Keeping it in your room might make it start to smell like chicken noodle.” 

Wanda scrunches her nose, accepting your answer quickly making you laugh. 

But as you’re about to leave, you see Wanda watching you, staying sitting up and you can tell that it’s because she wants to wait for you to come back. 

Making your way back over, you gently tell her, “Go back to sleep,” you brush a strand of hair away from her eyes and tuck it behind her ear. “You’re nauseated again, I can tell.” 

“Will you be here when I wake up?” she asks. 

“Of course,” you kiss the tip of her nose. 

And when she lies back down, groggily croaking out the words, “so american,” most likely commenting on the chicken noodle soup, you smile, you smile because you know that’s Wanda’s way of saying she loves you. 

But to Wanda, it’s also her way of saying she wants to marry you. 

***

“This isn’t fair,” you pout as Wanda beats you in Mario Kart once again. 

She had been better for about a week, and she was back to herself which you were ecstatic  about. 

“Baby, how is this not fair,” she laughs.

“You’re way better than me! You had all those years where you played against Pietro, who’s unbeatable, and I only learned ‘cause Sam forced me to when no one else was available!” You cross your arms over your chest. 

Wanda smiles at the cute pout on your face before kissing you softly, and your expression eases up a bit. 

“We can play something else if you want,” she offers, pecking your lips once more. 

“Can I just cuddle you?” you ask, suddenly feeling very shy. 

“You don’t even have to ask,” Wanda says, opening her arms for you to lay down on her, as she leans back against the pillow of the couch, your head resting on her chest as you’re comforted by the sound of her heartbeat. 

You wrap your arms around her waist as she grabs the blanket from the other side of the couch, and pulls it over the two of you, making sure you’re completely covered from the neck down before she tightens her arms around you. 

“I love you,” you say softly, closing your eyes as you relax to the feeling of Wanda stroking your hair gently as you lay on her chest. 

“I love you too, detka. So much,” she says, watching as sleep starts to overcome you due to how exhausted you were from being on call for the past two weeks. 

“You know, it’s really not fair,” you mutter sleepily. 

“What, me winning over 10 times in a row on the Wii?” she laughs. 

“No,” you shake your head. “It’s not fair of you to make me feel this much.” 

Wanda responds by kissing your forehead gently, and you burrow deeper into her chest as you fall into a deep slumber. 

Wanda smiles, content and so so happy as she watches you, feeling the weight of the ring in her back pocket. 

***

It was your one year anniversary, and Wanda had planned a small weekend getaway for the two of you as you had been exhausted due to a bunch of new projects you were taking on. 

Wanda was so proud of you, but a lot of the time she felt worried because of how heavy of a workload you were taking on. 

You were planning on coming over later tonight, as you had to work extra hours in the hospital. 

So, to make you feel better and to let you know about your vacation Wanda made sure wouldn’t interfere with your schedule, she had spent all day cooking you a wonderful 3-course meal which consisted of all of your favorite foods. As well as a large batch of chocolate chip cookies that would last you a solid month so long as you put them in the freezer. 

She smiled at the thought of you as she rolled out the homemade pasta she was making you, how you had turned her world upside down as she navigated the unfamiliar territory of being the newest and youngest Avenger, just having you made her feel like she was so much better than before, and Wanda fell so so deeply in love with you and she never wanted to stop. 

She wanted to give you the world. 

She thought about how kind you were, how you cared so deeply for everyone, always stopping to help wherever and whenever you could. Wanda felt so special to be the partner of someone so undeniably incredible.

Suddenly, the oven beeps, snapping her out of her thoughts as she pulls out the chicken to go along with your pasta, the appetizer of calamari already prepared as it layed on a wire rack, as well as the chocolate chip cookies which she had prepared earlier in the day to make sure she had time to make enough.  

Once she finished up, she plated the table for the two of you as she had kicked everyone out for her special dinner with you, wanting you all to herself. She smiled as she lit the candles and set up the plates along with the knives and forks, laying the plate of calamari in the middle as she kept her entree and dessert a secret from you. 

Hearing her phone go off, she grins once she sees that you’ve texted that you’ve just arrived. 

Taking her apron off as quickly as possible, she rushes downstairs to open the door for you, exhilarated at the thought of seeing you. 

Swinging the door open, you smile softly at her while she grins, bursting forward to wrap you in a tight hug. 

“Hi,” you laugh, wrapping your arms around her. “Happy anniversary.”  

“Can you take a break from doctoring once in a while?” she mutters into your neck. 

“I wish,” you say, wrapping your arms tighter around her. 

Once she lets go, she grabs your hand to pull you upstairs, excited to surprise you. 

“Wanda, what’s the rush?” you ask as you make your way up the stairs. 

“I missed you too much, come on!” she says, making you laugh. 

Once you finally make it to the top floor, Wanda stops you from walking any further. “Close your eyes,” she says. 

You shoot her a look. 

“Trust me,” she says, pecking your lips quickly. 

Closing your eyes, you say, “What now?” 

“Okay, I’m gonna guide you,” she says excitedly as she stands behind you, starting to lead you to the dining room table. 

“This is not how I expected our anniversary to go.” 

“Just trust me,” Wanda says. 

Nodding, you continue to walk in the direction Wanda guides you before she stops you in place. 

“Okay, ready?” she says and you nod. “Three, two, one, open your eyes!” 

You open your eyes, and they widen in shock as you see the most beautiful candlelit dinner you’ve ever seen in your life. 

Wanda has swapped out the regular dining room table for a round one covered in a shiny white tablecloth, as well as swapped out the regular wooden chairs for more expensive looking ones that match the elegance of the table. The plates and utensils are arranged perfectly, along with the restaurant quality napkins that were beautifully folded so they were standing upright, absolutely nothing was out of place, and the calamari in the middle was cooked to perfection, the smell wafting towards you no doubt making you hungry. 

It looked like Wanda had taken the appearance of a michelin star restaurant and copied it to perfection right here in the Avengers compound.

But what was even more unbelievable was the string of lights she had arranged all throughout the room, from every nook and cranny, the lights brought a hope to the dinner that nearly brought tears to your eyes at how romantic and calm they made the room feel.  

And finally, to top it all off, right in the middle of the array of candles on the table was a large vase of your favorite flowers. 

Flowers you had only ever mentioned to her once when she asked you, and you had told her not to worry about it because you could only ever get them in New Zealand.  

“What do you think?” she asks, coming up behind you and wrapping an arm around your shoulder. 

You quickly turn to wrap her in a tight hug, squeezing so tightly you’re surprised she can even breathe. “I love you,” you breathe out. “So much.”  

Wanda laughs. “Does that mean you like it?” she says teasingly before continuing, “I love you too,” she kisses the crown of your head. 

Burrowing deeper into her, you mumble, “I can’t believe...I can’t believe I’m really here.” 

You remember how awful you felt 2 years ago, how hopeless you felt. How unworthy you felt. Now, standing here in Wanda’s arms, who you’re still convinced is much too good to be true, feeling so so loved, everything feels surreal. 

“I have the same thought about you,” Wanda says, her powers running amok as she accidentally reads your mind again and hears your thoughts about her. “You’re too good. Sometimes I can’t believe you exist.” 

“Stop,” you say as your cheeks turn red against her neck. 

“Happy anniversary,” she says softly. “I have another surprise for you.” 

That makes you look up. “What is it?” 

“Join me for dinner and I’ll tell you,” she says cheekily. 

“Why can’t you tell me now?” You pout. 

“Nice try, but I didn’t spend all day cooking this meal for nothing.” She runs her hands up and down your arms. “Besides, you deserve a nice relaxing dinner after all the work you’ve done the past few weeks.” 

You look up at her with a shimmering look in your eyes and a lovesick smile on your face. 

“What?” she laughs. 

“Just happy,” you reply, kissing her lips. 

“You deserve it,” Wanda says easily. “Now come on!”

She leads you over to the table by the hand, pulling out your chair for you as you sit down, planting a quick kiss on your lips before sitting down across from you. 

You share countless smiles and laughs as you have the best dinner of your life, zoning out a couple times as Wanda talks and you simply admire her for everything she is. 

And as you bite into your chocolate chip cookie after Wanda has revealed the enormous batch she made, she’s telling you what the surprise from earlier was. 

“So, I’ve checked your schedule,” she says excitedly. “And since you’re free this weekend I booked us a vacation in Palm Springs! The weather’s perfect, and you’ll finally get to relax after working so hard, plus, they have amazing grass tennis courts and I know you’ve been wanting to get back into playing since you don’t have much time for it anymore–” 

“Wanda,” you cut off softly, shaking your head. 

You can’t even begin to comprehend that tonight is real at all. 

“What?” she asks, looking at you with a smile.

“Every time I start to think you couldn’t get more perfect you just…” 

“I get the same feeling about you,” she says, making you blush. “But I’m not perfect.” She takes a hold of both of your hands and rubs her thumbs over the backs softly. “However, I do love you, so much, and I want to show it.” 

“Well, you’re perfect for me,” you reply, meeting her gaze and smiling softly as the two of you just stare at each other. But suddenly, it clicks in your head. “How did you know I used to play tennis?” 

Wanda blushes before she starts off shyly, “Um, before we started dating I went to your hospital to see if you were there, but you weren’t so I may have asked your oncology friends a couple things about you.” 

“So you stalked me?” you tease. 

“I couldn’t help it I had a crush on you!” she defends, letting go of your hands and putting her head into her arms. “I still have a crush on you.” 

“How embarrassing,” you comment with a chuckle. 

“It’s not embarrassing,” she defends as she lifts her head from her arms. “Have you seen how pretty you are?” 

You blush, ducking your head down so your hair covers your face slightly. Even after a year of dating Wanda always managed to fluster you to no end. 

“Wow, now who’s embarrassed,” Wanda teases back. 

“Shut up, I hate you,” you say, embarrassed. 

“Wow, that’s not very American of you,” she says with a chuckle. 

“Take that back,” you say, lifting your head and narrowing your eyes at her. 

“If you say yes to the Palm Springs trip.” 

“I thought I already said yes.” 

“Not verbally,” she emphasizes. 

“I’ll go anywhere you go,” you say easily. 

“Cute cop-out, but I need the word yes,” she says, sitting up and kissing your lips quickly before sitting back down. 

“Yes,” you relent with a smile. “I’ll go to Palm Springs with you.” 

“Good,” she smiles before a mischievous twinkle brings itself out in her eyes. “So I’ll get to watch you play tennis all weekend. I can already imagine how hot that’ll be…” 

“Why do you insist on teasing me?” 

“‘Cause you look so cute when you’re flustered.” 

You shake your head, taking a bite of your chocolate chip cookie to distract yourself from the way Wanda was making you feel. 

But instead she decides to mess with you even more, softly saying the words “so american” as she watches you. 

And Wanda telling you she loves you made you the most flustered of all. 

***

You had gotten Wanda a necklace for your anniversary, and she had gotten you a bracelet with both of your initials on them. 

Now, waking up in your hotel in Palm Springs, you smile once you see the bracelet on your wrist. You turn in bed to see if Wanda was there, but you frown once you see the empty spot next to you. 

Where was she? 

You wonder where she could be, because she would never leave to go to breakfast without you, nor would she head out without telling you where she was going after waking you up with a soft kiss. 

You don’t know where she could have gone. 

But soon, your question is answered as she enters the room, a large tray of your favorite breakfast foods in her hands as she greets you with a smile. 

You tilt your head in confusion. 

“Hi,” she says, setting down the tray and kissing you on the lips. “I made you breakfast.” 

Your heart flutters and your stomach fills with butterflies. “How did you manage to do this?” 

“Turns out that locked room isn’t a closet, but a tiny kitchen,” she explains, pointing to the aforementioned room. “I found out after I woke up early this morning by accident.” 

“I missed you,” you say, hugging her side. “Where’d you get the food from?” 

“Magic,” she replies easily.

“Oh, right, I forgot I’m dating a witch,” you chuckle, hugging her tighter. 

“I’m not a witch,” she says defiantly. “I was voted most powerful Avenger at Tony’s ceremony last year.” 

“They’re right,” you say, looking over to the breakfast tray and smiling once you see the gorgeous rose that lays on its side. “But that doesn’t mean you’re not a witch.” 

“I’m a not-witch who’s really in love with you.” 

“And I’m a not-doctor who’s really in love with you.” 

“Well, then we agree to disagree,” she says, putting the tray in front of you, silently telling you to start enjoying your meal. 

“Mhm,” you say, eating a forkful of the omelet she had prepared and moaning at the taste. “Where’d you learn to cook?” 

“My mother taught me, back in Sokovia,” she says quickly, heat flushing to her cheeks after she hears the sound you had made. Shifting from her position on the bed to move behind you, she gently shifts you forward slightly so she can sit behind you and outstretch her legs as she wraps her arms around your middle.  

You lean your head back to rest against her shoulder. “She taught you really well,” you say, closing your eyes. 

“Detka, are you gonna fall asleep while eating breakfast?” she laughs. 

“No, I’m just savoring this moment,” you reply, kissing her shoulder. “And I want to savor this breakfast too.” 

“Yeah? I’m that good?” she says with a chuckle. 

“You are,” you say, opening your eyes to look up at her. “In fact, I might marry you right now if you keep this up.” 

“I’d do it every day just for you,” she replies, kissing your lips. 

And when you smile at her, that beautiful smile that makes Wanda’s heart beat faster than she can comprehend, she seriously considers pulling out the ring from her pocket to propose to you right in your hotel room. 

***

“Baby? Wake up,” Wanda whispers, bright and early in the morning on September 8th. 

You groan, not wanting to get up. 

Wanda laughs. “Come on, it’s your birthday,” she says, kissing you on your forehead. 

“Doesn’t that mean I should get to sleep in,” you grumble, burying yourself deeper into the pillows. “Come cuddle with me,” you say, sleepily patting the spot next to you where Wanda had slept last night. 

“As much as I would love to, if I cuddle you right now you’re only gonna end up sleeping for another hour. And there’s a bunch of things prepared for your special day,” she says softly. 

“Another hour sounds great, thanks,” you mumble as you start to feel yourself drift off. 

“No, no, no, come on!” she laughs, gently pulling the blankets off your body. 

“It’s cold,” you groan as the air of the room starts to wash over your body.

“Because you and I sleep in negative degrees,” Wanda says teasingly before gently sitting down on your bed to hug you tightly. 

After a few minutes, you accept your fate as you sit up with a sigh against the headboard, Wanda letting go of you to grab the glass of water on your nightstand to hand to you. 

“Happy birthday,” she says softly as you take a sip of the water and she watches you with a smile. 

You kiss her gently. “Thanks.” 

“How’d you sleep?” she asks. 

“Really well.” You grin. “I got to cuddle with you all night.” 

“Last night must have helped too–” 

“I will throw this water in your face if you finish that sentence,” you cut her off, starting to blush. 

“I wouldn’t mind,” she says with a smirk. “You’re really hot when you’re angry.” 

“So, theoretically if I yelled at you, you’d just end up wanting to have sex?” 

“First,” she says. “You would never yell at me.” You give her a look, and she just smiles smugly because she knows she’s right. You were way too nice to ever yell at anyone. Even animals. “And second, yes, that’s usually how that works.” 

“You’re a middle school boy,” you say with a shake of your head. 

Wanda just smiles before kissing you deeply. “Can’t help it.” She brushes a strand of hair away from your face. “You’re the prettiest girl I’ve ever seen.” 

“You’re the prettiest girl I’ve ever seen,” you say back. 

Wanda grins. “Ready for your birthday?” she asks, standing up from the bed and holding out her hand for you to take. 

You nod, smiling as you take it and stand up, kissing her quickly before she starts to take you through the day she had planned. 

And when you’re back, cutting into your birthday cake to hand out to the team members (Natasha was on a mission in Africa) which Wanda had baked, you’re back after a sunrise picnic full of your favorite foods, a relaxing walk across the beach, lunch at your favorite diner, a tour of your favorite locations in New York City as well as somehow meeting your favorite tennis player on the Arthur Ashe stadium of the US Open (you have absolutely no clue how Wanda pulled that off), you turn to your incredible girlfriend, who’s already staring at you with an adoring gaze in her eyes. 

Softly, you say, “I’m so in love with you.” 

You never knew your heart could ever feel this full. 

“I’m so in love with you too,” she replies, kissing you in the most gentle way yet somehow still communicating the deepest sense of passion. “Happy 24th, detka.” 

You want to cry, you want to cry the happiest tears of your life because, god, you have no idea how you got so lucky to have this woman in your life. 

But instead, you kiss her on the lips, hoping it says everything you need to. 

And Wanda knows exactly what you’re saying. 

***

“Oh, my god, what if it’s too much!” you ramble to Yelena as you pace back and forth in your apartment back home. 

“You’ve been dating her for 4 years, you idiot,” Yelena replies, rolling her eyes. 

“Exactly! What if this is like a 5-year thing, or 7 years– Or, god, I don’t know!” 

“Y/N,” she says, grabbing your attention. “Listen, this is ridiculous. That girl is so disgustingly in love with you, you could tell her you’ve hated her all this time and she would still think you gave her the sun or something.” 

You frown. “I could never hate Wanda.” 

“God, you two are insufferable,” Yelena sighs. 

But Yelena’s secretly so happy to see that you’ve finally found someone who treats you the way you deserve to be treated. 

“Hey!” 

“For God’s sake, just go tell her you don’t like ravioli.” 

“It’s her favorite food! We eat it every Thursday just for her!” 

“It’s actually you who’s her favorite food.”

“What? Yelena, I swear–” 

Later that day, Wanda accepts your revelation with a smile on her face and a kiss on your cheek. 

***

“Wanda,” you say softly as you two walk hand-in-hand through the streets of New York. 

“Yeah?” she says, turning to face you with a small smile. 

“So, I don’t want to assume this,” you pause, fidgeting with your fingers nervously. “But, will you go out to dinner with me?” 

Wanda grins. “We’ve been dating for four years and you don’t want to assume that I’ll go to dinner with you?” 

“Well, you might be busy!” you defend. 

Wanda laughs. “I’m never too busy for you, milaya.” 

“You’re just saying that. What if there’s a criminal who shows up out of the blue and you’re needed for superhero business or something…” 

“Then we’ll reschedule,” Wanda says, shrugging. “And I’ll make sure I always have time for you.” 

You bite your lip anxiously. “What if…what if you don’t come back one day?” your voice trembles. 

“Oh, baby,” Wanda says, hugging you. “I’ll always come back to you.” 

“You can’t know that,” you mumble into her shirt. 

“But I do,” she says, holding you by your shoulders and pulling away slightly. “Because you’re worth every bit fighting for, and I’ll always make sure that I keep fighting until I see your face again.” 

Wanda frowns as she watches the tears roll down your cheeks. 

Wiping them away with her thumb, she says softly, “I love you. I’ll always come back to the person I love most in the world.” 

“I love you too,” you reply, wiping your tears with the back of your hand. “Sorry.” 

“Don’t be,” she tells you. “I’m always happy to care for you.” 

“I’m really hopelessly in love with you,” you say quietly only for Wanda to hear. 

“The feeling’s mutual, detka.” 

***

Wanda was going to propose to you tonight. 

It was almost Christmas, which she had found out in your first year of dating was your favorite time of year (besides her birthday or your guys’ anniversary) because it made you feel like you belonged somewhere. 

Wanda smiled while she watched you from the couch, biting the nail of your thumb as you thought carefully of which ornament to put next on the Christmas tree. 

She was so in love with you, your work ethic, how much you cared for her, how loved you made her feel. She wanted to spend the rest of her life with you. 

“Wanda?” you ask, snapping her out of her thoughts. 

“Yeah, detka?” she replies, looking over at you. 

You point to the box of blue and silver ornaments by her feet. “Can you pass me the silver one shaped like a Christmas tree?” 

Nodding, she grabs the ornament from the box and makes her way over to you, hugging you from behind as you placed it carefully on the branch only a little bit taller than you. 

“How does it look?” you ask with a smile, turning your head slightly to kiss her on the cheek. 

“Even better than last year,” she replies, squeezing you tighter. 

If someone didn’t stop her soon, she was going to propose to you right then and there. 

In order to stop herself, she clears her throat and steps back from you a bit, letting go, hoping you don’t notice her actions. 

However, you know her too well, and you turn to look at her with a small furrow of your brows. 

Wanda gives an awkward smile. “Um, I’m gonna get started on the cookies,” she says, pointing towards the kitchen. 

“Okay,” you say slowly. 

Wanda nods, giving you a quick kiss on the cheek before leaving you to head towards the previously mentioned room. 

Once Wanda’s in the kitchen, she lets out a sigh, wondering how she was going to get through the day without breaking down due to her nerves. Wanda checked her back pocket, making sure the ring was still there, and felt a sense of relief once she felt it’s black box. 

She had it planned perfectly. After tonight’s holiday party with the team (which she had exclusively made sure Natasha could not make it), she was going to take you to the coffee shop where you two had first met, then she was going to take you to Shakespeare’s garden where you two had first admitted you loved each other, and she was going to officially propose to you at the firework show she had begged Tony to help her host. 

Everything had to be perfect. 

“Wanda?” you startled her out of her thoughts as you knocked on the doorway. Furrowing your brows, you ask, “are you alright?”

“What? Yeah! Yeah, I’m fine…” Wanda replies awkwardly, looking down at her feet and shifting awkwardly. 

You laugh slightly, “Baby, you haven’t even started on the cookies.” You walk over to her, seeing nothing but two eggs on the counter in front of her and nothing else. 

Wanda gulps slightly at your close proximity. How stupid that she had been dating you for 6 years yet you still made her feel like a teenager in high school. “I did…” she says weakly. 

“Oh yeah?” you tease. “How delicious if we left out two eggs with milk for Old St. Nick?” You pick up an egg between your fingers to show her. 

“It’ll give him something new to try,” Wanda shrugs. 

Sighing, you put the egg down, and cup your girlfriend’s cheeks in your hands, rubbing your thumbs over them. “What’s going on?” you say gently. 

“Just nervous,” Wanda admits. 

“Nervous for what?” you ask, brushing a tendril of hair away from her face. 

“You make me nervous,” Wanda says, relenting as she rests her forehead on your shoulder. “You’re so perfect,” she mumbles into your shirt.

Your heart feels like it might explode. “I don’t understand,” you say as you shake your head. “How are you the nervous one yet somehow you still make me feel like I’m gonna burst with happiness?” 

Wanda smiles against your shirt. “It’s ‘cause I love you.”

“And I love you,” you reply.  

“You know, we still have about 2 hours until Tony’s party…” she says suggestively, starting to kiss her way up your neck. 

“More than enough time for you to help me finish the tree,” you say lightheartedly. 

Wanda groans. “I hate you.” 

“Too late, you’re stuck with me already.” You grin as you grab her hand and lead her into the living room, the cookies unspokenly abandoned. 

Little did you know, Wanda wanted nothing more than to be stuck with you for the rest of her life. 

And tonight, she was going to make it official. 

***

“Why the fuck is it so cold,” Wanda muttered, rubbing her bare arms to warm herself up, before intertwining your hands once again. “It’s way colder than the temperature you and I sleep in.” 

“Because Pepper’s here,” you say easily. “And Tony turns the place into an ice box just for her.” 

“Can’t he just invite some sort of nano-machine that keeps it cold for her all the time? He’s got the money,” Wanda says bitterly. 

You chuckle. “Come on, grumpy,” you start to pull her onto the dance floor. “This ought to warm you up.” 

Wanda accepts as you wrap your arms around her shoulders and she wraps hers around your waist, the two of you becoming lost in your own little world as you admire one another in your respective dresses. 

“You look so pretty,” she tells you, awestruck at your beauty. 

“So do you,” you say, taking her in before resting your head on her shoulder, swaying as the two of you try to stay as close as you possibly can. 

Wanda closes her eyes as she rests her cheek on the crown of your head, feeling so content with you in her arms. 

“When did you first know?” you whisper next to her ear. 

“When you made that stupid pun,” Wanda says, and she giggles once she hears you groan in embarrassment. 

“That’s the worst one you could’ve said,” you say, lifting your head up from her shoulder to meet her gaze.

“Can’t help it,” she says, kissing you quickly. “It was so adorable.” 

“I still think it’s insane that you actually find me funny,” you shake your head. 

“I’ll laugh at all your jokes,” she replies easily. “It’s one of the reasons I fell in love with you.”

“Are all Sokovians this romantic?” 

“Are all Americans this incredible?” 

You both grin stupidly at each other before the two of you can’t take it and kiss each other deeply, pouring every ounce of love you feel for one another.  

“Nope,” Wanda says as she pulls away. “Just my so American girlfriend.” 

You smile, kissing her again, and again, and again. 

And Wanda thinks it wasn’t fair of you either, to make her feel this much. 

***

“Wanda, where are we going?” you laugh as she pulls you through the streets of New York. 

“I need to show you something, come on!” she says, stopping once you realize where she’s brought the two of you. 

The coffee shop where you first met. 

“What are we doing here?” you ask, unable to stop the cheesy grin that makes its way onto your face. 

“It’s a surprise, come on,” she replies, opening the door for you and letting you in. Once she shuts the door behind her, you turn, and your eyes soften once you see the shiny look in her eyes. “I’m taking you on a tour,” she says, guiding you to the back table where you two had first spoken. 

“A tour of what?” you say, smiling as you follow her. 

“A tour of how much I love you.” 

And Wanda only falls deeper and deeper in love once she sees the happy tears in your eyes when she reveals your coffee cup from when the two of you had first met, which she had kept all this time. 

***

“No way,” you say with awe as your next stop comes into your line of sight, the coffee cup held safely in your hand at your side. 

“And I re-made the batch of cookies we shared that day,” Wanda said, pulling a tupperware of cookies from behind her back as you follow her onto the bridge of Shakespeare’s garden. 

“What made you do all this?” you ask, shaking your head in disbelief as you come up to her to wrap your arms around her shoulders. 

“It’s a surprise,” she replies, kissing you. “But for now, I want you to know how much you mean to me.” 

“I do,” you say easily. “Every day.” 

“Good,” Wanda grins. “And I’m gonna keep showing you.” 

***

Wanda might not even propose tonight. 

In fact, she doesn’t know if she’ll even remember as she’s lost in awe at how beautiful you look under the stars, holding the rail that separates you from the body of water in front of you while standing on top of a craggly rock, the booming fireworks causing your eyes to shine in a way that makes Wanda want to capture this moment forever.

But, she’s on a mission. 

And when it came to you, Wanda always put her best foot forward. 

“They’re so beautiful,” you say, completely in awe as you watch the colors explode in the sky. 

“Just like you,” Wanda says softly. 

“You know, I still really want to know why you did all this,” you say, turning to her and smiling once you see her already watching you. “I didn’t miss any special date, did I?” 

“Of course you didn’t, your google calendar is already filled to the brim,” she replies with a teasing roll of her eyes. 

“Well, if I didn’t have everything booked then you would forget all of your check-up appointments with your doctor,” you reply cheekily.

“You’re already a doctor.” 

“Not the right kind of doctor.” 

“You’re actually exactly my kind of doctor,” Wanda flirts, making you blush. 

“I hate you. That was awful,” you say as you turn away. 

And as you watch the fireworks in the sky once again, Wanda decides, now’s the time. 

Taking a deep breath and swallowing her nerves, she gets down on one knee. 

Then, almost robotically, she pulls out the ring, opening the box slowly, as if any sudden movement would cause the whole thing to shatter. 

She just needed you to turn her way. 

To turn your head slightly and see her message for you. 

I want to spend the rest of my life by your side. 

It feels as if time has stopped. 

All she feels is the beating of her heart through her chest, the blood pounding in her ears, and her nerves washing over her over and over again– and all she needs is for you to look.  

It feels like hours before you–

Then, you do. 

And it’s slow, and careful, and gentle, and so you.  

You gasp. 

And Wanda shakily breathes out, “Will you marry me, detka?” 

Both of your hands cover your mouth, and tears build in your eyes. 

And Wanda feels the happiest she has ever felt–

When you croak out a yes. 

Wanda wants to keep this moment forever. She wants to remember how full her heart feels when she slips the ring onto your finger. The feel of your lips on her own when you kiss her hard through both of your tears and your laughs of disbelief. 

It’s the happiest day of her life. 

And it’s the happiest day of yours, too. 

***

“I’m so, so, in love with you,” you say as the two of you walk back to your shared home, wrapped in each other’s arms. 

“I’m so in love with you too, detka,” Wanda replies, kissing your temple as she holds you close. 

“When you were a kid, did you ever think you were going to have an American girlfriend?” you chuckle. 

“I never did,” Wanda admits with a smile. “But I couldn’t be happier that I ended up with a beautiful, so American fiancée.” 

You blush at the new title, hiding your reddening face in your fiancée’s neck. “Tonight doesn’t even feel real,” you mumble after a moment. 

Wanda laughs slightly. “Yeah, I know the feeling.” 

Suddenly, out of curiosity, you ask, “When did you buy that ring?” 

“A week after we started dating,” Wanda says resolutely. 

“What?” Your head snaps up from her neck. 

“I just knew,” Wanda says, kissing the tip of your nose. “I knew you were going to be my wife.” 

“That’s…” you shake your head in disbelief. “Wow.” 

Wanda pulls you closer to her. “It was the easiest thing I’ve ever known. Wanna know why?” 

“Why?” you ask. 

“Because, from the first day I met you, I knew, you were everything to me. And you still are.” 

Your eyes start to water. “I’m everything to you?” 

“You are,” Wanda nods, kissing the crown of your head with so much tenderness it makes you want to cry. 

But, you don’t start to cry because of the kiss. 

And you don’t start to cry out of joy although you really, really want to. 

No. The tears finally escape your eyes as you realize that you finally have everything you’ve ever wanted. 

That you’re finally, finally everything to somebody else. 

“You’re everything to me too.” 

[softle0]

A little message for mostly YouTube builders but y’all in general, I hope I’m not being too rough but..

I know it’s been just a couple of days but guys what you mean when you say you were expecting more “Mexican” style furniture in the new ep? 😭😭 y’all don’t expect us to have art deco or modern stuff? Like seriously, what do you guys want 😂 We all Mexican simmers think this new pack is very accurate, you can even ask the simmers that worked in the official builds 🤷🏻‍♀️

Y’all really falling over the Americanized cliché of Mexico fr, this pack is inspired in Mexico City. We are a city, the population is like 24million, we’re a really big city 💀 please leave your “villas” and “haciendas” to oasis springs or sol del valey.

Please I beg you to not come and say “oh this is not giving Mexico” cause clearly you don’t know what are you talking about, be educated fr. I said it before and I’m gonna keep talking about it; But the architectural limitations in Mexico are pretty much non-existent. We probably have every single architectural style you can think about. Modern, post-modern, brutalist, art deco, mid century, colonial, Romanesque, gothic among others, probably even Tudor 😭 so you coming and expecting us to only have the villas or colorful haciendas fiesta salsa talcos it really hurts me as Mexican 😂

I’m not hating against them, I love them and as I said we have all types of places so keep doing them if you want but that’s not really common in Mexico City. So why y’all keep going with the same villas or just straight boxes builds 😭 please do more research over than using only Pinterest please, is really not that hard 🙏🏻 there’s a lot of fellow Mexican simmers, there’s google, google maps, you can even do a research of Mexico City in airbnb 😭😭 likeeee there’s a ton of ways to get information really…. You can really step up your building game if you only do a proper research. As I’ve seen a lot of you do for other worlds, why not taking the time for Mexico? Why y’all don’t respect us as much as other cultures?:(

And I know and I understand y’all probably won’t be 100% accurate if you’re not Mexicans but that doesn’t mean you can build a Los Angeles Spanish style of home and get away with it by saying “sorry if is not that accurate” 😭 cause you’re not even trying :( Mind you I been working on a uk inspired save when I never been outside my country other than some places in Canada and Florida and I’m still doing very realistic builds just by doing some research. And I’m 100% sure almost every other realistic builder is in the same situation.

Y’all are amazing and you’re so creative, I love that about the community and I know y’all can do wonderful things if doing a really small but proper research!

And next time you wanna talk about if something is giving or not Mexican at least be educated before talking about something you don’t know, it’s honestly very disrespectful. Y’all are better than that and please don’t take this as an offense, this is more like constructive criticism. I know y’all not doing this on purpose, this is just based on ignorance which is nothing bad, you can always learn something new!🥺 please do better!!

[txttletale]

"wow you think Me, Some Guy, not buying groceries for a week won't put any meaningful pressure on the economy. do you want me to do NOTHING then how is that any better?"

you are already doing nothing, in the most literal sense. 'dont go to work or buy groceries' is the most straightforward description of 'doing nothing' that i can imagine.

the thought does not count. palestinians are not tinkerbell. doing "something" is not better than "doing nothing" if the "something" does not have any meaningful effect. you might as well be saying "thoughts and prayers for palestine is better than nothing". like, is it?

i obviously don't want anyone to do 'nothing'. if you want to be able to participate in real solidarity strikes, then join a union. if your workplace isn't unionized, start organizing and unionizing. if you're already part of a union, take an active role in union politics, vote for pro-palestinian union reps and against zionists. yes, this takes time. yes, gazans are dying daily. the best time to establish a militant labour movement capable of solidarity strikes against imperialist violence was years ago, the second best time is now. in the meantime, if you want to do something that has an impact on a shorter timeframe: join palestine action UK or US to become part of direct actions targeting the infrastructure of imperialism. buy esims so gazans can communicate with the outside world.

i know it is comforting to feel like you have individual power. but you don't. you are utterly powerless in the face of this, i'm sorry, but that's the truth. you can only wield power as part of a group. organized mass action is a fundamental element of what a strike is and why it works. a one-man strike is just a vacation. yes, it is frustrating! but don't let that drive you to despair or self-delusion, but instead to a clear-headed pursuit of the base of power needed to actually help.

[thewadapan]

So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That's all any of this stuff is.

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

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

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

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

...

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

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

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

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

When Eric Pearson came onto the project,

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

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

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

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

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

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

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

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

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

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

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

[mistydeyes]

So we had soap cousin how about ghost cousin x tf boys Hcs? She’s older than Simon and the two are super close. She would’ve been a barrier between him and his dad growing up. I can picture him being the least pissed at Price, meanwhile he’d be raging at Gaz and Soap. Soap would call her a milf and Simon has to be held back like a rabid dog

I’d love to see your take on this 🥰

ahhh I love this idea so much! thank you for reading my post about soap's cousin and requesting this :)

last name: riley

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summary: Despite Ghost trying to keep his family history secret, he can't avoid it when you, his older cousin, is transferred to his base. Now he has to keep his team in check as they want to get to know you more ;)

pairing: Task Force 141 (except Ghost) x fem!Reader

warnings: swearing, mentions of emotional abuse/trauma

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following the briefing, Gaz and Soap exited and invited Ghost to join them at the mess hall

however before Ghost could leave, Price stopped him at the door

"Can you stay back, Simon?" Price asked and everyone immediately knew something was up

especially when first names were used

being the nosy sergeants that they are, Soap and Gaz waited by the door and tried to listen in

after 10 minutes, Ghost emerged and looked surprisingly calm

"What was that about?" Soap asked as he tried to keep up with Ghost

"My cousin is getting transferred to one of the unit's on base" he said plainly and he was bombarded with questions

both Gaz and Soap were amazed that he had a cousin, especially one who he didn't seem to hate

eventually, Ghost slams his bedroom door on him and they're both left wondering what you're like

"God I hate the English weather," you complained as you arrived by helo to your new home

after months abroad, your captain decided to reassign you to the UK

you were initially upset but when you learned your cousin was also stationed there, your mood changed

"Is that little Simon Riley I see?" you exclaimed, seeing your cousin standing a few meters away

you slung your duffle on your back and ran towards him

despite being a good half foot taller than you, you hugged him tightly

"It's good to see you, Si," you said as you couldn't remember the last time you saw him

he returned it awkwardly as you took a look at his attire

"Still wearing that awful mask I see," you joked, lightly punching him on the shoulder

as you were chatting on the way to your quarters, you could see a man around your age leading two sergeants behind him

despite the captain's stern look, the two sergeants walked up to you and bombarded you with questions

"Sorry ma'am, they heard you were the Lieutenant's cousin and were trying to sneak out to meet you" he apologized and you laughed heartily

"What a welcome committee!" you smiled before looking back at them, "I'm Captain Riley."

as you introduced yourself and got to know Simon's team, they noted how you and Ghost shared different hair colors but the same piercing gaze

they also noted how you looked like you should be on the army's website with your light hair and hazel eyes as well as your fit physique

you also were much kinder than their Ghost and your smile brightened the drab hallway

"Riley?" one of them asked and you nodded, "our dads were brothers."

queue more questions about Simon's family history

while he tried to silence them, you were more than happy to answer a few of their questions

"Our dads were absolute arseholes, he sent me to live with Simon and I'd get into screaming matches with his old man," you explained

Simon remembered the times you were sent to Manchester and how you were the only one who could keep up with his father's insults and emotional abuse

despite being 5 years younger than you, he would follow you around and act like your best friend

you were surprised when you saw him after he joined the army and he was pure muscle (no longer the small boy who you would sneak out to get sweets with)

"His dad made basic seem like holiday" you joked, trying to lighten the mood

you answered a few more questions about you previous post before you began to yawn due to the jet lag

"Well it was a pleasure to meet you, Captain Riley," Price said shaking your hand

"Glad to see Simon is doing well here," you beamed, "now if you'll excuse me, I'm going to find my quarters"

As you walked away you could hear Gaz and Soap chatting with Simon. "You didn't tell us your cousin's a bonnie lass," Soap exclaimed, a little too loud for Simon's comfort, "she got a mans in Manchester?" You smiled at the compliment, making sure to walk extra slow to hear it all. While both sergeants were undeniably attractive, plenty of men had acted the same way to you during the course of your career. Before Simon could reply, you could hear Gaz interject. "How old is she?" he asked innocently. "Too old for either one of you," Price interrupted, "and she's a captain so that's far above your ranks." Out of Simon's task force, you assumed you were the closest in age to Price. You tried to do the mental math being 5 years older than Simon but decided it wasn't worth it as Simon would never let any of them speak to you again. As Gaz and Soap groaned lightly, you thought the conversation was over. However, Soap had one last thing to say. "That's a proper milf if I've ever seen one," he mumbled before you could hear Simon let out a string of insults and swears. You smiled to yourself, "guess Si finally learned how to stand up for himself."

[disneyprincemuke]

they ask, "do you have a man?"

alternatively: can’t be discreet to save anyone’s life

in which everyone is curious why the grid princess is still single despite instagram posts from them seem to be giving out another narrative

(series masterlist)

logansargeant posted on their story!

alexalbon ur never beating the dating allegations if u keep posting shit like this i fear

kidy/n omg i look so slay in that dress

logansargeant ugh you’re so right bb

lilymhe i need to know where she got this i fear 😔

logansargeant she said she will text you like a true girls girl ✊🏼

lilymhe ugh im in love with her

user1 gonna need you guys to announce you’re dating actually

user2 posting this and denying every dating allegation is actually crazy

user3 what if i jump in front of a moving train???

user4 such a boyfriend coded story from someone who’s not her boyfriend

kidy/n posted on their story!

oscarpiastri HAVING FUN WHILE I AM IN MELBOURNE I SEE.

kidy/n is there ever a day u wake up n ur not an outright hater?

oscarpiastri no cause you guys are hanging out without so that really fuels my ability to hate

kidy/n u got ur own gf mate, spend time with her?? >:(

oscarpiastri SHE IS LITERALLY WITH YOU RN TAKING THIS PICTURE

sebastianvettel this doesn’t scream “not dating” to the rest of the world btw

kidy/n ugh nobody will know grandpa

sebastianvettel wow hater alert

georgerussell63 still not dating i presume? 🤨

kidy/n no sir

georgerussell63 i smell a big fat lie i fear

user5 IS THAT LOGAN HUNTER SARGEANT QUEEN?

user6 pls stop lying to the world and just kiss after a race 🙏🏼🙏🏼

user7 and why exactly is he nOt the one pushing u in a kart??

kidy/n

📍 home

liked by oscarpiastri, logansargeant and 56,984 others

kidy/n didn’t see the news cause we were somewhere else

view 30 comments…

comments on this post have been limited.

oscarpiastri having fun without me should be a crime tbh

sebastianvettel this is why u weren’t answering ur phone?? ☹️

lilyzneimer photo credits where? 😔

kidy/n omg so trueeeeee i’m sorry i forgot

charles_leclerc making the uk look fun is a magic power

maxverstappen1 i heard the uk is only fun cause y/n lives there

landonorris what’s all this slander???

logansargeant

🎵 rex orange county - best friend

liked by oscarpiastri, kidy/n and 56,940 others

logansargeant the only problem living with your best friend is that every night is party night

view 288 comments…

kidy/n why are u telling people we’re alcoholics

oscarpiastri first you move in together, and now you’re not even inviting me to drink???

lilyzneimer cant believe i scored an invitation and u didnt

oscarpiastri wtf

kidy/n lol tough life oscar

user8 wow i thought they lived with oscar ngl

oscarpiastri ugh i wish

user9 why would he? he’s got a girlfriend

user10 really not dating?

sebastianvettel not sure how to feel about this

user11 them actually not being romantically involved is my roman empire

user12 in one universe, they’ve GOT to be dating

user13 it HAS TO BE THIS UNIVERSE PLEASE PLEASE PL

kidy/n so based

user13 wait i

formula1 drink safely pls 😀 (i’m begging for an invite)

logansargeant only if u pay for the alcohol

williamsracing not very family friendly of u ngl

kidy/n im sorry williams i tried to stop him ☹️

williamsracing its only ok bc its u

logansargeant ?

kidy/n posted on their story!

logansargeant wowwww look at you go bb!! so pretty!!!

kidy/n ehheheheehhe

oscarpiastri wow busy girl

sebastianvettel and kristen approved of this!!?!?

kidy/n WDYM SHE GOT ME THE ON THE PODCAST

sebastianvettel oh ok. youre just kinda wild lately idk

kidy/n whats that supposed to mean

sebastianvettel 🤷🏼‍♀️

maxverstappen1 the uggs are a no from me

kidy/n ok red bull merch lover

“thank you so much for being on the show,” hannah smiles into the mic. “i’m shocked to even receive the email from your pr manager, actually.”

“no, yeah,” she grins, nails pressed against her lips, biting down on the bottom. she’s never actually been on a podcast before. “we were talking about making an appearance somewhere, but i’m kinda - very - intimidated by men. i chose this podcast specifically.”

“oh, you know of our existence,” emma gushes, giggling slightly. “we feel so honoured. thank you so much.”

“honestly, i’m always around men,” she laughs, scrunching her nose. “i live with a man. so being around women is always a very nice change.”

“right, you recently moved in with logan sargeant in the uk,” hannah points out. “if you don’t mind me asking, how did that decision come about? because you’re really good friends with oscar piastri as well, how come he doesn’t live with you guys?”

“oh, that’s an interesting point,” emma frowns. “i never thought of that.”

“yeah, so growing up oscar and logan actually stayed with my family on and off just because they’ve got brothers and sisters that their parents would have to attend to back home,” she recalls out loud, remembering the sleepovers they’ve spend in the living room with her siblings. “i think when i was… like 15, oscar was 16, and logan was 17, obviously.

i think my sister and i had a really bad fight that turned the house upside down. i mentioned that i couldn’t wait to move out and never speak to her again — i was very overdramatic as a teen. and they were like ‘yeah, that’s a good idea! we should get a place!’”

“oh, so you didn’t even propose the idea of living together?”

“exactly! they just love inviting themselves to be a part of my life. they’ve got cars while i don’t, so that’s a big plus,” she laughs. “then, well, oscar met lily when he was 18 and they got an apartment together after oscar landed reserve driver for alpine. which then left logan and i to kinda figure things out. then, we both landed a contract to race in the 2023 season and both our racing headquarters are in uk, luckily. so we made the decision to move in together earlier this year.”

“so oscar bailed!”

“that’s okay,” she scoffs, waving off the host’s concern. “we live pretty close by, so lily and oscar are always at our place anyway.”

“so, i totally don’t wanna get into it. but like, girl to girl,” hannah grins giddily. “and i promise we’ll get into the racing stuff in a bit, but i’m just curious.”

“it’s okay because i like you guys,” she jokes. “ask away.”

“there’s a lot of speculation that you and logan seem to be too close to just be best friends,” hannah explains. “and it’s seemed to be a trend since you were in f2 together, so i just wanna ask you if… well…”

she smiles. this isn’t exactly the first time she’s heard that. while they preferred to keep their relationship under wraps for several reasons, her and logan aren’t very discreet either.

there are pictures on the internet, after races where they head to weigh-in together with logan holding her things, laughing as they walk, which is normal. but there are also a couple of pictures where they were caught with logan’s hand on her cheek, or of them walking in the paddocks with her hands wrapped around his arm.

she’s not shocked that people talk about their relationship, but more shocked that everyone seems to shrug it off as them being really good friends.

“we’re actually not romantically involved at all,” she lies, though her cheeks flush up at the thought of her boyfriend. “i think we met really early on in life so we’re super comfortable with each other.”

“so, you’re setting the record straight. you don’t have a man.”

she nods firmly. “i don’t have a man. not planning to get one — i’ve just been really busy with my career. if anything, logan is my stand-in date for every event.”

“that’s true friendship if i’ve ever seen one.”

[raven-at-the-writing-desk]

I have a question, so for most of the day to day things that the students do, they where some from of uniform for, wether it be their normal school one, the PE one or their dorm clothes they wear (that still are basically uniforms) or the ceremonial robes so my question is, are they allowed to at all wear what they want during any time at school? Because even in events such as the masquerade or the savanna one we had not long ago (bare with me I am bad at remembering names) that happen outside of school, they are commonly seeing wearing their uniform or at the very least their PE kits (that changes if the event gives them different clothing such as the outfits for the masquerade). The one time I can kind of remember the students being allowed to kind of wear what they want is during the event with stitch (again I can't remember the name). If their are times they wear non school can you perhaps give a list or something of what they wear? Or perhaps times they mention their style or what the normally wear?

Sorry if my English is terrible it is not my first language and spelling and grammar over all aren't my strong suit. And sorry for the ramble, feel free to ignore it as I know this is kind of stupid.

Have a good day/night and rest well

NOTE: NRC supplies uniforms (ie school, P.E., etc.; one copy of each) but if you ruin it then you have to buy a new one.

While the game doesn’t outright state when the students must wear their school uniforms, we can probably guess based on irl British boarding schools (for which NRC is modeled after). In the UK, the general policy is that students must wear their uniforms during ALL school hours and breaks. This typically ranges from ~8 or 8 am to 5 pm every week day. If students leave campus on a trip or in some capacity to represent the school (ie inter-school events, conferences, etc.), they are also expected to wear their uniforms. After school and on the weekends, students are allowed to dress casually or however they like.

As for why the students are almost always depicted in one kind of uniform, part of it is limited assets. It’s a lot of time and effort to give everyone different outfits all the time (most anime and manga, even the ones that don’t take place in a school setting, have one “standard” outfit for this reason). It’s easier to design the outfit(s) they’ll be seen in for most of the time and have that become the iconic look. This is, of course, excluding special occasions or promotions, limited time merch, etc.

The in-game reason often provided for why the boys largely wear a NRC uniform of some kind is because of association with the school. Night Raven College is extremely prestigious, so they must be mindful of how they present themselves, especially to the public and in the presence of other schools. Their uniforms are seen as cool, elite, and emblematic of NRC the institution, so this is why students wear them not only at special occasions (opening ceremonies, unbirthday parties, etc.) but also in front-facing events (sporting matches, cultural festivals, Halloween; the campus is open to the public). They wear their school uniforms to Noble Bell College as representatives for NRC. Kalim and Floyd wear their robes when entertaining guests from outside NRC in Kalim’s Ceremonial Robes vignettes. Vil also makes the VDC/SDC squad wear their school uniforms as their outfits for the performance, citing that it’s a symbol of their youth as well as them being the NRC team. Azul states that the ceremonial robes are “popular with the ladies” in Ruggie’s Ceremonial Robes vignettes. Even Fellow, who had ill intent toward the NRC students, was only able to pin them as NRC students in the first place because of their iconic uniform. The dorm leaders are allowed to alter their dorm uniforms as they like, allowing them to stand out as the “boss” of their respective dorms. There is a lot of perceived power and status that comes with wearing NRC clothing—and it’s also the responsibility of those wearing those clothes to make NRC look good. I think Deuce states it the best in a Ceremonial Robes voice line: “These robes are the face of Night Raven College. They're covered with intricate embroidery to make it clear that we stand above other schools.”

A minor thing I’d like to tack on is that the NRC uniforms, especially the dorm uniforms, are enchanted with magic that makes them more durable and combat-ready than your average clothes. This means there is actual practicality and utility behind always wearing the uniforms, especially if you’re like… taking a course that’s intense with its magical workload. I’d also like to think that after spending what is basically a third of your day in the same clothes (which are also functional), some students may be too tired to change into something else so they instead choose to stay in their current uniform. Students in clubs are already obligated to change into other uniforms (like sports team members do) so maybe they’d get too tired to swap out into casual wear.

A lot of the characters don’t talk about personal fashion at length. However, here is a compilation of my own impressions of the prominent NRC characters’ takes on fashion and personal grooming (based on canon information). Please note that this can change based on new content that comes out. For example, the new Relaxing in Room series of cards may contain more details about personal grooming and dress.

Riddle

Riddle thinks outfits that are casual or show too much skin are outrageous. (He dislikes his beachwear for these reasons.)

In book 1, he helps Yuu fix their tie. He also praises his own dorm members when they wear their uniforms correctly or are in formal attire. This implies he has an eye for detail and prefers for uniforms, especially when worn properly.

He states that he values what is inside more than looks.

Riddle describes his Suitor Suit as being similar to what he would wear for the parties he attended with his family. He is therefore no stranger to very formal looks.

His Dorm Uniform heels are high to emulate the Queen of Hearts; however, Riddle also implies he wishes to be taller, which is another reason he wears high heels.

My impression: Riddle honestly is probably used to wearing whatever his mom makes him wear. If he doesn’t have her guidance, then he’ll default to sets of clothes/uniforms or very formal attire. Likely also a stickler for stray hairs, dust, loose threads, etc. Very preppy. Would probably wear high heels to augment his height.

Trey

He has had bad eyesight since elementary school so he has worn glasses since. In fact, Trey collects frames (you can see them in his room) and has tried many styles, as well as considered contacts. However, he looks more intimidating without glasses and in half-rim glasses (according to his mom and younger sister), so he foregoes those options now.

Trey says he gets complimented the most when he wears rounded Wellington or oval frames. Quirkier cat-eye or rimless frames don’t go over as well.

He is comfortable wearing black.

He finds casual and "lived-in" looks like his Outdoor Wear comfortable. However, he also says he would prefer more muted colors.

He apologizes for not buttoning up his vest, but it seems he prefers it that way.

Trey doesn’t like being the center of attention. If in a group, he would rather not be wearing something that makes him stick out like a sore thumb.

He likes hats, so he has a few. The one he wears in his Dorm Uniform was custom made to match Heartslabyul.

Draws on his card suit with makeup.

My impression: Like Trey says, he likes casual fashion and muted colors. Whatever will not attract attention to him and allow him to keep his peace. He seems to be really into being experimental with his looks when it comes to glasses though. Likely would also wear a hat.

Cater

Cater seems to like wearing matching clothes. He has, for example, matching T-shirts with his Light/Pop Music Club bandmates.

He enjoys colorful and flashy fits like what he wears for his club.

Anything ‘cammable!! Cater gushes a lot about aesthetically pleasing clothes, including his costume for Halloween and other alternate looks like the Yasmina Silk and Beans Camo.

He has considered going for a different hair style but has trouble committing to one. Cater says if you change your hair, it also changes your image.

Keeps up with the latest trends.

Draws on his card suit with makeup.

My impression: Cater has an eye for what looks good and will grab attention on social media. He also goes for outfits that signify group unity (which might tie back to the “twinning” trend and/or his desire to belong somewhere). However, although Cater makes these claims it also seems he is interested in reinventing himself, as indicated in his discussion of changing his hair.

Ace

He likes luxury and name-brand fashions but can’t always afford it.

Ace likes to look at shoe magazines with Floyd.

He has been gifted fancy outfits and accessories before, such as luxury sunglasses for his birthday from Vil. Ace vows to take good care of these, but also tends to want to show them off to his friends.

Ace uses a little bit of wax to do his hair in the mornings.

He remarks that some outfits don’t have sleeves, which makes it hard to conceal things for magic tricks. Still, he is confident that he doesn’t always need sleeves to pull off his stunts successfully.

He doesn’t like outfits that are all one color, especially white. Those can be boring!

He likes to pick accessories or shoes of similar colors as his top. This gives his look the appearance of being well-coordinated.

He buys new clothes from the Foothill Town.

Ace is usually very skilled at imitation, but he notes that even he has a hard time figuring out how much makeup to use. He once tried to follow a tutorial video and overdrew his brows.

Draws on his card suit with makeup.

My impression: Bro has the fashion sense of the average teenage boy. He covets name-brand and high-end items that will make him seem cool to his peers and is confident that he can wear these well.

Deuce

Deuce normally tries to present as an honors student; this means wearing his clothes properly, wearing his hair neat and natural, etc.

Formal clothes like his Dorm Uniform make him nervous since he's not used to wearing such things.

He doesn’t seem to have a strong aesthetic sense and just goes with whatever he thinks is most cool. For example, he thinks flaming skulls would be a great magical wheel/blastcycle decal. He also thinks masks are cool because they remind him of superheroes.

He has issues with clothes that are too long, like his Starsending Robes. While Deuce doesn’t take issue with the look of tbe clothes, he does find it hard to move in them, as he is always stumbling over the fabrics.

Deuce is embarrassed by cute, fluffy, rabbit-themed clothes. This is because he used to dress this way as a kid and wants to be taken more seriously now that he’s older.

Draws on his card suit with makeup.

My impression: Boy is trying his best, but his best isn’t much in way of fashion. He tries to come off as cool, but his idea of what’s “cool” may not always be the most appealing to the eye. Not a fashion disaster or anytime though; I think he just… for as much as he tries to be preppy, his true style is more wild and tough. Doesn't feel entirely comfortable in formal wear.

Leona

He seems to like his clothes worn loosely and in his own way; for example, the buttons are undone in his School Uniform and his armband is worn like a belt.

Many of his looks involve low cut tops or unbuttoned tops to reveal… let’s say more than it probably should 😭

Leona says that people back home took issue with his sense of fashion.

Beaded bangles are a specialty of his home country; Leona himself wears quite a few bracelets.

Leona complains about clothes that take forever to put on and take off. He also hates outfits that are heavy and have too many decorations.

When his braids fall out of place or get loose, he’s too lazy to redo them and commands others to fix it for him.

He doesn’t care for compliments about his looks.

Leona claims be only buys what “catches his eye”; price is not an issue. He says that any clothes are fine as long as they look good on him and fit.

In the manga, Leona sleeps shirtless. We also see that he handles his clothes carelessly and slings them all over his room.

He recognizes the Fairy Gala Couture as being tasteful, but just not to his style.

He appreciates extravagant and traditional clothes from his home country. In fact, Leona cites his outfit as being the only good part of going home for Catch the Tail/Bead Brawl.

Leona sometimes has Ruggie shop for clothing for him. This is the case for his Outdoor Wear.

We have to account for his ears + tail in regards to fashion. He also has a sensitive nose, so that’s a consideration for perfumes.

My impression: Leona is able to tell what does and doesn’t look good, but he usually doesn’t like to make the effort to dress up himself. He has a very “wild” sense of style, meaning loose fits and showing off… assets… and doesn’t like overly complicated or impractical outfits. Leona appears to like luxurious looks, as he buys what “catches his eye” and praises his own King’s Garb.

Ruggie

Ruggie will generally go with anything he gets his hands on, even hand-me-downs that are too big for him. This is the case for his Dorm Uniform, which is one of Leona’s.

If he thinks he can sell it later for cash, he'll pick the most extravagant clothes and accessories he can. He doesn't like to wear fancy clothes himself though; he doesn't feel comfortable in them.

He prefers for his outfits to have fewer buttons, as they're a hassle to deal with.

Ruggie likes shorts, which are light and comfy. He values mobility in his outfits, which is why he also says he likes casual clothes.

Not a fan of pure white clothes, as they get dirty easily. Ruggie says he can't eat in them.

He praises his Dorm Uniform for being easy to move in and not too fancy. Ruggie calls it "right up [his] alley".

We have to account for his ears + tail in regards to fashion. He also has a sensitive nose, so that’s a consideration for perfumes.

My impression: Ruggie has very practical tastes, though he generally isn’t picky and will accept clothes as long as he’s getting them for free and they fit him. He prefers casual clothes that allow for mobility, aren't too fancy, and are easy to slip into, similar to his Dorm Uniform.

Jack

He says he's not into highly glamourous fashion.

When instructed to wear something "neat and tidy", Jack's immediate thought is his Lab Wear.

He uses wax instead of gel to style his hair, as he finds gel to leave his hair much too stiff.

Doesn't like heels that are too high. They make it difficult for him to balance!!

He gets all hype when he wears a lot of accessories; it makes him feel like something exciting is about to happen.

Jack reports he usually wears a shirt and cardigan or jacket back home. This combination makes it easier to regulate his body temperature.

He likes the Savanaclaw Dorm Uniform because it's easy to move in and durable; it doesn't flop around.

We have to account for his ears + tail in regards to fashion. He also has a sensitive nose, so that’s a consideration for perfumes.

Jack also shops in Foothill Town for clothes.

My impression: Jack has a more simplistic fashion sense; he isn’t into super flashy or impractical clothes, instead choosing to prefer function or how the clothes perform in a given situation. For example, he will choose to wear cardigans or jackets in his cold northern home and something “neat and tidy” when working at the Mostro Lounge.

Azul

He only has a single pair of glasses, the rectangular ones that he wears on his face. After speaking with Trey, Azul says he feels like trying new frames out. Azul worries that glasses that aren't his usual style (like the circular lenses in his Masquerade Dress) may not suit him.

Though he does need correction for his vision (he says his lab goggles have a prescription), he implies that he wears glasses because they make him appear smarter.

He wears a cologne because it helps to sell the image of him being well-composed and trustworthy, especially in business dealings. Azul is very particular about his cologne, as it is one of his favorite parts of living on land.

In fact, a lot of how Azul presents himself is to create this impression that he is cool and can be trusted. This extends to his clothes, hair, and makeup.

Having grown up in the frigid Coral Sea, he has a higher tolerance for cold than most others do.

Azul is particular with how the twins present themselves too. When Floyd gifted Jade a goofy T-shirt, Azul told Jade not to wear it outside.

My impression: Azul carefully considers his grooming and dress, taking care to not appear disheveled to others. It's all a part of his personal brand! He typically sticks to the same frames, but has indicated that he may branch out. It sounds like Azul isn't too confident about changing his style until he gets validation from his peers.

Jade

When camping, Jade wears a hat so as to prevent sunburn. He also dresses in layers so he can adjust his outfit depending on the changing weather conditions.

He is also very well-put-together like Azul; this helps with gaining others' trust as he goes about gathering information for Octavinelle.

Jade says he is fond of asymmetrical designs, such as what is featured in his Halloween Dress.

Not used to clothes with excess fabric; presumably, this is also true for Azul and Floyd, although not explicitly stated.

He recommends sling bags so as to free up the hands. This is especially useful for the mountains.

Fascinated by the concept of dressing up differently for different occasions. He didn’t know the difference between pjs and street clothes back then and once walked out in public in pajamas.

Jade seems to prefer a certain brand and tends to buy his clothes from that brand.

He wears shoes that Floyd calls "way too basic", even if they are high-quality.

Having grown up in the frigid Coral Sea, he has a higher tolerance for cold than most others do.

Jade tries to get people to wear things he think they would look funny in, though Jade claims he is simply “curious” about the fashion of other races.

He irons his clothes in the morning and makes sure they are free of wrinkles.

Received a T-shirt from Floyd that he loves.

Jade describes simple black cloth as “gentlemanly and demure”.

Applying sunblock is important to him. All of his products, including makeup and lip care, include SPF.

Removes his earring when exercising.

My impression: Jade mostly dresses formally (“gentlemanly and demure”), but when he is engaging in his hobbies he plans for the scenario (layers, hats, bags, etc.). We do see bits of his disdain for boredom peeking through though, as he says he likes asymmetrical designs that will keep the eye amused. He’s creative with fashion mainly when he is dressing others for his own amusement. When it comes to himself, he tends to dress to disarm others.

Floyd

Floyd loves fashion and the freedom to pick what he wears for himself (though he handles his clothes carelessly). But! He takes good care of his shoes and shines them.

He leaves his collar unbuttoned most of the time because he finds buttoned collars constrictive.

Floyd likes to play with some elements of clothing, even if it's on other people. For example, when Jack wears a fluffy, fur-like boa, Floyd plays with it and calls it a second tail.

He wasn't a big fan of clothing when he first came on land. Again, they felt constrictive and he didn't like how you have to wash them after wearing them once. It seemed like a waste of time to him.

Floyd loves to coordinate with shoes and accessories, expressing a love for fashion. The trouble is that he keeps buying more stuff and just piling it in his room.

He likes graphic tees and goofy looking moray merch. Floyd has previously purchased clothes for Jade, who loved it.

Floyd states he would rather be naked than wear “lame” clothes.

According to Jade, he tends to like flashy things.

Floyd can easily spot brand name clothing.

He chooses clothes that are easy to move in and durable for Vargas Camp.

He's especially interested in bespoke shoes, sometimes looking at shoe magazines with Ace. Floyd doesn't wear shoes in his true form, so he figures he should enjoy shoes while he's on land~

He's good at coming up with ways to experiment with his looks. For example, when considering sandals, he says you can jazz them up with nail polish, anklets, etc.

Like Jade, he doesn't understand wearing specific clothes for certain occasions such as visiting the beach. Floyd does go out of his way to buy outfits for outings though.

He still fights and nail with Jade about wearing a bow tie to this day and is notably the only member of the Octatrio that doesn't care to maintain a pretense of polite or proper dress.

Having grown up in the Coral Sea, he has a higher tolerance for cold than most others do.

Removes his earring when exercising.

My impression: Floyd is much more openly adventurous and flashy with his outfits than Jade is. He doesn't like formal clothes or being told what to wear; the wants to be allowed to be experimental, especially with his accessories. Additionally, Floyd really likes luxury shoes--they're an item he pays a lot of attention to.

Kalim

Kalim often guns for the fanciest outfits without a second thought, sometimes calling for them to be made even fancier with jewels.

He tends to go for excessive jewelry too, whether for himself or for others. Kalim once almost bought everyone in Scarabia diamonds as souvenirs. Usually wears earrings himself.

Loves the color white; he says that he always picks this color when he is getting outfits tailored. Kalim is also a fan of loud and bright colors.

He reports having "lots of outfits [like the Fairy Gala Couture] at home".

Kalim usually has his head in a scarf. There are some voice lines in which he claims he cannot do his headdress by himself and other voice lines in which he offers to help you wrap your own.

He only wears clothes of the highest quality.

My impression: Kalim has a very extravagant and excessive fashion sense. He wears a lot of white and loves tons of detail and accessories in his outfits, including head scarves and jewelry. Really doesn't know when enough is enough.

Jamil

Jamil works hard at taking care of his appearance. This is partly because he, as a servant, could impact the reputation of his employers, the Asims, if he presents in a slovenly manner, especially when on the job or helping at an event.

He particularly likes to take care of his hair. Jamil likes it long, even if it takes more effort to maintain. He uses a variety of high quality and rare products on it, and his sister also gifts him hair products. Jamil has taught himself how to do his hair in the mornings with magic, though it took significant practice.

He has a keen eye for textiles and embroidery, often examining clothes and commenting on its quality when browsing.

Jamil tries on clothes before he buys them. He of course considers the design and material, but comfort is also an important factor for him.

Jamil states that he likes to wear oversized and comfortable clothes. The loose fit is nice and allows him to easily move, which probably helps with fulfilling his duties. This is perhaps why Jamil wears a hoodie in his School Uniform card.

He wears many hair ornaments. Jamil buys them himself and receives them as gifts. He claims he is not too particular about them.

Jamil feels a little uneasy about bugs, even if he knows they are fake. He's reluctant to touch the silver insects on his Fairy Gala Couture boots. Ironically, he does not express any anxiety about the scarabs on his Dorm Uniform shoes.

He likes the arm sleeve on his Basketball Club Uniform—both the design and its function, which keeps his shots steady.

Jamil doesn’t normally choose colors like silver. It’s hard for him to feel comfortable in it.

He does not like accessories that can throw off his balance.

Warns others to be careful with delicate items such as corsages.

Jamil says prefers to not be bothered and to not stand out.

My impression: Compared to Kalim, Jamil's fashion is much more demure and dialed back. He still dresses well and fine fabrics so as to not bring shame to the Asims. For more casual attire, he prioritizes quality and comfort, preferring oversized and comfortable clothes he can easily move in. Probably avoid bug designs. Jamil wears his hair in an elaborate style but claims he doesn't think much of it + the accessories... which I don't personally buy for one second. It's one of the few things he has control over in his life, and why would he keep buying accessories and being gifted them if he supposedly doesn't care??? I think bro's humble bragging www

Vil

He, as a model and influencer, is familiar with the top brands and even works closely with some of them. He's well aware of the value of his face and won't allow others to use it without proper compensation.

He sometimes has to wear disguises to avoid paparazzi.

Notices little details like slightly different stripe thicknesses.

Vil is comfortable parading around in a variety of styles; he doesn’t seem to have a particular preference for one over the other, as he tends to have praise for whatever he finds himself wearing, as well as the clothes of other cultures. If an outfit can be stylish as well as functional, he can commend that too.

Often agrees with Crewel. For example, they both think Vargas has very "strange" tastes in fashion.

He won’t compromise on his looks. For example, he’ll bring an entire skincare routine with him when camping.

Expresses a jealousy towards his celebrity rival Neige's popularity. This may be in part to Vil being aware that he can't pull off the same "cute and innocent" aesthetic that Neige does.

Vil creates his own perfumes, skincare, and other cosmetics. He gives these to his dorm members as well.

Has scathing words for those who put no effort into their appearance and/or those who look down on caring about one's looks.

Notably, Vil is the concept of gender itself/j very comfortable wearing even very feminine outfits, such as more makeup-heavy looks or skirts/dress-adjacent additions.

My impression: One of the most fashion forward in the NRC cast, as well as one of the most flexible with his dress. He doesn't have one particular style he favors, though he is often seen in classic and elegant clothes that the public seems to think best suit his image. Vil is also gender non-conforming in his fashion, sometimes wearing traditionally "feminine" looks and being conident in it. Able and willing to call out what he deems as unseemly.

Rook

He used to cut his bangs with a knife. Back then, Rook was only concerned about keeping his vision clear. Nowadays, he ties his hair back when he exercises or cooks.

His hair is easily damaged by UV, so he has to take extra good care of it. Without that extra care, Rook says his hair becomes wheat-like in texture. Vil describes his old hair as being "long and unkempt" "dry and shaggy", and lacking in volume.

He used to wear denim jeans with holes and tears in them (as the result of animals). He also wore sweatpants often.

Rook tans easily; before meeting Vil, Rook didn't really have a skincare routine. His cheeks were freckled and the tip of his nose was red.

Vil says that Rook's only criteria for casual clothing used to be that it should be easy to move in. Rook has no trouble still hunting in his Pomefiore uniform, but also remarks that it was much easier to move in his Savanaclaw one.

Rook consistently wears hats. In his Savanaclaw days, the hat was consistently dirty with sticks, leaves, and soil. He recommends it to others as well to keep the sun out of their eyes while hunting.

He is also usually wearing gloves. This is probably because, as an archer, he needs to protect his hands when he pulls on the strings. Additionally, it could be that the gloves help to further conceal his presence (fingerprints).

His concept of beauty is not grounded in looks alone; Rook is able to appreciate even things others would typically consider ugly or odd.

Rook adopted a more elegant “Pomefiore” sense of style after he transferred and was encouraged by Vil to make himself as beautiful as the subjects he observed. To be clear, Rook states he does enjoy the Pomefiore uniform. He now also encourages others, such as Epel, to embrace the Pomefiore ways.

He says, "I never forget my duty to live up to the clothes I wear."

He doesn’t wear scent unless commanded to by Vil. This is because smell can give away his presence to others.

Rook has a keen eye for detail and can hone in on slight physical changes in both himself and in others.

My impression: Though Rook prioritizes dress that is easy to move in, allows him to hunt, and still conceals him, he currently dresses very differently and follows a new style that’s more in line with Pomefiore traditions. It’s not certain whether Rook still prefers his old threads and self-care routine, but he definitely seems loyal to his new ones at the moment. I get the sense that he really wants to "live up" to the standards of whatever outfit he has on.

Epel

Epel agrees with Deuce that flaming skulls would be a cool motif. It seems they share a sense of style.

He admits to having never thought much about his own appearance. If given the choice, however, Epel would prefer to be called cool rather than cute.

Epel appreciates the light, warm nature of the Applepom outfits. He's proud of his hometown and how the community comes together to prepare clothes and such for visitors.

Though Epel often scoffs at the skincare items Vil forces upon him, he does extol sunblock, as the sunlight bouncing off the snow of his home village can be very harsh.

He's somewhat clumsy, so he cannot handle outfits with excessive fabric too well. Epel tends to trip over himself.

He likes apple patterns on clothes, particularly the poison apple. Epel just thinks it's so cool!

Doesn't like tight clothing or clothes with ribbons and frills on them.

My impression: Epel wants to be seen as "cool"!! ... Which, if we know anything about Epel, is probably something along the lines of "traditionally masculine", seeing as how he looks up to people like Leona. He can learn to appreciate non-masculine outfits like his Rabbit Costume and Applepom, given the right circumstances (the former is rabbit-themed, which he likes, the latter is practical and comes from his hometown). His clothes should fit him and not be oversized in case he trips over it. Epel also favors apple patterns when possible.

Idia

Idia despises the idea of dressing up. It's implied that his usual threads are pretty plain (which makes sense; he doesn't like being stared at).

He repurposes his lab coat and goggles over his pajamas, finding the combo comfortable yet functional. The large pockets allow him to stash his phone or anything else he wants in them. The coat can also catch any spills or crumbs that get on it while he is snacking. Idia has modified the lenses to filter out blue light to make the goggles optimal for gaming. The gloves keep his fingers from getting sweaty and playing poorly. He gets all the functionality while others can't tell he's actually being a slob; Idia calls this "stealth mode".

Idia praises the functionality of the Applepom outfit as well. (The pom-pom on the hat is protective.)

There are rare instances in which Idia will praise the aesthetic; for example, he claims the gloves in his Lab Coat are part of the "aesthetic", but then he immediately continues to comment on the practicality of them.

Idia expresses that he is unable to relax when his hair is pulled back. This is likely because it called more attention to his face.

Very hyped about getting merch of his favorite things, such as a very exclusive T-shirt of his favorite girl group.

He speaks more confidently when he is wearing a mask or helmet, as it conceals his face.

Idia notices the quality and skill it takes to make cosplay. He incorporates his own knowledge of technology and materials to (for example) make a functional Halloween costume with light armor and sound effects.

My impression: Overall, Idia values function over form/looks and prefers his face to be hidden as much as possible. He chooses to dress in a non-descript way and loathes getting dolled up. There are exceptions to this rule; Idia can appreciate a good aesthetic and be passionate about clothing items if they are related to his niche otaku hobbies and interests.

Ortho

Ortho doesn't wear clothes like the traditional human would; rather, his parts can be switched out as needed. Many of his Gears are designed and installed by Idia, whom Ortho praises. He even refers to himself as his older brother's "masterpiece".

Ortho has a large span of capabilities depending on which Gear he is currently wearing, as each is designated with specific functions in mind. He describes Gears as containers he can upload his data into.

His body is capable of having many external add-ons. For example, Idia has made an Oral-Energy-Intake Gear so Ortho can simulate eating food on his birthday.

He thinks that cleaning his individual parts must take forever compared to just doing a load of laundry.

Ortho must consistently update his data to stay up to trend. To do this, he goes out to look at what's currently avaliable.

Post book 6, Ortho becomes more independent of Idia and more willing to design his own Gears. For example, Ortho is responsible for his White Rabbit Gear and contributes his own idea of "evolution" to his Fairy Gear (designed by Crewel).

Sometimes Ortho will ask Idia to make his Gears more decorative. For example, he requests that stars be added to his Starsending Gear.

Other times, Ortho will want to try out new Gears simply to sate his own curiosity. One example is in his Athletic Gear; he was curious about what it feels like to have feet, so Ortho asked Idia for them.

My impression: Like his older brother, Ortho values functionality. Unlike Idia though, Ortho is more experimental and curious with his looks. He actively goes out to gather more data about fashion and seeks new experiences which will enhance his own understanding of what it means to be human.

Malleus

Black is the color of Briar Valley’s royal family. Therefore, Malleus often wears large swathes of black.

He is not comfortable in clothes he barely wears such as his Ceremonial Robes. In the case of the robes, they stir up memories of being left out or uninvited.

Malleus points out the gold rose embroidery on the black fabric of his Masquerade Dress. He then remarks that the maker must “shares [his] tastes.”

Malleus is interested in uniforms. He thinks it is fascinating how, simply by wearing clothes, people assume a new role (such as “student” or “teacher”). Notably, be says few people dress “like this” in Briar Valley, implying that the fashion norms there are very different.

He notices striking makeup and accessories, as well as good fabric quality. Malleus invites others to take note of these too.

Malleus needs specially tailored headwear to accommodate for his horns. For example, his ceremonial robes have holes in the hood.

He rarely shows his tail, so it normally doesn’t need to be accounted for in his outfits.

Malleus says he often wears cloaks back home.

My impression: I get the feeling that Malleus's fashion sense is elegant yet VERY outdated due to a combination of being so long-lived and sheltered. He seems interested in learning more about fashion as it relates to social status and occupations, but doesn't make a strong effort to explore it. It seems he also longs to be invited to events so he has an excuse to wear clothes that suit them, such as NRC's ceremonies. He defaults to wearing a lot of cloaks and the color black to show off his affinity to the Briar Valley royal family.

Lilia

The most experimental in Diasomnia. He loves to paint his fingernails different colors, as well as dye his hair different colors.

In his days as a war general, he wore a mask that most humans would call scary. Lilia however thinks that the mask is "pretty stylish."

He cuts his own hair, as well as Silver and Malleus's.

Lilia is quite confident in his looks, often playing up and praising his own cuteness and charm.

He loves seeing clothing from cultures outside of his own.

Lilia notes that he used to wear stuffy uniforms to formal events. It seems he doesn't quite care for those clothes.

He is weak to the sun, so he has various methods to minimize his exposure and/or to deal with the sunlight.

Lilia doesn't mind clothes that impede him, such as his lab coat which has long sleeves. He "just [deals] with it" because he prefers his clothes to stay cute.

Like Vil, Lilia is another member of the cast that is comfortable wearing traditionally more "feminine" clothes, such as ruffles and skirts.

My impression: Lilia definitely has the most unique sense of style in Diamonia. Despite his age, he is flexible and willing to change with the times and cultures he encounters. He loves trying new things and adopting clothes, hair, and makeup that, although burdensome, enhance his cuteness. He also doesn't mind more "sinister" or edgy styles, such as what he wears for his Club Wear card and in his General's Armor card. Probably no formal clothes in his free time unless there's some added spice to it.

Silver

Silver thinks black uniforms are cool because Briar Valley's royal guard wears black too.

He grooms himself to "meet basic standards" but doesn't know much about fashion. Silver says he is 'clueless" about these kinds of matters.

He has a limited understanding of beauty in general. When Vil asks him to think of something beautiful, Silver replies with "Vil-senpai", and when Ortho tells him he looks like a fairy tale prince, Silver wonders if he looks like Malleus.

His headwear may be crooked sometimes, as Silver is falling asleep while standing up so often. He may also rub at his eyes, which smudges his makeup.

He likes practical clothing, nothing how his Dorm Uniform is easy to move in and how his Fairy Gala Couture boots could make for useful weapons in a pinch.

Silver thinks of some articles of clothing and accessories as obstacles. He notes that he may have to remove necklaces and such, as they could catch on his sword and impede him.

Other times, he thinks that bothersome items could serve as good training opportunities for him. For example, in his Masquerade Dress, his hat limits his field of vision but Silver says it can help him learn to be a better knight.

Silver reports that even if he is dressed up fancily, he is always prepared for emergencies.

My impression: Silver is (in my eyes) the least fashion forward of the group just based on his dialogue. He has a very limited way of thinking about how he dresses and prioritizes optimization for combat or training, not even considering how outfits look for the most part. Silver strikes me as the kind of guy who wears whatever others tell him to (particularly his dad), otherwise he'll go with something sensible and simple.

Sebek

Sebek maintains a neat and tidy appearance so as to not dishonor his liege.

He uses a LOT of hair gel to slick his hair back every day.

Sebek is sensitive to the cold, so he has to bundle up in the winter or snowy areas. He considers wearing a hat that covers his ears all year-round due to how comfortable he finds it.

He says he is not sure what clothes suit him best; he usually wears whatever he is given.

Sebek seems to favor protective gear, describing his coat for Vargas Camp as “durable, waterproof, [and] breathable”. He has lovingly stuck on Diasomnia iconography onto that rainwear too, really letting his inner fanboy speak.

Enthusiastic about clothes endorsed by Malleus and/or Lilia.

My impression: Like Jamil, Sebek takes care of his appearance so he, a servant, doesn't make his master look bad by association. This includes styling his hair so not a single strand of it falls in his face. He also seems to favor protective clothing, sharp uniforms, and anything with approval from Malleus or Lilia.

Crowley

Crowley presents as quite the vain character; he takes quick 3 minutes showers in the morning but leaves ample time for massages and beauty treatments.

He loves shiny things like jewels and precious metals, stating that he could stare at them forever if allowed to.

Crowley calls the mirrors on his belt beautiful. Again, this is probably because he likes shiny things.

He takes care of his shoes. When he notices they are even a little scuffed, he says that he will polish them until they are sparkling later.

He is reportedly never seen without his mask.

Students say they think Crowley would enjoy vacation clothes.

My impression: Crowley is upset when others—staff or student—do not give him the respect he feels he deserves. He is also shown many times over to care about the prestigious reputation of his school. If we extrapolate these feelings, it may explain why Crowley dresses the way he does: to come across like a respectable man, one who represents the interests of NRC (symbolized by the raven). The raven look may also just be because that’s the kind of fae he is, though this has not been confirmed by canon. Of course, he has also managed to incorporate the shiny accessories that catch his eye. People seem to think he likes vacation wear (such as Hawaiian shirts) due to his penchant to slack off.

Crewel

Crewel enjoys both current trends as well as vintage fashion; on his days off, he says he visits some vintage shops, as he finds older clothes that have lasted a long time have a certain aura about them that is hard to replicate.

He loves that the world of fashion is always evolving. It reminds him of his own inadequacies, which he works tirelessly to improve upon.

Crewel designs clothes and has done so for various students and himself. He is also shown to be capable of magically reinforcing them to be studier for combat.

He has experience working in the fashion industry prior to teaching. It’s clear that fashion is very near and dear to his heart, even to this day, since he continues to keep up with and engage with it.

Crewel also concocts his own cologne. He wears one of his own creations.

His fur coat is custom-made. It seems that he finds value in the uniqueness of it.

Crewel may share similar tastes and design philosophy as Vil, as the two work together in Fairy Gala and Fairy Gala: If to design and train the NRC runway models.

My impression: Crewel’s style strikes me as very flexible, forward-thinking, and willing to change. He demonstrates respect for both classic and modern fashions and doesn’t allow himself to be bound by a specific era. The man is always inventing something or on the hunt for the next best thing.

Trein

Trein claims that he is not particular at all with his outfits.

When asked about the way he dresses, he says he just makes sure his outfit and personal grooming befit that of a professor. This includes carrying around a lint roller to clean himself and the area of Lucius’s fur.

My impression: Though Trein doesn’t really seem to care for fashion, I wouldn’t say he has no sense for it or that he’s a slob—he very clearly puts effort into his appearance, if only to look professional. It’s just not an area he has a particular investment in, but he what he does take seriously is his job. This is therefore reflected in how perfectly groomed his appearance is.

Vargas

He prefers clothing that is easy to move around in; in one of his Unified Exam lines, he expresses that he cannot understand why Crewel’s fur coat is so expensive yet is also so impractical to move around in.

Vargas seems to canonically have a poor eye for aesthetics. In Vargas Camp, he appears in a strange beast-like outfit that he designed himself. In the sequel event, he gives Crewel a similarly eccentric and over-the-top outfit which everyone hints it is odd-looking. Vargas however thinks his designs are cool and powerful.

He suggests a heavier material for the school's P.E. uniforms so as to help the students enhance their muscles while they work out.

My impression: Vargas is really into sportswear/garments that are easy to move in, as well as things that look cool or strong to him (but are weird-looking to everyone else). He may also like clothes that help him with his training in other ways.

Sam

Sam states that he has multiples of the same suit that he just swaps around.

He explains the charm of his outfit as “whimsy peeking out from the formal”, most likely referring to the unique skeletal pattern on his suit.

Crewel states that Sam is aware of how he presents himself. Crewel also commends Sam's style as "unique" and "splendid", even if his tastes differ from Sam's.

My impression: Bro’s a NPC— I think Sam has said it pretty plainly himself; he likes formal clothes that have some fun or whimsical element to it. It also sounds like he doesn’t change up his style very often, given that he has so many of the same thing in his closet.

Yuu and Grim as a bonus

Yuu and Grim often have matching outfits whenever they get new ones (especially during events).

Grim loves outfits that make him stand out and emphasize his coolness. He tends to show off when he’s in something new.

Yuu realistically may have a NRC school uniform provided for them by Crowley; this is noted in the light novel (as in, Crowley actually hands Yuu a uniform), but not in the game or manga.

The Ramshackle Ghosts have made Halloween costumes for them out of old curtains. It follows that perhaps this is something they do for other occasions.

My impression: Aw, twinsies 🥺 That aside, Yuu and Grim have to take what they can get cuz otherwise Yuu’s literally only got the clothes on their back when they first arrived in Twisted Wonderland and Grim is basically naked. They can’t afford to be picky, just take whatever is handed to them and walk off with it