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dyaz-stories · 4 months ago

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casual (1) || gojo satoru x reader

chapter 1: i like the way you kiss me

synopsis: Getting recruited for a double position as a teacher for Jujutsu High in Tokyo and a strategist, tasked with assigning missions to sorcerers in the region is the perfect situation for you. It pays well, it's well regarded, and it's as safe as possible — by sorcerer standards, anyway.

There is one problem though, and his name is Gojo Satoru. The one who's supposed to collaborate with you and answer to you.

The one you can't keep your hands off...

word count: 9.5k

genre: 18+, friends with benefits to lovers, coworkers to lovers, canon divergence, smut, emotional slow burn but they fuck like rabbits

warnings/tags (chapter): fem!reader (she/her pronouns, reader is afab), takes place ~5 years before jjk0, teacher!reader, sorcerer!reader, canon-typical violence, mild angst, smut (semi-public sex, fingering [fem receiving], vaginal sex, sorta dom!gojo, corruption kink if you squint), mentioned slut shaming (not the sexy kind), gojo satoru is a little shit

A/N: This is quite the Behemoth of a first chapter, I'm sorry to say. I love really long chapters, but I can only hope you all do too and this isn't too intimidating! This is a fic I've had in mind for ages and finally got around to start an outline for and actually write it. There are actually a couple of drabbles here and there on my blog for this couple already, happening at various points of their relationship.

I really hope you will enjoy this first chapter!

‘Make use of Satoru Gojo however you see fit.’

Such are the first words spoken to you by the higher-ups, at the end of an exhausting recruitment process. You nod sharply at the instruction.

“Duly noted.”

Truth be told, you don’t see why they need to specify it. You had assumed that went without saying from the very beginning.

The job offer had, at first glance, been for a strategist who would work directly under the higher-ups for the region of Tokyo. Devising teams, advising the council, and assigning missions were supposed to be the main tasks you would have to fulfill.

‘Supposed’ because, when you were one of only three candidates left, the higher-ups had revealed that there was, in fact, a second role you would be expected to perform. One that you had not imagined would be available for decades.

A new teaching position at the Tokyo Jujutsu High School was opening up, though you couldn’t understand why for the life of you. You had no connection to the establishment yourself, having left Japan as a child and trained abroad your whole life, never returning for more than a couple of months at a time, yet you knew, as did the entirety of the sorcerer world, that Satoru Gojo had been appointed there less than a year before. Well, rumor had it that he had appointed himself, and you had to wonder if that was why they were keen to have a more… traditional teacher by his side, since firing him was an option.

In that case, your lack of ties to Satoru Gojo, Masamichi Yaga and to the Jujutsu Headquarters could explain why your name ended up being the last one on the ballot. You were the best placed to be an independent monitor.

The distorted voice keeps going, bringing you back to the present.

“Unless stated otherwise, always send him to battle first.”

You school your face so you do not let any emotion appear, though the statement surprises you. You have to assume that they don’t mean for any mission you receive, because that would be catastrophically ineffective. Then again, sending him on Grade 1 missions, if he is available, makes some sense.

“Report to us if you encounter difficulties with him,” the voice adds before falling silent without elaborating.

You understand, from the finality of their tone, that you have been dismissed, and bow your head, your movements polite and sober.

“Thank you for the trust you are placing in me. I will not disappoint you.”

“We know you won’t,” another sepulchral voice answers.

In the dark, candle-lit room, it sounds sinister enough to chill you to the bone. You wait just a second longer, in case something needs to be added, before turning on your heels and walking away. No one calls you back, and you’re more relieved about leaving the room than you would like to admit.

Outside, the summer sun is high and bright. You tilt your head backwards and close your eyes to let its rays warm your face. It will take a while before the cold instilled in you in that meeting room dissipates.

You’re expected in Jujutsu Tech by the end of August. Being a teacher there is as close to the ideal position as it gets, for a sorcerer. The pay is excellent, the risks minimal, and it commends great respect from the society at large. You have no doubt that, had the offer been for that position in the first place, numerous sorcerers far more qualified for teaching than you are would have thrown their hats in the ring. You wouldn’t have made it past the first interview.

You got lucky. Just this once, you’re going in the right direction.

You inhale deeply. For the first time in a long time, you no longer envision your life as an endless successions of missions, countries, and houses that never become homes.

For the first time in the long time, you think you have a future.

There is a spring in your step when you make your way down the stairs, away from this freezing place and the ghouls that haunt it.

Behind you, the Headquarters; ahead, Jujutsu Tech.

Masamichi Yaga is a cautious man. His handshake is warm and firm when he greets you, and though his voice is calm and steady as he guides you through the hallways of Jujutsu Tech, he remains evasive. He provides all the information you might need, answers any question you have when you ask them without missing a beat, and yet you can tell he is guarded, keeping you at arm’s length.

You cannot determine why that is with certainty, though you have a handful of hypotheses. It could just be that he isn’t used to the presence of strangers. Dealing with a total stranger is a rarity within sorcerer society, even more so in Japan. You doubt that he would know anyone who could talk about you, let alone vouch for you. You understand why that would make you a suspicious character.

Another option is that you were forced onto him as a member of his staff by the higher-ups, though you haven’t heard anything about that. With you being a complete outsider, he would not have any valid reason to outright reject your presence, not when his only teacher is frequently gone for days at a time, but that would not mean that he’d be pleased with it — or view you as trustworthy, for that matter.

The third possibility, of course, is that he just finds you off-putting.

‘Cold’, that’s how you are often described by the people around you. You don’t do it intentionally, but you also cannot pinpoint what it is that you do ‘wrong’. Something about your tone, your expressions, or lack thereof, your cold eyes, the way your mouth naturally curves downwards.

That and, of course, the trail of bad omens that you bring with you everywhere you go.

These don’t tend to be active problems when it comes to sorcerers. With normal humans, now, it’s a different story. Oh, there are exceptions, who find that this all makes you intriguing, but it typically makes it hard to build actual connections with other people. You wouldn’t normally care, but in a situation where you have to collaborate with others, you could see that becoming an issue.

You had seen that coming, of course — it wasn’t like it was new information to you. As a result, you had made sure to be on your very best behavior from the moment you’d stepped foot within Jujutsu Tech grounds. You had nodded with interest, you had reminded yourself to smile, you had asked all the right questions, and yet you could feel that you had not once managed to turn yourself into a likeable person.

Ah, well. Not being likeable would not stop you from doing your job right.

“I’ll introduce you to the rest of teaching staff,” Yaga announces, his voice deep, as he reaches a new door. His hand is hovering over the doorknob when he stills, turning to look at you. “Are you ready for this just now? They were both students here, but I assume this can all be overwhelming for a newbie.”

That is a kind sentiment.

“I’m okay.” Then, because answering in monosyllables is not what likeable people are supposed to do, you add: “I read the files available to familiarize myself with the school grounds before coming here.”

His eyebrows jump up behind his glasses, but it’s followed by a hearty chuckle.

“You’ve come prepared.” He nods, appreciative. “Good. It will be nice to have someone who takes their job seriously around here.”

You don’t have the time to question the sentence before he opens the door.

The room is small and reeks of cigarette smoke. In the middle of it, a desk, and behind it, sprawled on an elegant black chair, a white-haired man that you recognize at first glance. You let your eyes slide over him. You wouldn’t want to look too, um, curious, just yet.

The brown-haired woman with the long white coat who is perched on a window sill, doing her very best to look inconspicuous, is the one responsible for the smell. You identify her as Shoko Ieiri, school doctor and reverse cursed technique prodigy. Next to you, Yaga sighs.

“Shoko,” he protests with a paternal disapproval, “I thought you’d quit smoking?”

“I did,” she answers, staring at him, her eyes dark and tired, “and then I had to regrow a lung. Do you have any idea how much of a pain it is to regrow internal organs?”

A light laugh comes from the man in the middle of the room, and you consider that this gives you permission to look at him without coming off like you’re gawking.

He has his feet propped up on the desk, and he’s using them to push himself backwards in a precarious balance. White hair spills on the dark leather, long arms hang on both sides of the chair, and he hasn’t bothered to so much as glance in your direction so far — or at least, you don’t think he has, because white bandages are wrapped around his head, covering his eyes.

Even without being able to spot their signature blue, you know who he is. There isn’t one sorcerer in Japan, nor in the whole world, who doesn’t know his name.

Satoru Gojo, in the flesh.

“Maybe if you hadn’t cheated your way through medical school, it would be easier, don’t ya think?” he asks Ieiri with fond familiarity.

“Don’t—” Yaga takes two steps into the room, kicks the legs from underneath the chair. “—sit at my desk, Satoru.”

Effortlessly, Gojo jumps off the chair before it hits the floor and lands on his feet, facing Yaga. He is just as tall as the Principal, and from the wide grin on his face, it’s obvious that he is thrilled to have gotten a rise out of him.

“Then get me my own office already, what are you waiting for?”

“We’ll see which one of you gets an office first,” Yaga sniffs, and it doesn’t sound like Gojo is at the top of his list. “First, there is someone you need to meet.”

Ieiri has been observing you since you’ve walked into the room, not looking away when you had met her eyes. Yaga’s words have Gojo finally directing his attention to you, though, and something in the room shifts. You can’t see them, yet you know his eyes are on you, dissecting you and your cursed energy, collecting every possible bit of information on you. He walks past Yaga, burying his hands in his pockets as he approaches you. He has an easy smile placated on his lips, but you know when you’re being judged.

Behind him, both Ieiri and Yaga are still, tense. Yaga’s jaw is set, and Ieiri fiddles with a pack of cigarettes in her pocket, clearly itching for a new one. Ah, so this is the real test.

You don’t back off, staying rooted in your spot. He towers over you easily, and you have to tilt your head back just to look at him. You’d heard he was a handsome man, but you hadn’t expected it to be so obvious, even with the bandages on. He studies you, sharp jaw clenching, before the dazzling smile returns.

“Right! You’re the substitute teacher, aren’t you?”

His voice is light and airy, the previous tension completely absent from it. You blink.

“She will be teaching instead of you when you’re away on missions,” Yaga intervenes, “but that doesn’t make her a substitute. C’mon, Satoru, we’ve had this conversation already.”

On that last sentence, his voice turns into a threatening rumble.

“Sure, sure,” Gojo dismisses him without looking back, “and you’re the one who will be giving me missions as well, right?”

He keeps his tone cheerful, makes it sound like he’s just trying to have a conversation, but there is an edge in his voice, a bite. You cannot tell what he is trying to achieve with the question, though, or why he is being hostile, so you choose not to engage.

“Indeed,” you answer, bowing your head politely. “It is an honor to be meeting you all.” You make quick work of giving your name and briefly mentioning that you hadn’t grown up in Japan.

You’re met with silence, Gojo’s lips pressed together as he tries to read you. You do your very best not to give him anything to sink his teeth into.

“Your family’s known for their precognition, aren’t they?” Ieiri asks from the other side of the room.

“Foresight, yes”, you reply. Your answer is rehearsed, polished. Your family has somewhat of a reputation within the sorcerer world, but fortune tellers are a dime a dozen, even among non-sorcerers, and the results vary greatly — it’s not an ability that inspires trust, even for a legitimate sorcerer like you. You don’t wish to reveal too much of yourself just yet. “I look forward to working with you.”

A smile finally forms on her lips.

“Well, don’t take this the wrong way, but I hope I won’t be seeing too much of you. Would be a shame if I had to patch you up. If you want to go out drinking though, just let me know. I know all the best bars in the city!”

“She does, and she’s banned from half of them,” Gojo chimes in. Now that his focus is back on her, his tone is softer; teasing, still, but no longer harsh. “She could use an actual designated driver instead of exploiting her kouhais though, don’t you think, Shoko?”

She laughs at that, sincerely, her eyes creasing.

“Fuck you, Gojo,” she answers fondly.

“I apologize for these two,” Yaga says, wincing at the coarse language. “We’re very happy to have you here. I’m sure it will do the kids some good, having someone serious to take after.”

“Hurtful,” Gojo protests, pouting. “They’re good kids,” he adds, directing his attention back to you. He sounds proud now, no trace of his earlier defiance left. “They’ll be great soon. They just need a little push to get there.”

At that, you nod.

“Of course. I’ll do my very best to help them on that path.”

There is a second, between the moment when you finish speaking and the moment when a wide smile splits his face. In that second, his lips part, and you feel his eyes plunge into you, digging into the very core of your being. He doesn’t look pleased. No, he is sizing you up, and you doubt you measure up to his expectations as well as you should. You’re the only one facing him, though, and when he smiles, just a little too late, it all vanishes like it never happened.

“Good to hear! As long as that’s the case, I’m sure everything will go smoothly.”

It’s said differently, but it’s as threatening as the higher-ups’ last words to you. Still, behind Gojo, Yaga heaves a relieved sigh and exchanges a look with Ieiri that tells you just how worried he’d been about your arrival. To him, it looks like the situation is resolved.

“Why don’t we all go and get a drink together to welcome you properly, if we’re done here?” he asks, walking over and slapping Gojo in the back.

“Sounds good to me,” Ieiri hums.

“As long as we go somewhere with good desserts, I’m in,” Gojo declares, intertwining his fingers at the back his head.

“You better be, Satoru,” Yaga grumbles, “you’re paying.”

“Not sure the Gojo clan has enough money for your appetite,” he sighs dramatically, “but I mean, I can try.” Then, eyeing you, “You coming or what?”

“Of course,” you say, swallowing around the unexpected knot in your throat. “Thank you for having me.”

You follow them cautiously, keeping quiet as the banter continues, hands held behind your back, observing. You had not expected to feel welcome here. You could have done without Gojo’s strange hostility, but with your track record, you had expected far worse.

“Let me know if Satoru makes your life harder, alright? I’ll talk some sense into him,” Ieiri tells you, placing a cigarette between her lips.

“And I’ll beat it into him if I have to,” Yaga adds, snatching it from Ieiri’s mouth and crumpling it between his fingers.

“I’d love to see you try,” Gojo grins.

“Noted,” you answer, “but I’m sure everything will be fine.”

This last part is a lie. Even as he’s joking around with everyone, you know he is still observing you, courtesy of the Six Eyes, watching your every move, waiting to find a fault somewhere so he can figure out what to do with you. You can’t blame him. You will be the one sending him into action, after all, even if the higher-ups would review missions assigned to grade 1 sorcerers and special grade sorcerers. Of course he’d need some time to figure out whether or not you’re trustworthy.

Not that his opinion on the subject matters to you. You’re not the type of person who needs other to like you. You don’t even need him to trust you. All he has to do is let you do your job.

Everything else is futile.

It is no surprise that the first few weeks at your job are slow. The end of summer and the beginning of fall are always quiet periods for sorcerers, and as a result, you don’t have many missions to hand out just yet. The few, low-level ones available in Tokyo are systematically claimed by Gojo before you can look into them, as training for his students.

“Kids gotta learn somehow, right?” he tells you with a grin the first time it happens.

He’s just waltzed into your classroom and he’s leaning over the desk, elbow conveniently resting on the mission files. You try not to think about how brazenly handsome he is right now, even when he is openly provoking you. You stare at his bandages, right where his eyes must be. He may be smiling at you, but there is no sincerity behind it, no joy, and that wasn’t really a question.

You shrug.

“Alright.”

The smile falters.

“Yeah? That’s alright with you?”

“Certainly. If you think these are good exercises for them, and if you plan on being there to supervise them, I don’t see any issue with it. Just return the files if there are any they can’t clear, and I’ll transfer them to the appropriate person.”

He tilts his head. Watching. Assessing.

“You should join us!” he exclaims cheerfully, smile back in its place, clapping his hands together. “The more, the merrier, isn’t that right?”

Oookay. He is testing you. The infuriating part of that is, you have no idea what he is testing you for, what he wants you to display — or fail to display. Trying to see if you’re good enough of a teacher? You have nothing to prove here, certainly not to someone who has been on the job for such a short time. Then again, you don’t see any harm in humoring him.

“No problem. Just let me know when you intend to take care of them, and I’ll be there.”

His smile widens, but you’re not sure if it means you’ve succeeded or failed his test.

“Good,” he hums. “I’ll be taking that, then.”

In one swift movement, he retrieves the files from your desk, and he walks away with them before you can say anything.

You roll your eyes — this whole song and dance are so unnecessary — but you don’t see any reason to stop him, so you just watch him leave. You catch him stopping in the doorway, turning back to look at you. The smile is still dancing on his face, all edge and teeth.

“You’re not what I expected.”

You stare at him just a moment longer, brow furrowing, before he vanishes and you’re left with nothing to look at.

‘Not what he expected’. You turn the sentence over in your mind a couple of times, trying to conjure up an image, a personality that would fit better for the role you’re supposed to play, but nothing comes up. You have two roles: teaching the future generation of sorcerers, and assigning missions. If doing one task can facilitate the other, there is no reason not to do it — and you find it even harder to comprehend why he wouldn’t have expected you to do just that.

You shake your head, willing his words out of your mind. You’ve never felt the need to meet anyone’s expectations, so why should you start now?

Taking kids to a cemetery for a mission seems in poor taste, but that’s not what you tell Gojo when he announces it as his first choice.

“The mission is for a number of grade four curses and a couple grade three,” you state instead, “but considering the spot, it’s likely more powerful ones went unnoticed. Are you sure that’s appropriate for first-years?”

“Well,” he answers, hands casually in his pockets, towering over you with all his height, “it will be good to see how adaptable they are and their abilities in the face of danger. Plus, they’ll have two guardian angels looking after them, won’t they?”

There’s that toothy smile again.

You still don’t know what it means.

“As long as you’re here, it will be fine, I guess” is what you end up answering him with a shrug.

This time, he doesn’t say anything as he leaves, doesn’t stop to look at you.

You suspect that you said exactly what he was expecting from you.

Contrary to popular belief, cemeteries don’t typically harbor powerful curses. The smaller ones are numerous, born out of loss and grief, but the bodies of non-sorcerers don’t take the pain they endured with them in the grave. They leave it all over their houses, leaking through the walls and ceilings, seeping through the cracks in the floor, cursing their loved ones.

Cemeteries remain clean.

The exception to that rule is a notable one. In any place where cursed energy accumulates for long enough, there is a risk for it to congregate to the point where strong curses can emerge. This slow growth means they learn to better hide themselves, and it makes them harder to spot and eliminate. In an ideal world, there would be a sorcerer expedition every other decade to ensure nothing big can develop, but sorcerer numbers being what they are, that is impossible to ensure. There is also a high likelihood that it would be useless anyway, a waste of time and resources, far too much firepower for the bunch of fly heads sorcerers would find.

Still, you keep an eye on the three, baby-faced first years, and chew on the inside of your cheek as they start to make their way through the alleys.

You don’t like this.

“Don’t tell me you’re scared,” Gojo says lightly, next to you. “You’re a grade one sorcerer, aren’t you? There’s nothing more powerful than that here. I’d know it if there was.”

“My evaluation took place in Europe. I don’t know if I would have ranked that high, had I taken it here.”

“Aw, c’mon, if even you think you’re that weak, who’s going to believe you’re strong?”

The sentence surprises a chuckle out of you. A grade two sorcerer is nothing to turn your nose at, but you can’t say you’re shocked that the Satoru Gojo would equate that status to weakness. He is so far off the scale that he would break it altogether if it wasn’t for the convenient, murky ‘special grade’ title.

You look at him, find him already turned in your direction. His lips are parted in surprise. You don’t realize it, but you have somehow managed the feat of getting Gojo’s undivided attention. The Six Eyes are focused on you, dissecting you, taking you in. This is— new. People are predictable. It’s not always a bad thing, though it gets a little boring. You— you keep catching him off guard while doing things that seem completely natural to you.

For once, you’re the one who is smiling, and he’s stunned into silence.

“It doesn’t matter to me, whether or not people think I’m strong. All I care about is—”

Teeth reflected in a pupil. Muscles like lead. A hand raised in defense. Flesh that turns into mist, there one second, gone the next. Clicks like a laugh, coming from behind. ‘Morino Iori — 1954-2010’, splattered with blood. A curse with its head thrown back, an arm coming out of its open mouth, disappearing when it swallows. Tears dripping down from the chin to the ground, barely diluting the puddle of blood that has formed there.

The rest of your sentence is lost when you turn around and take off running.

There is a string of cursed energy pulling you in the right direction, one that found its way to you, one that the cursed technique engraved in your brain knew how to decode. You’re old enough not to question it, not to struggle with the vision, and following it comes as a second nature. Just as you get there, you see Sota rounding the corner slowly, looking around, squinting, searching for something he isn’t finding. Your fingers close around the weapon at your waist, withholding your cursed energy — for now.

To a non-sorcerer, you would appear to be holding nothing but a stick. A sorcerer would know it’s a cursed weapon, though most would not be able to figure out its use.

At least, not until the curse emerges from the fog, only two steps behind Sota. In a flash, you let cursed energy irrigate your weapon, and a blade of sheer energy appears. The stick is now a scythe.

It’s in poor taste, in a cemetery, but you don’t linger on that.

You’re between the boy and the curse before he can turn around. The curse’s abilities must allow it to hide its presence, would allow it to disappear back into nothingness a mere moment after the kill, but you don’t give it the opportunity to do that. The scythe cuts through it like butter, splitting it in two. The two halves haven’t yet hit the ground that you’ve already lowered your weapon, emptying it from cursed energy as soon as you’re done.

“Are you okay?” you ask Sota, turning around to face him as you anchor it back to your waist.

“Um,” he says. He doesn’t look scared, just mildly surprised. “Yes. I’m fine.”

“What happened to seeing his abilities in the face of danger?”

You bite your lip, glancing at Gojo. He is standing atop a headstone, balancing without any struggle and watching the two of you with unmistakable amusement.

“He freezes in the face of danger,” you answer.

Sota’s eyes go wide, and he turns away from you, shaking his head. He isn’t doing it for you, though, but for Gojo.

“That’s not true! I’ve exorcised curses before, you’ve seen me do it!”

He’s desperate to prove himself to his teacher, and something sinks within you. You don’t need a vision to tell you what will happen next.

“The kid’s got a point,” Gojo lets you know. “That precognition thing of yours, how accurate is it?”

There was a time when those words would have sent you reeling back. Even now, when you’re expecting them, you feel the blood withdrawing from your face as he speaks them. But you swallow, school your features. You know better now. Fighting now will only delay the inevitable. Gojo was standing next to you anyway. With the Six Eyes, he must know for certain that you hadn’t activated any sort of cursed technique when you took off running. That alone would be enough to make him suspicious, if he didn’t already doubt you.

Cassandra’s Bargain. Tell the truth, and save only those who believe you.

Unlike others, explaining the workings of your cursed technique doesn’t make it more effective — it makes it useless. If you try to tip the scale in your favor now, you will all pay a high price for it later.

You know what Gojo is implying, about your accuracy. Most people who have foresight see a number of futures. If he suspects you saw one in which Sota died, your actions must make sense to him.

“Enough to keep me safe,” you answer, tight-lipped.

“That’s what I thought. Let’s give the kid a fighting chance from now, what d’ya say?”

That’s not how it works, but it doesn’t matter. At least Sota gets to keep his arm — until next time.

What a waste.

“Of course,” you say with a nod.

You would do it again in a heartbeat if you had to, but you no longer feel threads of cursed energy, threads of fate, pulling you in one direction or the other. Oh, they’re all around you, and you’d know much more if you activated your cursed technique, but you know how it functions. That had to be the worst that could happen. Things should be fine now.

“Start running Sota, you’ve got some catching up to do!”

“Yes, Mr. Gojo, sir!” the kid replies, all but saluting. “I won’t disappoint you.”

Gojo’s laugh at that, as the kid takes off sprinting, couldn’t be more genuine.

You lean against the pristine Morino Iori headstone — it’s disrespectful, and you formulate a silent apology, but all you can do is hope they won’t mind. You’re exhausted, and yet the tension is keeping your body in hypervigilance, refusing to go away.

Gojo approaches you, hands in his pockets. The ghost of his usual smile is dancing on his lips. For once, though, it doesn’t feel mean-spirited.

“We have to save them if they need us,” he says, voice surprisingly soft, “but it’s as least as important that we teach them how to fend for themselves.

“I don’t disagree with that.”

This kind of reasoning just isn’t worth losing an arm over.

Gojo steps closer, leaning towards you, so close his nose is almost touching yours. You suck in a quick breath through your mouth. From up close, it’s much harder to ignore how handsome he is, even without seeing his eyes. You blame your accelerating heart rate on the fact that you’re in a high-stress kind of and you’re particularly pent-up at the moment. If your skin tingles when you feel his breath against it, it’s because of the cold. Must be. Whatever it is, you don’t let it show, and you hate that you’re finding it harder to breathe.

“You’re not what I expected.”

He’s said it before, but his voice is lower now, deeper, vibrating through your body, and something that you recognize all too well twists, deep in your abdomen.

Desire.

You don’t answer. You didn’t know what to say the first time, and you sure as fuck have no clue now — don’t know what he means, don’t know what you’ve done that you weren’t supposed to, don’t know if the interest in his voice betrays the same feelings rushing through you right now. So you glare at him until he laughs, light and airy, and takes a step back.

“If you need me, I’ll be on top of the temple, watching the kids.”

You wait for him to disappear between the tombs, keeping yourself still, too still, probably, to be inconspicuous, and it’s only once you’re sure he’s gone that you let yourself exhale very, very slowly. The urge to laugh at yourself bubbles inside you, because what the fuck is wrong with you? It’s not the right time, not the right place, and not even remotely the right person.

You’re fully aware of all of that, know it in the deepest parts of your soul, and yet your eyes still trail towards the temple. You could imagine that you’re seeing Gojo’s silhouette there, if you didn’t know better.

Except you do. You do.

When you look away, you know full well you’re doing it too pointedly.

You don’t get a chance to involve yourself in the Kyoto Goodwill Event. With the beginning of fall, files are starting to accumulate. Since you’re still getting your bearings in Tokyo and familiarizing yourself with the sorcerers you can send on missions, that is what you dedicate yourself to.

Or, well, that’s what you’re told.

You know that you’re more than capable of doing several things at once without botching any of them. Masamichi Yaga and Satoru Gojo are the ones who disagree. You’re called into Yaga’s office, and Gojo is already there, leaning against the wall behind him. For once, he isn’t wearing the bandages, but rectangular sunglasses. Even from behind them, you see the faint glow of his eyes, and it takes a lot — a lot more than it should — not to stare.

“The students taking part in this year’s event will be exclusively second and third-years. Satoru knows them well.”

“Yeah, and they’ve been training for a that for a while,” Gojo says without missing a beat. Where Yaga is stern and serious, his voice is relaxed and pleasant, lightening the mood without trying to. “The third-years have already won once, so they know what they’ve got to do for a repeat.”

That’s right. Tokyo won last year, under Gojo’s guidance, for the first time since… well, since he stopped competing himself, according to what you’ve heard.

“Satoru had already started putting this year’s strategy together by the time you joined Jujutsu Tech,” Yaga adds, trying his best to sound apologetic. “So there’s no need to concern yourself with that. It’s already well-oiled.”

As far as you’re concerned, the only thing that’s well-oiled here is this routine they’re performing, all for your sake. You click your tongue, not bothering to hide your annoyance, and watch as Yaga’s fingers curl, as Gojo’s chin lifts and the blueish glow focuses on you. There’s politics in the air, you can smell it, with a role you have to play. So they think, at least. Unfortunately, you lack knowledge when it comes to Japanese society, and you cannot quite identify what that role is.

To be fair, you also don’t care for it.

“Was it really necessary to waste all of our times with this charade?”

“I beg your pardon?” Yaga asks in response. His voice thunders dangerously. He’s warning you not to cross a line.

“If you don’t want me involved, you can just say so,” you answer with a shrug. “Now, if you’ll excuse me, I have missions to assign.”

You don’t wait for him to dismiss you to stand up, rolling your eyes once you have your back turned on them. How bland. You’ve never seen the point of engaging with this kind of theatrics when there are such greater things at play. Having you help the kids come up with a strategy of their own, going over the basics of planning, now that could have been interesting and helpful. It’s not that you doubt Gojo’s abilities in that domain, you don’t, but it is your specialty, and you’ve had to learn to survive with resources that are significantly more limited than his. Instead of doing that, in the name of whatever internal conflict is going on here, the kids have been deprived of that experience.

How boring.

Once the door has closed behind you, Gojo lowers his head, shoulders shaking. Yaga turns around, frowning, only to find him quietly laughing to himself.

“Told you she was a weird one,” he says once he’s caught his breath.

“Maybe,” Yaga mumbles, “but there must be a reason why she was placed here.”

Gojo hums. Outside the office, he follows your cursed energy. It has always been diffuse, fickle, fizzling out around you until it becomes hard to tell where it ends — even for him. Must have something to do with your cursed technique, but he hasn’t seen you use that yet. You go straight to your classroom, where you sit behind your desk to work, like you do every day until it’s late in the night.

Yaga is right, of course. There must be a reason. But you’re at least making it fun for him to figure out.

The Kyoto Goodwill Event does not go over well.

Maybe you should get some petty satisfaction from it, but there is none to be found, just a bitter taste in your mouth. Next to you, Utahime, the Kyoto school teacher, does not look up at the screens provided by Grade 1 sorcerer Mei Mei. She has her eyes on her hands, and she is nervously rubbing her fingers. In fact, while a few outsiders who have come to see the game for their own enjoyment exclaim at the students’ impressive moves, there is only one member of the schools who seems to be enjoying himself, and that is Principal Gakuganji.

Kyoto is methodical in their approach. On an individual level, you suspect that Kyoto is far ahead of them, but as a team, they have come up with the perfect strategy — at least against the Tokyo team. They have done their research, know everything there is to know about their adversaries. Then again, having one member of the Zen’in and one member of the Kamo family on their side, even if neither have access to their families’ historical techniques, must have been quite the help to gather that information.

You don’t see them doing anything revolutionary — if anything, a team such as theirs could have been composed hundreds of years ago — but they have no need for it, not with how brutal they are willing to be, leaving devastation in their wake. They’re prepared, efficient, collected. They’re also quick, having adapted to this modified version of capture the flag, one that involves curses, without hesitation.

Tokyo defends to the best of their abilities. They prove themselves especially capable when it comes to improvising on the spot, which means that Gojo’s teaching works on that front is working, at least. The match ends up closer than Kyoto must have been hoping for, but it doesn’t change the end result.

It’s a resounding victory for Kyoto.

“Well,” Gakuganji is the first to speak as it ends, “that was quite the beautiful display of sportsmanship, don’t you think, Satoru?”

You glance at Gojo, who is sitting next to you. There’s real anger in the way his jaw tenses at the question, but by the time you blink, he’s already relaxed it.

“That was really impressive!” he laughs, throwing his head back and clapping enthusiastically. “They’ve progressed so much since last year, haven’t they? I never imagined they would be able to come this far.”

You press your lips together at the barely veiled insult.

“Indeed, that is what realized potential looks like,” Gakuganji replies, stroking his beard. “Such a shame to see your promising pupils crashing and burning… Although that’s not the first time you’ve seen that happen, is it?”

That is the least charitable way of looking at what happened there, but it is impossible to argue with the facts: Kyoto bested Tokyo. You can’t say you appreciate the way he’s talking about your students, but you don’t think it’s your place to say anything.

Gojo’s smile thins.

“Well, I’ll be looking forward to the individual tournament tomorrow,” Gakuganji adds, standing up. “In the meantime, Yaga, I assume you have planned for accommodations, and all this action has given me quite the appetite.”

He leaves the room with an unmistakably pleased smile, Yaga getting up after him. He gestures at Gojo to join them, and he’s not hiding his scowl when he stands up, unfolding his long limbs slowly. The other sorcerers follow suit, Utahime included, though she is sporting a somber expression too. You’re the only one to linger in the room, in no rush to suffer through more of Gojo and Gakuganji’s quips.

When you do leave, you stop by the infirmary, where you find Ieiri cursing through her teeth as she works on the students. Even though several of them are fully healed, they’re keeping themselves huddled up together, shoulders hanging low, eyes on the ground.

Defeated.

“Professor Gojo has already come by,” one of them informs you without bothering to look at you. “We’re fine. We’ll do better tomorrow.”

“Yes, you will,” you confirm, and you see flashes of hope on their faces, mistaking your confidence for a prophecy. Truth be told, you haven’t seen anything for the next day, but this is often the best way of using the aura that surrounds you. “But you did well today. They saw a weak spot, and they exploited it. As long as you learn from it, there is no shame in this defeat.”

That deflates them, and Ieiri snickers, glancing at you with a grin.

“Quite the pep talk you’re giving here.’

She’s right. You’ve never been good at this.

“You’re all excellent sorcerers, but even you can be defeated by people who are not as good as you, provided they’ve prepared adequately. That is what you need to take away from today. Conversely, you will be able to defeat much stronger adversaries than you, with the right approach.”

Some look thoughtful at your words — most still look just as dejected as they were when you walked in.

“We’ll work on that once this tournament is over. For now, all you need to do is rest. You’ll prevail tomorrow.”

Smiles finally break on their faces, and you take that as your cue to leave, before you can say something that would ruin it again.

You’re in no rush to join the other sorcerers just yet, so you wander through the hallways, intending to go back to the classroom that’s become your refuge in the school. You’re one corner away from it, when the window that leads to the outside slides open, and Satoru Gojo jumps in, right in front of you. It is the second floor, yet you can’t muster surprise.

He shoots you a smirk that knocks the air out of you, but it’s nothing compared to what he does next. He looks back towards the window, looking displeased, and that’s when you notice voices calling for him — Kyoto students and low-level sorcerers. You’re about to look down when he catches you. He wraps a hand around your wrist to pull you away, presses the other on the wall, next to your head, and you freeze. He’s close, and everything you’ve been feeling for weeks at this point comes rushing back in.

“You know what’s a great way of getting people’s attention off you?” he asks, smirk even wider, if possible.

“Wh—”

Then his lips are on yours.

He tastes sweet, you’re surprised to find.

It’s playful, the way he kisses you, a press of his mouth against yours, stolen, daring. It’s also all you need to admit to yourself how badly you’ve been wanting this. That’s why you’re the one who wraps your arms around his neck, kissing him back harder. He lets out a surprised noise into you, maybe a chuckle, but he certainly doesn’t fight it, even if he wasn’t planning on it. In fact, it’s quite the contrary.

He reaches greedily for your hips, pulling you to him and keeping you pressed against his hard chest. When you part your lips, there is not a moment of hesitation on his part before he pushes his tongue in, swirling it against yours. You crane your neck to give him better access to your mouth, all while holding on tight to his neck to lower him towards you. Your back is against the wall, your body arched a way that would be uncomfortable if you weren’t so hot all over, set ablaze by his touch.

When he pushes his thigh between your legs, flexing it so it rubs against you just right, your knees buckle under you. It doesn’t help that, in this position, his semi-hard cock is pressed against your abdomen, and that awakens a very special kind of hunger within you.

There is no softness to the kiss or to the way your bodies move together, just pure lust. Wetness is pooling between your legs already, in anticipation for more, more of him, more of his body, more of his touch. He’s so tall, it’s like he’s everywhere, his scent surrounding you, his body caging you against the wall effortlessly, his mouth demanding more and more of you. You roll your hips against his, trapping his cock between your bodies, and he hisses into you, his grip turning bruising — not that you mind.

“Tease,” he manages to mumble as he takes a quick breath.

There’s no room for any more words before he reattaches his mouth to yours, almost biting into you, and fuck it feels good. His lips are soft, but that must be the only thing that is soft about this kiss. He moves your skirt out of the way, one hand coming to grab your thigh so he can lift it up, and that is when your eyes snap open, some reason coming back to your lust-filled brain at last.

“Wait,” you mumble, “not here.” Your eyes dart around the dark hallway — empty, but far too in the open for your liking. Problem is, your body is aching with how much you want him, and, even if it would be the smart thing to do, you can’t bring yourself to stop now. “Classroom,” you conclude, pulling him with you.

He lets out a breathless laugh, but follows. The second the door is closed, he has you against the wall again, this time with his chest pressed to your back while his lips find your neck, teeth pulling at the skin mercilessly before dragging his tongue on the sensitive area to soothe it. You let out a sigh, but it comes out much louder than you’d intended, almost a moan, and you have to lift a hand up to cover your mouth. He snickers, but doesn’t waste any more time on teasing you.

Instead, he snakes his hand into your skirt, and this time, you don’t stop him. Long fingers move past the hem of your panties to brush against your clit and you jump, biting your lower lip to keep quiet. His lips stretch into a smile on your neck.

“You’re so fucking wet already,” he comments by your ear, rubbing his fingers over your pussy lips, purposefully not entering you.

You groan in frustration, and push your ass against his now rock-hard cock. The low moan he lets out in surprise is delightful to hear.

“As if you’re one to talk,” you reply.

“Is that how you want to play it?”

Before you can answer him, he easily pushes two fingers inside you. They’re long and they fill you so well, you have to focus every fiber of you that’s not lost in pleasure on keeping quiet. Gojo’s free to take his fingers out, then plunge them into you once more, and you can’t help clenching needily around them.

“See,” he says, and oh his low voice, the way it makes his chest vibrate against your back, it all goes straight to your core, making you gush around his fingers some more, “that’s expected of me, ‘cause everyone knows I’m sorcerer society’s problem child. Aren’t you supposed to be the good girl?”

It’s no easy task to think with his fingers pumping in and out of you relentlessly, but even through the haze of pleasure, the words make you frown.

“Says— Ah— Says who?”

He uses the heel of his palm to press against your clit, and you’d conclude that he is actively trying to render you speechless if pleasure wasn’t shooting through you like electricity.

“Hmm, I don’t know, I’d say you’re being pretty good right now, wouldn’t you?”

“Would you— fuck— would you stop talking and just fuck me already?” you still manage to bite out.

He laughs again, delighted and maybe a little fond, but he stills his fingers inside you. You get some time to catch your breath, and use whatever self-control you have left not to try and fuck yourself on his hand.

“You sure?”

“As long as you’re clean, I’m safe,” you say — maybe not your smartest moment, but you can’t find it in yourself to care right now.

He pulls his fingers out, and you glance at him over your shoulder. He’s still wearing the bandages over his eyes, but his jaw is uncharacteristically taut, and his movements lack their usual fluidity. You grin. Good to see you’re having an effect on him too. It becomes even more obvious when he pulls out his cock, hard and veiny. You’re not surprised by how big he is, and you find yourself licking your lips, clenching around air at the prospect of what’s to come. Shit, you cannot wait to have it inside you, stretching you out.

“I’ve been wanting to mess up that skirt for weeks,” he mumbles, mostly to himself, as he pushes it out of the way and lowers your panties.

“Then what are you waiting for?” you ask with a click of your tongue. He is still talking way more than he should.

The smirk he gives you should concern you. He presses the tip of his cock to your entrance, and then, instead of penetrating you, as you’re frozen in anticipation, slides his length against your pussy lips, sending jolts of pleasure through you, but not giving you what you need right now. You whimper pleadingly, not catching yourself fast enough to keep yourself silent. You worry that he will keep teasing, but it appears he has reached his limits too, because soon he is pushing the tip of his cock inside you, and fuck, it’s even better than you’d imagined.

You hear him grunt behind you as he starts pushing himself inside you at a devilishly slow pace. You expected him to do it all at once, so you turn around once more, ready to throw another quip at him for his relentless teasing, but the words die on your lips when you see his face. His teeth are planted in his lower lip, and his face is contorted in a pleasure that he is clearly trying to reign in, his breathing quick and shallow, his chest heaving. The sight leaves you breathless, so you stay quiet.

“So fucking tight,” he all but whines as he keeps pushing himself inside you.

He bottoms out at last, and he stills for a few seconds, all so you can adjust and not at all because he is going to come too fast if he can’t get used to how warm and welcoming you are around him first. The discreet groans he was letting out turn into a full moan when you move forward, pulling him out of you, then back, sheathing him inside you completely once more. You’d keep moving, but he grips your hips tightly, fingers digging into the flesh, to stop any movement you could make.

It doesn’t last long though, because after that, he starts moving himself, and the pace he sets it merciless. The slapping of skin on skin echoes obscenely in the empty room, but you can’t find it in yourself to care, not when you can barely think, not when your knees are failing you and his hands on hips are the only thing keeping you standing, not when tiny whimpers keep spilling past your lips, no matter how much you try to keep them in.

“Couldn’t be even just a little patient, hm?” he asks you. It’s undercut by the gasps that interrupt him, the pleasured moans that escape him too.

This time, you don’t find anything to answer. The angle, with you bent over, hands on the wall in a desperate attempt to stay on your feet, makes you feel so, so full that you can’t think straight. Pleasure is coursing through you with each time he hammers into you, and you clench around him helplessly each time he pulls out. He’s fast, relentless, but if the way his moans keep getting more-pitched is any indication, he’s close to reaching his climax. You’re not far yourself, you just— just need— just a little—

One of his hands abandons your hip, and you would stumble forward if he wasn’t holding you so firmly. His free hand finds its way to your clit, and pinches it expertly, just as he snaps his hips into you harder than he has so far, spilling himself inside you. The orgasm hits you like a thousand volts, and your hips jerk back uncontrollably, whole body shaking, as you ride the wave of it on his cock until it ends. Ah, you needed this so badly that, as it recedes, you can only feel content, the pleasure it gave you still tingling in your body.

For a while, the sounds of you and Gojo’s panting are all that fill the room. Finally, he pulls his sensitive, softening cock out a you with a hiss, and you ignore the squelching sound it makes. He tucks it back into his pants, and you finally find it in yourself to pull your panties back up, readjusting your skirt. Your hair is messy from the kissing earlier, but apart from that, you’re still rather presentable — you hope.

“Didn’t think you had that in you,” Gojo comments. He’s still catching his breath.

“At what point are you going to admit that you’ve just misjudged me?”

He laughs, but the smirk he shoots you, hands in his pockets, standing a few feet away from you, is proof that the distance between the two of you is back to what it was before. You don’t find yourself minding all that much. This is as good a way as any other to release tension, and you’re more relaxed than you have in weeks. The lightness of his voice tells you the same is true for him. Seems like you both got the same thing out of it, and that’s fine by you, even if it doesn’t bring you any closer.

“Once I know I was wrong,” he says. It sounds ominous, but, well, if he wants to keep clinging to that image he’s made of you, that is his problem. So far, you’d argue that it has rather worked in your favor.

You shrug.

“If you hadn’t felt that way, Tokyo would have won today,” you tell him matter-of-factly.

His smile widens.

“Guess we’ll have to see about that next year, hm?”

“I guess we will.”

Silence grows between the two of you. You normally wouldn’t mind. Now, you feel the need to say something.

“This should stay between us,” you finally manage to say. Sorcerer society can be— harsh, on women, to say the least. The last thing you need is for someone to know you’ve fucked your coworker. You’d be branded as a whore, and while you find this all horribly regressive, you’d still rather not have to deal with the fallout.

Gojo hums in agreement.

“I’m not really the type to want all my business out there either,” he tells you in a surprising display of sincerity. It’s ruined when he smirks and adds, “Next time, I think I should fuck you on your desk.”

You scoff, but you know you both hear your lack of denial loud and clear. You’re not opposed to there being a next time, provided this doesn’t get out. By the look of things, it would be mutually beneficial.

You don’t bother to answer him before you open the door, glancing outside. No one in sight. He would have known if that had been the case, of course, but you’re still relieved. You slip outside unceremoniously — it’s pretty clear you’re done here anyway — and he does nothing to hold you back.

Later, after you’ve taken a quick shower in the facilities available at the high school and you’re sat by Ieiri around the dinner table, Gakuganji can barely hide his smugness.

“Where you have been off to?” he asks Gojo, his tone making it clear just how pleased with himself he is. “Licking your wounds?”

“Something like that,” Gojo answers lightly, and you’re careful to keep your eyes on your food.

The conversation fades into the background. Your thoughts move to the upcoming solo tournament, the next day, to your students, to the missions you have to assign. And then, for the first time in forever, you find yourself distracted by something that isn’t work-related. You welcome the respite it gives you.

On your desk, next time, huh?

You could work with that.

thank you all for reading and getting all the way here! interactions are what keeps me writing, so please comment/reblog/send an ask to feed your author and have my eternal gratitude!

tagging people who expressed interest in the first chapter: @sapphiccloud @saccharine-nectarine @calypsothegoddess @aspiring-bookworm @aerismonia

#gojo x reader #gojo satoru x reader #satoru gojo #jujutsu kaisen #gojo x you #jjk x reader #jujutsu kaisen x reader #gojo smut #jjk smut #jujutsu kaisen smut #gojo angst #jjk angst #jujutsu kaisen angst #jjk fanfic #gojo satoru #my writing

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vigilskeep · 2 months ago

Note

hey harker! very much enjoying the lucanis/illario/general crow posting, and im gonna encourage more: now that you’ve had some time to sit with the game i was really curious to hear more about your opinion on lucanis becoming first talon. i can’t help but feel like it’s completely glossed over that lucanis is definitely going to get chewed up by this job in most save states. i have mixed feelings about it personally - but setting those aside because i’m asking about yours.

i TRULY cannot express this enough: that villa is a tomb and if we do not get him out of there we are burying him in it

lucanis does not want this job. he has straight up canonically always avoided thinking about this by assuming he would die before it becomes something he has to deal with. he reacts with paralysed disbelief to being given it and seems to have barely registered it for the rest of the game. and even if he did want it, lucanis is not capable of this job. none of his skillsets are managing people, or making ruthless calls, or watching out for himself. the only driving force behind him being pushed into this is caterina, who will not be around to do the admin and protect him from external threats forever. and she only wants him to do it in the first place because she had a good heir—his mother—and has needed to project that dead daughter onto lucanis for his whole life, to believe she hasn’t already gambled and irrevocably lost her family’s future decades ago. but lucanis’ incapacity to ever say no to her, which is what lets him stay that eternal teacher’s pet, is one of the most obvious shining examples why he would be so bad for the job!

it would be an uphill battle for anyone to recover control of an assassin house that until last week was being run by your cousin who tried to kill you. it would be an uphill battle for anyone to lead the crows in the aftermath of the antaam occupation. it would be an uphill battle for anyone to cope with the fact that relying on viago and teia—which lucanis with his resources and skills has no choice but to do here, even if he didn’t simply like them and make choices based on liking people because he is not a strategist—presents them as an alliance that any other ambitious talon must cut down to get anywhere. three out of eight of the talons is such a ludicrously dangerous number. it does not take an overwhelmingly brilliant mind to notice that there’s more of us than there are of them

the best man for the job would still be fighting for their life, and lucanis is far from the best man. caterina was! and she still lost five children and six grandchildren holding it! that’s so many! have you guys ever seen that one post about people who kept getting a new outdoor cat every time the last one got eaten by cougars and it was pointed out they were basically just feeding cats to the cougars. that’s what caterina dellamorte was doing having kids

the points in lucanis’ favour off the top of my head are the weight of the dellamorte name and reputation, that his victory over illario was decisive and public, and simply the fear factor that he is a god slayer and, lest we forget, a fucking abomination. is that enough to keep him alive? for how long? under what level of constant anxiety and moral degradation for his very soft over-caffeinated heart? all for the questionable gain of several large and empty villas and the privilege of dragging out the slow and lingering death of a family that, you guessed it, you love it, it’s the thedas favourite: has no! next! generation! heirs! at all!!!

(unless illario has a bunch of kids somewhere. i think that would be objectively pretty funny, a sentence i managed to type most of before feeling ill. oh god we need to get them out.)

i apologise that my tone here is somewhat hysterical but i have been living in the mind of my rook, a character very aware of the realities of crow politics who loves lucanis very much. it does not surprise me that lucanis was once again incapable of even conceptualising saying no to his grandmother and accepted the title, or that the idea of abandoning her legacy and his family would seem insurmountable to him when he has been raised to believe it’s all he’s for and he is the last one shouldering the weight. but i am saying this with total and absolute confidence: this is another prison and he is going to die in there if nobody gets him out.

#veilguard spoilers #lucanis dellamorte #it was a wild decision to have those insane two options for illario be his quest choice and not whether or not we get him out of this #but i went with more of an in-world response to this ask bc thats more fun to me.#crow studies

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d1stalker · 4 months ago

Text

The Feeling's Mutual | Part Three

Summary: At last, you're about to face whatever—or whoever—is behind all this chaos, but what you uncover will haunt you, and Logan's connection to it makes you realize that you’re only a piece in someone else’s game

PART ONE | PART TWO | FINAL PART

Warnings: canon-level violence, manipulation, soft moments, plot-twist WC: 7.9k - MASTERLIST

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Well, this is it.

The day you and Logan have decided on to investigate the location has come. Standing side-by-side, you both peer down at the old rusted metal grate beneath your feet. It creaks ominously under your combined weight, the sound echoing through the empty lot.

You can’t help the grimace that crosses your face as you take a step closer to the edge. "Please tell me this isn’t a sewer," you mutter, the disgust in your voice impossible to hide.

Logan shoots you a sideways glance, his expression a mixture of amusement and exasperation. "Not a sewer," he grumbles. "And even if it was, we got a job to do. Now shut up and focus."

"Just saying," you mumble under your breath, rolling your eyes. "If we're about to wade through god-knows-what, I might need a minute to mentally prepare."

Your remark is ignored as he crouches down to grip the edge of the grate. With a grunt of effort, he lifts it up, revealing a gaping hole that descends into darkness. A musty, stale smell wafts up from below, and you can’t help but wrinkle your nose in distaste. Already securing the grate to the side so it won’t fall back into place, he straightens up and gives you a pointed look. "You ready?".

"Yeah," you reply, bracing yourself, and trying to sound more confident than you feel. "Let’s get this over with."

Logan gives a short nod before pulling out a flashlight from his belt, clicking it on. The beam of light cuts through the darkness below, revealing a rusty ladder bolted to the side of the tunnel. The metal rungs look old and worn, covered in grime and dust, but they seem sturdy enough. Without hesitation, hesteps forward, testing the ladder with one hand before starting his descent.

You watch as he climbs down. The tunnel seems to swallow him whole, and soon all you can see is the faint glow of his flashlight moving deeper into the darkness.

"Come on," his voice echoes up from below, gruff but encouraging.

You take one last look at the dim, overcast sky above before gripping the cold metal of the ladder and starting down after him. The further you descend, the colder and damper the air becomes, clinging to your skin like a shroud. The sound of your own breathing is unnervingly loud in the confined space, and the occasional drip of water from above only adds to the uncanny atmosphere.

As your feet finally touch solid ground, you let out a small breath of relief, but the oppressive darkness around you quickly snuffs out any sense of comfort. The tunnel is narrow, the walls slick with moisture, and the air smells of damp earth and rusted metal.

Logan’s flashlight beam cuts through the abyss, revealing a long, empty passageway stretching out before you. The walls are lined with old pipes and cables, some of which look like they haven’t been used in decades. The faint hum of electricity buzzes in the background, the only sign that this place might still be connected to the world above.

"Isn’t this just cozy," you say sarcastically, as you click on your own flashlight, adding a second beam of light to murky gloom.

He shoots you a look, like he’s trying to keep you calm. "Ain’t nobody enjoyin’ this," he says. "But we’ve got to check it out. Could be nothin’, or it could be somethin’ we need to deal with."

You hum, forcing yourself to focus. The truth is, you have no idea what’s down there—whether it’s just an abandoned tunnel or something more sinister. That uncertainty gnaws at you, making each step feel heavier than the last. You remind yourself that Logan wouldn’t be here if he didn’t think it was important. He’s got a sense for these things, a gut feeling that’s saved both your asses more than once.

"Stay sharp," he says, his voice a low rumble. "There could be traps set up, or worse—mutants under control waitin' for us."

The tunnel seems to go on forever, each step echoing back to you like a warning. The beam of your flashlight dances across the uneven floor, picking out old, broken pipes, patches of moss, and the occasional rat scurrying away into the darkness. The air gets cooler the further you go, the damp chill seeping into your bones.

"How far do you think this goes?" you whisper.

"Hard to say," he replies, his eyes fixed straight ahead. "But we’ll know when we’re gettin’ close. Trust me."

Even though you can’t see in the dark,you nod. The two of you move cautiously down the tunnel, the only light coming from your flashlights. Every creak, every drip, every distant clank of metal sets your nerves on edge. It’s all so oppressive, as if the walls themselves are closing in on you, the weight of the earth pressing down from above.

"Ever get the feeling you’re being watched?" you ask, trying to keep your tone light, but you feel genuine fear.

Logan doesn’t miss a beat. "All the damn time," he grunts, his eyes flicking to every shadow, every dark corner. "Keep your head in the game, Knifey. We ain’t alone down here."

His steps slow ahead as you approach a corner where the tunnel bends sharply to the left. He holds up a hand, signaling you to stop as he slowly walks forward, checking to see if there is anything hiding. You freeze in place, your heart pounding in your ears as you listen. For a moment, the only sounds are the steady drip of water and the faint rustling of something—probably a rat—somewhere in the dark.

When you round the bend, the passage suddenly opens up into a larger chamber, the walls lined with more old, rusted equipment. The floor is uneven, slick with dampness, and the space feels almost too large, as if it’s swallowing the sound of your footsteps entirely.

"Feels like a setup," you whisper, your eyes darting around the chamber.

He hums grimly, his senses on high alert. "We’ll move fast, hit hard if we need to."

You both move cautiously into the center of the chamber, your flashlights sweeping the room. The emptiness is unsettling, the silence even more so. There’s no sign of life, no indication that anyone—or anything—has been here recently.

Then, in the far corner of the room, your flashlight catches something—a small metal door, half hidden behind a stack of old crates. It’s slightly ajar, just enough to let a sliver of darkness leak through.

"That’s gotta be it," you say.

"Stay behind me," he orders.

Nodding, you follow close as he approaches the door. The tension is palpable, every nerve in your body hyper-aware. The closer you get, the more you can feel it—the oppressive presence that seems to emanate from behind that door, like a thick, invisible fog.

He reaches out, pushing the door open with a creak that echoes through the chamber. The darkness inside is absolute, swallowing the beam of your flashlights like a black hole. You can feel the hairs on the back of your neck stand up, your instincts screaming at you that something isn’t right.

The room beyond is large and dimly lit, the walls lined with screens displaying endless streams of data, numbers, and images flashing by in rapid succession. In the center of the room, a figure stands with their back to you, seemingly engrossed in their work.

As Logan steps forward, you can feel the tension radiating off him in waves, a stiffness that mirrors your own. His body is coiled tight, muscles flexing beneath his skin, ready to spring into action at any moment. His claws slide out slowly, gleaming dangerously in the low light. With a menacing growl, he commands, "Turn around."

The figure doesn’t react immediately, their movements unhurried, almost casual. Then, slowly, they turn to face you, and the shadows reveal a woman with sharp, severe features. Her eyes are frosty, cunning, but there’s a glint of satisfaction in them that sends a shiver down your spine. When her eyes settle on the man next to you, a cruel smile spreads across her lips.

"Hello, Wolverine," she purrs, her voice dripping with venom. There’s a twisted pleasure in the way she speaks his name, as if savouring every syllable.

Logan’s eyes narrow, and something something haunting and painful crosses his face. "Shadowmind," he spits, full of contempt and hatred. The name rolls off his tongue like a curse, heavy with the weight of what must be their shared history.

Your gaze snaps to him, practically breaking your neck as you turn your head. Your heart pounding in your chest, and you can feel the tension in the room thickening, almost suffocating. "You know her?" you whisper, desperate for understanding.

He nods, though his eyes never leave the woman, the intensity of his gaze enough to burn through steel. "Yeah," he mutters. "She was one of the experiments in Weapon X. Thought I killed her."

Shadowmind’s smile widens, her features gleaming with sadistic pleasure. "You almost did," she replies bitterly, her tone laced with fury and twisted pride. "But you didn’t quite finish the job, did you, Wolvie? You left me broken, traumatized… but not dead. And now, I’m going to make sure you regret that."

His claws twitch, his hands flexing with the barely contained fury boiling just beneath the surface. "So all of this—sending those mutants after humans, after us—it was all to get to me?"

She nods slowly, the smile never fading from her lips as her gaze shifts to you, her eyes raking over you like a predatory its prey. "At first, yes," she confesses, almost conversationally, as if they’re discussing the weather. "I wanted to draw you out, make you suffer. I thought having mutants wreak havoc on people would get your attention. But then…" She trails off, her eyes lighting up with a twisted joy as a manic cackle bursts from her throat, bouncing off the walls of the chamber. "Then she fought back and killed them! Your little friend here is a mutant—and a powerful one. She made my job so much easier.”

You felt like you had just been bitch-slapped by the biggest bitch of all time. All of the attacks, all of the deaths—they weren’t just random acts of violence. Yes, you acted in self defence, but you didn’t know they were being controlled. You didn’t know that you were a mutant. Maybe if you had, you wouldn’t have killed them. Guilt starts crawling up your throat—you might throw up.

"You twisted them," Logan seethes dangerously, like the rumble of thunder before a storm. His eyes burn with a rage that’s barely held in check, the kind of anger that promises violence. "You twisted those mutants’ minds just to get at me. Made them your fucking pawns.”

Shadowmind shrugs, the gesture so nonchalant it scares you. "I did what I had to," she says cooly, while bringing her hand up to her face as she looks at her nails. "You took everything from me, Wolvie. My life, my sanity… now it’s time for you to lose something."

Then, you scream.

It’s a raw, painful sound that scratches your throat as it crawls up and out of your mouth. Your mind feels like it is being split in two, the agony so intense that you can’t even think. Your hands fly to your head, clutching it as if you can physically hold yourself together. The flashlight slips from your fingers, clattering to the ground with a hollow, clanking sound that echoes in the room. Your vision blurs, the world around you spinning as you struggle to stay upright.

Logan’s head whips toward yours, and for a moment, you catch a glimpse of something in his eyes you’ve never seen before—terror. Pure, unfiltered terror etched into his features, cutting through the usual stoic mask he wears. "Fight it!" he shouts, his voice sharp, urgent, but it feels distant, like he’s speaking from the end of a long tunnel. "Don’t let her take control!"

You try to obey, to resist the overwhelming force pressing down on your mind, but it’s like trying to swim against a riptide. Your limbs betray you, moving without your consent, and you can only feel horror wash over you as your hand reaches for the blade hidden in the side of your boot. Your fingers close around the hilt, the metal cold and familiar, but the ease with which you lift it feels wrong—alien.

"Logan, I—" You choke out, desperately trying to warn him, but the words come out strangled, distorted by the crushing weight of Shadowmind’s influence. The connection between your mind and body is fraying, slipping away.

Then it happens. Her grip tightens around your consciousness, squeezing until everything goes black. The world around you dissolves into a dark, endless void where the only sound is the incessant whispering of voices, all chanting the same sinister command: Kill him. Destroy him. Hurt him.

You can’t think. You can’t see. It’s like you’re drowning in a sea of dark, suffocating orders, your own thoughts buried beneath the onslaught of the woman’s will. The weapon in your hand feels heavy, but it’s not your hand anymore—it’s hers. Your body is no longer your own.

"Fight it!" A voice tries to cut through the fog, but it’s distant, muffled, like he’s shouting at you from underwater. It’s too far away, too weak compared to the relentless chorus in your head. Kill. Hurt. Destroy.

Without conscious thought, your body moves. The lava-like energy surges through your veins, your hands glowing an intense, fiery orange, the heat building until it feels like you just stuck your hand in a volcano. You lunge at Logan, the blade slashing through the air with a ferocity that isn’t yours.

He barely dodges the strike, his claws moving as he counters your attack. "Push back, don’t let her in!" he yells desperately as he blocks another of your strikes, the force behind it sending him staggering back a few metrs. But you can’t hear him—not really.

Your powers flare uncontrollably, the heat in your hands intensifying until it feels like your skin is about to burst into flames. A scream that’s more Shadowmind’s than your own tears from your throat, and you swing your fist. The molten energy collides with his claws, heating through the adamantium like it’s nothing. He grunts in pain but doesn’t back down. Instead, he grabs your wrist, trying to pull you out of the mental prison you’re trapped in.

"Come on, Knifey! I know you’re in there!" His voice is fervent, pleading.

"Poor little Wolverine. Can’t even protect your little friend?” Shadowmind’s tyrannical laughter echoes through your thoughts. “She’s mine now. You can’t save her. Just like you couldn’t kill me.”

He grits his teeth, his muscles straining, hands melting, as he tries to hold back the power surging through you. But the voices won’t let you stop. They won’t let you think. You’re just a puppet on strings, forced to do this woman’s bidding. You lash out with your other hand, the blade slicing across Logan’s side, drawing blood. He hisses in pain but refuses to let go, his grip on your wrist tightening as he tries to bring you back to yourself.

"I know you can break free!" Logan shouts, his voice cracking with emotion. "You’re stronger than her!"

Shadowmind’s grip is ironclad, her control absolute. The whispering in your head grow louder, more frantic. Kill him. Hurt him. Finish him. You wrench your arm free from Logan’s grasp and drive your fist into his stomach, pushing him back against the wall.

He stumbles but doesn’t fall. He fights back with everything he has, his claws slashing through the air as he tries to subdue you without killing you. It’s no use—neither of you can die, and she knows it. She’s watching the two of you tear each other apart, a smile on her lips like she’s enjoying a show.

"You can’t stop it, Logan," She taunts. “You’re just delaying the inevitable."

His eyes flash in desperation as he roars in frustration, dodging another one of your attacks before grabbing you by the shoulders. "Fight it, damn it! " he shouts, shaking you. "Don’t let her win!"

But you just can’t. It’s impossible. The sounds—the whispers—block out everything, leaving you with nothing but the burning need to obey. You slam your fist into the clawed mutant’s side again.

"Come back to me!" he yells. "Come back to me!"

To shut him up, your hands grab him by the back of the neck and, with all your strength, you slam his head against the concrete wall. The impact is sickening, the sound of bone hitting stone reverberating through the chamber.

Logan’s body goes limp, his grip on your shoulders loosening as he crumples to the ground, unconscious. The voices suddenly go silent, the mental chains around your mind shattering as Shadowmind’s control slips away.

You blink, disoriented, the world around you coming back into focus. Your hands are still glowing with that flowing energy, your heart racing as the realization of what you’ve done sinks in. You look down at your friend’s motionless form, horror flooding your veins.

"What… what did you make me do?" you whisper, your voice trembling as you take a step back, staring at your hands as if they belong to someone else.

Shadowmind laughs, the sound cold and mocking. "You did exactly what I wanted you to do," she says sweetly, sickeningly sweet. "You proved that no matter how strong you think you are, I can break you. Both of you."

You shake your head. "This isn’t over," you say, anger and fear dowsing you. "We’ll come for you. We’ll end this."

Her smile widens, a dark, knowing look in her eyes. "Oh, I’m counting on it," she says softly, almost affectionately in its cruelty. "But for now, I think I’ll let you live with what you’ve done. After all, the real torture comes from the inside, doesn’t it?"

She waves a hand dismissively, and the remnants of the mental pressure that had been suffocating you vanishes completely. The sudden release makes you lurch forward, your knees nearly buckling as the full weight of your actions crashes down on you. The chamber feels like it's closing in, it’s hard to breathe as you watch Shadowmind step back toward the console, her gaze lingering on Logan’s unconscious form with a sense of triumph

"I’ll be waiting, Wolverine," she says. "And next time, I’ll make sure you both suffer."

With that, she melts into the shadows, disappearing like a phantom, leaving you alone in the silent chamber with Logan’s still form. The only sound that breaks the quiet is your ragged breathing, the pounding of your heart a deafening roar in your ears.

You drop to your knees beside him, your hands trembling violently as you reach out to touch him, your fingers hesitating, afraid of what you’ll find. Relief floods through you when you feel the steady rise and fall of his chest, his breaths shallow but present. But the sight of the blood trickling down from where wound would have been on his head—where you slammed him against the wall—makes your stomach churn with guilt.

"I’m sorry," you whisper, your voice cracking as tears blur your vision. "I’m so sorry, Logan…"

He doesn’t respond, his face pale and still. For what feels like an eternity, you just sit there, cradling his head in your lap, your fingers brushing through his hair, now matted with blood.

----

After a few more minutes, and with trembling hands, you manage to lift Logan’s unconscious form, his body limp in your arms, and haul him onto your back. Thanks to your mutant strength, he’s not heavy—physically, you can carry him with ease—but the emotional weight of it, the burden of what you’ve done, makes him feel like he weighs a thousand pounds.

The Wolverine, silent and motionless—it’s something you’ve never seen before, and it’s terrifying.

The tunnel is dark and seemingly endless as you make your way back, every step feeling like a battle against the overwhelming tide of despair threatening to pull you under. Tears stream down your face, silent and unchecked, as you hold onto him, his head resting against your shoulder.

Eventually, you reach the van, the sight of it a small beacon in the abyss. With great care, you lower his body into the back, laying him down as gently as you can. His face is still so pale, his breaths too shallow, and the sight makes you feel worse.

You climb into the van beside him, your hands trembling as you search for something to wipe away the blood. Once you find a cloth, you gently stroke his face. The only response is the rhythmic sound of his breathing, and the silence that fills the van is suffocating. You lean over him, your forehead resting against his as tears continue to spill from your eyes. "I’ll fix this," you vow. "I’ll find a way to fix this… I promise."

----

The drive back to the warehouse is a blur. Logan doesn’t stir, not even when the van hits a rough patch of road. Not even when you make a shitty turn. You keep glancing back at him, hoping to see those familiar eyes staring back at you, but there’s nothing. Just the steady rise and fall of his chest.

When you finally arrive at the warehouse, you just sit there, gripping the steering wheel so tightly your knuckles turn white. Then you move.

You slowly slide Logan out of the van, his weight heavy against you as you half-drag, half-carry him toward the bed—his bed. The place where you’ve slept for the past few nights while he took the couch. Laying him down, your hands shake vigorously as you arrange him as comfortably as you can.

He’s still unresponsive, and all you can do is sit beside him, your heart hammering in your chest as you wait, watching him closely for any sign that he’s waking up. The minutes drag on, each one feeling like an eternity. Your mind races, replaying every second of the fight, the way Shadowmind twisted your thoughts, the way your body had moved against your will.

You’re lost in those dark thoughts when you finally see it—a faint twitch of his fingers, a slight furrow in his brow. Your breath catches in your throat as his eyes flutter open, slowly focusing on the ceiling above him. For a split second, he looks disoriented, then those steel eyes shift toward you.

Before you can stop yourself, you practically launch yourself at him, covering his body with yours, throwing your arms around his neck and pulling him into a tight hug. The suddenness of it makes him stiffen for a moment, his body tensing under your touch. But then, slowly, you feel him relax, his arms wrapping around your waist in return, holding you close.

His broad chest is warm and solid beneath yours, the strength in his arms grounding you in a way that makes you think nothing else can. You can feel the beat of his heart, steady and strong, and it calms the storm inside you just a little. Letting yourself melt into the embrace, the overwhelming relief of feeling him alive and whole washes over you.

But then your thoughts catch up to you, and you pull back slightly, your heart racing for an entirely different reason. What the hell am I doing? You force yourself to push away the thoughts of how good it felt to be in his arms, how comforting his strength was. Not the time or place.

When you make eye contact, you realize how close you still are. Your faces are just inches apart, and for a mere moment, neither of you move. His eyes, intense and unreadable, lock onto yours, and you feel a jolt of something electric shoot through you.

"Logan, I’m—" you start to apologize, but the words catch in your throat.

He shakes his head slightly, silencing you with a look. "It wasn’t you," he says softly, tightening his hold. "I know it wasn’t you."

The sincerity in his eyes almost breaks you, but you manage to hold it together. The two of you sit there in silence, the weight of what just happened hanging in the air. And yet, there’s something else too—something that lingers in the way your gazes stay locked a moment too long, in the way his hands still rest on your hips, the warmth of his touch seeping through your skin.

You pull back completely, breaking the moment. Standing up, you take a deep breath to steady yourself, trying to ignore the way your heart is still racing.

"I was really worried that I actually hurt you," you admit, your voice barely above a whisper as you look anywhere but at him.

Logan sits up slowly, his movements a little stiff, but he’s already recovering. "I’m tough to get rid of," he says, a faint smirk tugging at the corner of his mouth, but his eyes are serious. "But thanks."

You nod, swallowing hard as you try to shake off the residual tension. "You should rest," you say, gesturing to the bed.

He studies you for a moment, as if he’s trying to read something in your expression. Then he yields, lying back down, but not before he gives you one last look. "You need rest too, Knifey.”

"Yeah," you agree. "I will."

But as you walk away, you can still feel the ghost of his touch on your skin, the memory of his arms around you, and you can’t help but wonder what the hell just happened between you.

----

The warehouse falls into an uneasy silence after you step away from the bedside. The faint light filters through the cracks in the windows, casting shadows across the cluttered space. You move to a nearby chair, sinking into it with a heavy sigh, your mind still spinning from everything that’s happened. The weight of what you did under Shadowmind’s control sits heavily on your chest, the guilt plaguing you even as you try to focus on the immediate future.

You can hear Logan’s breathing slow and even out as he drifts back to sleep, his body needing time to recover from the ordeal. You know he’s right—both of you need rest—but you can’t bring yourself to close your eyes just yet. The memory of the fight, of your body acting against your will, is too fresh, too raw. You keep replaying the moment you slammed his head against the wall, the sickening sound of the impact still reverberating in your ears.

Time passes slowly. The warehouse is quiet, save for the occasional creak of old metal and the distant hum of the city outside. You sit there, watching over the mutant, your body refusing to relax. Eventually, exhaustion starts to creep in, and your eyelids grow heavy, but every time you start to drift off, you’re jolted awake by the memories.

After what feels like hours, the first rays of dawn begin to pierce the darkness. There isn’t much light, but it brings a sliver of comfort, a reminder that the night is over. You glance over at Logan, who is still asleep, his chest rising and falling steadily. Despite the bruises and the cuts that have healed, he looks peaceful—something you don’t often see.

Unable to sit still any longer, you get up and start pacing the warehouse, trying to work off the restless energy that’s been building up inside you. The physical movement helps clear your mind a little, but it doesn’t do much to ease the knot of emotions tangled up in your chest.

As you walk, your thoughts keep circling back to Shadowmind. The way she taunted you, the way she manipulated your mind so effortlessly—it’s infuriating. And then there’s the way Logan looked at you afterward, the way he didn’t want your apology. When you remember the way his strong arms around you, the way you felt so small but safe in his embrace… It sends a chill throughout your body, and you quickly shake off the thought.

Focus, you tell yourself. There’s no time for this. You have a job to do.

Yet even as you try to push those thoughts away, they keep creeping back, resurfacing whenever you’re not paying attention. The connection you felt in that brief moment of vulnerability lingers, and it’s unsettling. Your friendship with him has improved tremendously within the last week, building on trust and mutual respect, but this…this feels different, and you’re not sure how to deal with it.

By the time the sun is fully up, you’re mentally and physically exhausted. You decide to make some coffee, hoping the routine task will help ground you. The familiar sounds of the coffee maker, the scent of fresh brew filling the air, offer a small comfort. You pour yourself a cup, savoring the warmth as it spreads through your body, chasing away the last remnants of the night’s chill.

Sitting back down, cradling the mug in your hands, you hear movement behind you. You turn to see Logan stirring, his eyes blinking open as he slowly pushes himself up into a sitting position. He looks around, taking in the light streaming through the windows before his gaze settles on you.

"Morning," he mutters, his voice rough with sleep.

"Morning," you whisper. "How’re you feeling?"

Logan stretches, wincing slightly as he does, his muscles protesting the movement. "Feels like I got hit by a truck," he mutters with a half-smirk, trying to lighten the mood. But then, his expression softens, the humor fading from his eyes as he looks at you with genuine concern. "But I’ll be fine. You?"

You hesitate for a moment, unsure how to answer. "I’m… okay," you finally say, though you’re not sure if that’s entirely true. After a moment, you add, "I just… I’m sorry, Logan. For what happened. For what I did."

He shakes his head, his eyes locking onto yours with an intensity that makes it clear he doesn’t want you to carry this burden. "I told you, it wasn’t you. Shadowmind’s the one to blame, not you. You fought her as hard as you could."

"But I still—" you start, but he cuts you off with a look.

"You didn’t have a choice," he says firmly, leaving no room for argument. "And we’re going to make sure she pays for what she did. Together."

The mention of her name—Shadowmind—casts a shadow over Logan’s face. It’s the same haunted look you saw down in the tunnels, when he saw her again. There’s clearly more to the story, more to the pain that’s etched into his expression. You hesitate, unsure if you should press further, but curiosity and concern for him win out. "Logan," you ask quietly, "who is she? What’s the history between you two?"

He leans back against the wall, the tension in his body not easing but shifting as he gathers his thoughts. Sucking in a harsh breath, you can tell that whatever he’s about to say is something he rarely, if ever, shares.

"Her real name is Lorna Mallory," he begins, his voice carrying the weight of memories long buried but never forgotten. "We crossed paths years ago, back when I was with Weapon X."

"She was one of the many mutants that Weapon X experimented on," Logan continues bitterly. "She had powerful telepathic and telekinetic abilities, but the scientists wanted to push her beyond her limits, see just how much they could get out of her. They messed with her mind, twisted it, just like they did with me. But Lorna… she wasn’t like the others. She fought back, hard. She wouldn’t let them break her."

He pauses, his eyes distant, as if he’s seeing the past play out in front of him. You can almost picture it too—the cold, sterile labs, the cruel, calculating scientists, and the unending pain they inflicted on those they deemed as nothing more than tools. "I was different back then. More… feral, more under their control. They used me as their weapon, their enforcer. And when Lorna started resisting, they sent me after her."

Your heart sinks as you begin to piece together the story, the tragic and brutal connection between Logan and Shadowmind. "What did they make you do?" you ask, though part of you dreads hearing the answer.

His jaw clenches, his muscles tightening so much so it’s like he’s physically bracing himself for the confession. He looks away, unable to meet your eyes, the shame and regret palpable in the air between you. "They sent me to stop her. To… subdue her," he gets out. "I didn’t have a choice. I wasn’t in control of myself any more than you were back there."

Finally, he looks at you. "I attacked her. Hurt her badly. But she survived. Barely. The damage I did wasn’t just physical—it shattered her mind. Turned her into the monster she is now."

The room is laden with the weight of Logan’s confession.

"And now she wants revenge," you say quietly, understanding the gravity of the situation.

He nods grimly. "She’s been waiting for this chance. I think in some twisted way, she blames me for everything that happened to her. And she’s right. I was the one who pushed her over the edge."

"But it wasn’t your fault," you insist, repeating the words he had said to you earlier. You can see the parallels between your situation and his, both of you victims of forces beyond your control. "They used you, just like she used me."

He doesn’t seem convinced. "Doesn’t change what I did. And now, she’s come back to finish what she started. She wanted to lure me out, make me suffer, and when she found you, she saw a way to do it."

You can see the pain in his eyes, the guilt that he’s been carrying for so long. It’s clear that this fight with Shadowmind isn’t just about survival for him—it’s personal.

Reaching forward, you grab his hands in yours, holding them tightly. "We’ll stop her," you say. "We’ll find her and put an end to this."

Logan looks at you, a flicker of something softer passing through his gaze. "Yeah," he agrees quietly. "We will."

----

The two of you decide to spend the next week doing nothing. There isn’t much to do anyway, you know your goal, you just have to act on it. But you don’t want to—not now. You want to savour these moments with Logan where it feels like you hadn’t tried to kill him. Where, for a little while, you can forget about the darkness that still persists in the corners of your mind.

So much has changed, you think, since the encounter with Shadowmind. From the point that he shared more about his past, it’s like the floodgates have opened. Logan no longer hides behind his rough exterior, letting you in to see who he is when his guard isn’t up.

The small moments of bickering have turned into playful banter, the non-committal grunts have evolved into full-fledged conversations, and the sidelong glances have turned into lingering looks. What was once tension between you now feels like a quiet comfort, a connection that’s deepened with each passing day. You’ve gone from being reluctant allies to something more—something you’re not sure either of you are ready to name, but it’s there, undeniable in the way he stands a little closer, in the way his touch lasts just a little longer, in the way your heart skips a beat every time your eyes meet.

That’s why after a particularly quiet start to the day, you decide to cook something—a way repay Logan for letting you seek shelter with him, and lending his shoulder for you to lean on when you need to. But cooking has never been your strong suit, and as you stand in the kitchen, surrounded by half-chopped vegetables and a sauce that’s beginning to smell suspiciously burnt, you realize you might be in over your head.

Logan appears beside you as if summoned by the smell of impending disaster, his arms crossed over his chest, a bemused smirk tugging at the corner of his lips. "You tryin’ to burn the place down, or what?"

Placing your hand on your hip in mock defiance, you huff, turning to face him. "I’m making dinner, obviously. Do you have eyes?”

He raises an eyebrow, clearly unconvinced. "That what you call it? Smells like you’re tryin’ to poison us both."

You roll your eyes, but there’s a playful glint in them. "Ha ha, very funny. I’m just… experimenting."

Snorting, his amusement is evident as he steps into the kitchen, surveying the scene of culinary carnage. "Experimentin’? Well, let’s see what you’ve got so far." He peers into the pan, his expression growing even more dubious. "You know, maybe I should take over before you really do burn the place down."

You make a face, reluctantly stepping aside as he moves to the stove with the confidence of someone who’s rescued more than a few meals in his time. "Fine, but only because I don’t want you to complain about my cooking for the next week."

He chuckles, shaking his head as he starts to salvage the meal, adding a few more ingredients with practiced ease, adjusting the heat, and stirring with impressive skill–and you didn’t even know that stirring required skill!

You hover nearby, more a spectator than a helper at this point, and you go to reach for something on a high shelf—maybe the salt or some spices, you’re not entirely sure—but as you stretch, you lose your balance. Before you can grab the counter to stabilize yourself, Logan’s hands are suddenly on your hips, steadying you with a gentle grip. For a moment, you just stand there, your back pressed against his chest, the world narrowing down to the steady rhythm of his breath, the solid warmth of his body anchoring you.

"You okay?" he asks lowly, close to your ear.

A bit breathless, and feeling the solid warmth of him behind you, all you can do is nod and try your best to string together a sentence. "Yeah, just… clumsy."

He doesn’t let go immediately, his hands resting on your hips for a second longer, as if to make sure you’re really steady. When he finally does, you turn to face him, a small smile tugging at your lips. "Thanks."

"Anytime,” he hums.

You both fall into a comfortable rhythm after that, working side by side in the kitchen. There’s a bit of bickering—mostly about your questionable cooking methods and his insistence on doing things his way—but it’s light, teasing, and you realize how much you love this. The ease, the banter, the way he seems to know exactly what you need without you having to say a word.

And when you sit down to eat later, the meal actually turning out better than you expected, there’s a sense of calm that settles between you. He catches your eye, and there’s something in his gaze—something warm, reassuring. "See? Told ya I’d make sure we didn’t get poisoned," he says with a small smirk.

You roll your eyes, but you can’t help the smile that spreads across your face. "Yeah, yeah. Don’t get too cocky."

An unexpected banging on the warehouse’s metal doors shatters the quiet moment. You and Logan freeze, both of you instinctively tensing as your eyes meet in confusion and alarm.

“Does anyone know you live here?” you ask tightly, eyebrows furrowed.

His expression darkens, his brows knitting together in a deep, foreboding frown. “Fuck no,” he growls.

The pounding on the door continues, relentless and ominous, each thud vibrating through the metal like a warning. Wordlessly, Logan moves toward the door, his steps slow and cautious, every muscle in his body taut and ready for whatever might be on the other side. You follow him closely, your senses on high alert, every nerve in your body tingling with anticipation.

He reaches the door and hesitates for a fraction of a second, his hand hovering over the latch. His eyes flick to you, a silent communication passing between you—be ready. Then, with a swift motion, he unlatches the door and yanks it open.

In an instant, a mutant leaps at him with insane intensity, teeth bared and claws outstretched. Logan barely has time to react before they’re both locked in a brutal struggle, his claws flashing out as he fends off the attack. The sheer force of the mutant’s assault drives them both back a few steps.

“Logan!” you shout with urgency as you watch them grapple with each other.

But before you can even think to help, a wave of mutants surges toward the open doorway, their movements are eerily synchronized, as if driven by a single, malevolent will. Panic surges through you, your instincts screaming at you to act. You lunge forward, grabbing the nearest mutant and hurling them back with all your strength. The mutant crashes into the others, causing a brief moment of chaos among them.

“Get the door!” Logan shouts over his shoulder, his voice rough with exertion as he continues to fend off the mutant still trying to tear him apart.

You rush to the door, throwing your weight against it as you struggle to push it closed. The mutants on the other side slam into the door with relentless force, their growls and snarls mingling with the metallic screeching of the hinges, turning the warehouse into a scene of barely controlled chaos. The metal groans under the strain, the door trembling against your efforts to hold it shut.

“Logan, help me!” you cry out, your voice strained as you use every ounce of your strength to keep the door from giving way. You might have super strength, but against a hoard of mutants? Impossible.

He finishes off the mutant he was grappling with, leaving the attacker a bloody mess on the floor, then he’s at your side in an instant, hands bracing against the door as he leans his full weight into it. The mutant who attacked him now lying on the floor, a bloody mess. Together, you manage to push the door closed, the sound of the latch clicking into place reaching your ears. But the pounding on the other side continues, the door shaking under the persistant assault of the mutants.

“They’re being mind-controlled,” you gasp, your breath coming in ragged gulps as the whole situation hits you. The fear it causes seeps into your bones. The thought of these mutants being puppeted, forced to attack against their will, is horrifying enough—but the idea that Shadowmind has found you and Logan, that she’s orchestrating this, petrifies you. “But how did they find us?”

Logan grunts, his face twisted in concentration as he braces his shoulder against the door. “No clue.”

A sudden, horrifying thought strikes you, and you feel your blood run cold. “The van,” you whisper, more to yourself than anything.

Realizing the same thing your thinking, his eyes widen. “Shit… the GPS tracker.” His voice thick with anger and frustration. “They must have used it to track us down.”

You curse under your breath. “How didn’t we think of that?”

But there was no time to think of that now. The door shakes violently as the mutants on the other side continue to slam into it, their growls and snarls growing louder, more frenzied. You can feel the door beginning to buckle under the pressure. You press harder, using every ounce of strength you have, but it’s clear the door won’t hold much longer.

“Fuck,” Logan mutters, understanding washing over him as his knuckles whiten against the door. His jaw tightens, and for a moment, he looks like he’s staring down a ghost. “They’re here for me.”

“What?” you snap, turning to him with wide eyes, confused and afraid. “What do you mean they’re here for you?”

“This is Lorna’s doing, for sure,” he growls. “She wants me.”

The implication behind his words isn’t lost on you. Your heart drops into the pit of your stomach, a cold dread settling in. “No, no, no, don’t do this,” you plead, the desperation clear in your voice as your mind races to stop the train of thought you know is forming in Logan’s mind.

Your hands tighten on the door, as if you can physically hold him back from whatever reckless plan he’s considering. “Don’t even think about it.”

“Let me go,” he says firmly. “Let me see what she wants.”

“Are you out of your mind?” you exclaim. The thought of Logan walking out there alone, straight into Shadowmind’s trap, sends a new wave of terror crashing over you. “She’s going to kill you!”

He sends you a grim smirk. “I can’t die, remember?”

But the attempt at reassurance does nothing to quell the fear that’s twisting in your gut.

“Please, no,” you beg, voice breaking as tears prick at the corners of your eyes. The thought of losing him, of watching him walk into danger alone, is unbearable. “Why can’t we do this together? We’ve been through everything else side by side—don’t make me sit this one out.”

His expression softens for a split second, something tender and conflicted passing through his eyes. He reaches out as if to touch you, but stops himself short. “I can’t drag you into this any further than I already have,” he says lowly.

“Logan, please…” you start to say, but before you can finish, he pushes you back with a shove, the suddenness of it sending you stumbling as you try to regain your balance. The door creaks under the pressure from outside, but Logan doesn’t hesitate. He yanks it open, and with one last look at you, he steps through with a determined stride.

“NO!” you scream, but the door slams shut behind him before you can reach him. You’re left standing alone in the dim light of the warehouse, your heart pounding with fear, anger, and helplessness.

Rushing to the door, you press your ear against, trying to catch any sound, any sign of what’s happening outside. The muffled sounds of the struggle reach your ears—grunts of pain, the clash of claws and flesh, the heavy thuds of bodies hitting the ground. You can hear Logan’s grunts and snarls, his feral side taking over as he fights off the attackers, but there’s something else too—a sinister laughter, one that you heard once before, that sends chills down your spine.

“Logan!” you shout, banging on the door, your fists pounding against the cold metal. “Logan, don’t do this! Don’t you dare leave me alone in here!”

But the only response is the sound of the battle raging outside, growing more distant as if being carried away by the wind. Knowing that that Logan is out there alone, on his way to face whatever horrors Shadowmind has prepared, destroys you. You sink to your knees, the cold of the warehouse floor bleeding into your skin as everything crashes down on you.

----

A/N: so….how we feeling??? some Logan POV next chapter!!

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TFM Taglist:

@wildefire @aliisa-jones @maximumchilddreamland @peony-always

@newromantics98 @ayamenimthiriel @fandomsunited @britttzy267

@mainly-me @icantevendood @i-left-my-cat-on-the-stove @d3kstar

@im-a-wh0r3 @lunaticgurly @xlocalxpunkx @yjck121 @paradisedixon

@writingthroughmyass @that-one-little-soybean @whxtewolf

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artsekey · 1 year ago

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Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”). She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too! Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

#wish #disney #review #magnifico

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ladamedusoif · 22 days ago

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Laurels

(Acacius x F!Sex Worker Reader)

Pairing(s): Acacius x F!Reader; Acacius x Lucilla

Rating: Explicit; 18+ MDNI

Word Count: 13.5k

Summary: You met him as a young soldier, brought to the brothel you worked at to celebrate a victory. Now, almost two decades later, his return to Rome in triumph sparks memories of your time together - and the secrets you still hold.

Content Notes/Warnings: Explicit, 18+ MDNI - Sex worker F!Reader; no physical description of Reader except that she is curvy and has hair (but this can be taken as a wig, as was common in imperial Rome); spans events of Gladiator and parts of the sequel; canon-compliant but no spoilers for Gladiator II; we love and respect Lucilla in this house; Acacius is a lover boy; period-typical derogatory terms for sex workers; oral sex (M and F receiving); PiV sex; mutual masturbation; discussion of pregnancy; forbidden love; secret marriage; discussion of death and grief; implied character death; implied that Reader is more sexually experienced than Acacius when they meet; references to alcohol consumption; some uses of strong language

Author Note: I've been thinking about and sketching out this story since I first laid eyes on Acacius in those promotional pictures released during the summer, but wanted to wait until I'd had a chance to see Gladiator II three times before writing it up properly, to avoid any issues with characterisation. I hope you all enjoy it.

I've referred to him as Acacius throughout, as that's what Lucilla and everyone else calls him and because we have no goddamned idea what he's actually called. (I've used certain tags, though, to make sure people see this. Hopefully. Maybe.)

There are some Latin/Roman terms used throughout: lena is the madam or brothel keeper; cella is the part of a temple dedicated to a specific deity; meretrix is a Roman term for a prostitute; mercatus is a market or shopping area.

The cover image is entirely based on authentic Roman mosaics and interiors: top left is a 1st century CE mosaic; bottom right is a 4th century CE mosaic from Sicily of a sex worker with her client; and background is the interior decor of a bedroom in Pompeii.

Dividers by @saradika-graphics.

Enormous thanks to @mescalpascal for beta reading this story.

Follow my writing blog @ladameecrit and turn on notifications to stay up to date with my work.

The city has resonated to the sound of his name these past weeks. A hero of empire, of conquest; the perfect role model for Rome’s young boys, already being prepared from birth for war and glory.

Or, more truthfully, for death.

Today he returns to the city in glory, to be honoured with a triumph in recognition of his role in conquering the far-off lands of Northern Africa. The crowds are already thronging the streets, trying to secure their perfect vantage point to catch a glimpse of the victor en route to be crowned with laurels.

No one notices an ordinary woman in middle age, simply but elegantly dressed in her best clothes for the occasion, discreetly slipping up the steps and onto the balcony of a tavern overlooking the triumphal route. No one pays a woman like that any mind, especially not on a day like today.

You quietly secure your spot and slip down your veil, patting your hair to ensure the style is still in place. Why, exactly, did you go to such effort, knowing you’d be at such a distance from him? Knowing how many years it has been?

You take the cheap little metal effigy you’d purchased from a street hawker from your purse, gently rubbing your thumb over the crude rendering of his handsome face.

You told him he would go far. You told him he would be feted like this, one day, all those years ago. You smiled as you imagined meeting him again, showing him the tiny metal version of himself.

“See? I told you you’d be cast in bronze, didn’t I?”

A ripple of excitement courses through the crowd and it becomes apparent that the procession is near. They cheer and chant his name in unison. A mixture of excitement and fear grips you. Why had you done your hair just so, put on your best jewellery from your meagre selection?

Just in case. In case his dark eyes found yours, again, and bridged the years with a glance.

The rumble of chariot wheels and horses’ hooves becomes more intense, the cheering of the crowd more frenzied. You grip the ledge of the balcony in nervous anticipation, the golden metal of your favourite ring glinting in the light.

For a moment, it feels like being frozen in time. He is a god among men, the bright sun reflecting beautifully off the white and gold of his special, ceremonial armour as he receives the acclamations of the crowd. He’s uncomfortable, you can tell: that nervous wave and unsettled expression giving him away. This is not his natural environment, though you suspect he has had to get used to it since he assumed his command and since his marriage.

You are unable to make a sound as his chariot approaches, overwhelmed by the sight of him, the sound of the crowd, the way he is received and acclaimed with more enthusiasm than any emperor you can remember. He is still beautiful . From here, you can see the streaks of grey that frame his handsome face now, making him even more distinguished than you remembered. His tanned skin only serves to make the white and gold armour gleam all the more. His beard, neatly trimmed, is more grey than dark these days, lending him an air of absolute authority.

But you know that behind the guise of the conquering general, battle-scarred and triumphant, lies another man: strong but gentle, intelligent and kind, a man who likes to laugh and to joke and to love .

She is a lucky woman, you muse.

He’s almost directly in front of you now, and you can see in those soft, dark eyes the brave young man you knew so well, once upon a time.

His gaze shifts. He finds you.

His expression changes to one of surprise and… joy ?

The moment lasts barely a second before he has passed by in the relentless journey to his apotheosis. But you are left with his name on your lips, whispered like a prayer as your mind travels back through the years to the time you first met.

“Acacius.”

***

War is shit. But it’s good for business when your business is your body.

When you left your rural home for Rome as a teenager, accompanied by the man you were promised to, selling yourself was not part of the plan. But there’s little a girl can do, when her betrothed reveals himself to be a liar and a crook. He left you alone, without resource or recourse, when he was stabbed to death over an unpaid gambling debt.

You had certainly landed on your feet, all things considered, and with the benefit of a few years’ hindsight. The lena who ran the place was kind and understanding, the other girls bright and friendly, for the most part, and the brothel itself marketed as a cut above the usual fare for the average legionary, brought to the imperial city after a stint killing Gauls or Goths or whoever the enemy was that week.

Besides, it was even fun , sometimes. You, with your curves and ample bosom, earned a reputation for kindness and understanding. Sometimes you wondered just how many nervous young men had learned how to please a woman from a night or two in your arms.

The night you met, the lena had gathered the free girls together in an excitable cluster, hissing about the arrival at the brothel of a group of young legionaries from various parts of the Empire.

“Some of them are absolutely gorgeous , girls! And they’ve had a recent victory - you know what that means.”

Catalina, who never lacked confidence, grinned. “It means big bonuses.”

The lena beamed. “Exactly. Big bonuses, big tippers… and who knows, maybe big in other ways?” The girls roared with laughter as she clapped her hands. “Alright, neaten up! Best behaviour, now. And as usual with the legions, you’re theirs for the night.”

You picked up a goblet of wine, and you and your fellow whores struck your usual enticing poses.

“Heroes of Rome…my finest girls, for your delectation.”

***

His eyes find yours through the slew of pairings, dark as pitch but warm as fire in the low light of the brothel’s main antechamber. He is, as your lena had suggested, gorgeous : young, beautifully handsome features, clean-shaven; the strong nose and fine jaw universally considered the epitome of male beauty, wavy dark hair curling around his brow in his neat, regulation haircut.

And then he smiles at you. And you are lost, entirely, in the way his eyes sparkle and his open, kind face beams.

The beautiful boy would surely choose one of the more beautiful girls, as was always the way. But instead he strides through the melee, broad shoulders cutting a path with ease, and stands in front of you, a soft, nervous smile on his face.

“Hello, soldier. Where are you from?”

His eyes are warm . He seems kind. You feel a wave of lust coursing through you: if he wants you, you thought, you might really enjoy this one.

“Hispania,” he answers. “But we were fighting tribes in Germania.”

His voice, like warm honey, sends a throb through your core.

“And you have been rewarded with a trip to the imperial city! You must have been really brave.”

He chuckles, a half-smile on his handsome, tanned face. “I tried to be.”

His nerves are apparent in the way he carries himself, in the little glances he gives you, seeking approval. You take his hand, thumb stroking his palm gently.

“Do you want to let me reward you tonight, soldier?”

He nods enthusiastically. “Please.” He gives your hand a little squeeze. “But tell me your name, won’t you? I would like to know your name.”

You tell him with a smile. “And yours?”

His grin is warm and genuine. “Acacius.”

***

The yellow glow of the oil lamps illuminate the murals that decorate the walls of your chamber, and throw shadows from the fabrics draped over the low couch and bed. Acacius looks around, unsure where to sit, and you gesture to the couch.

“Wine, soldier?”

“Yes, wine. Please. Thank you.”

Goblets in hand, you join him and lean slightly towards him. It is impossible to miss the way Acacius’s eyes focus on your breasts, barely covered in the diaphanous folds of your pale, loose robe.

“Do you like what you see?”

His gaze trails upwards to your eyes, and he nods: seriously, with absolute conviction.

“Do you want to see more?”

Another serious nod. You slip out of the dress for him, letting the thin, pleated fabric loosen around you until you are revealed, naked and soft, for his hungry eyes.

One strong arm wraps around your waist while the other fondles handfuls of your tits. He holds you there, mouth finding your nipples, sucking and licking them until they are pert and pebbled and glossy with his saliva.

In that instant, you close your eyes, daring to imagine that this was not a transaction but real : that the gorgeous young man worshipping at your bosom is your lover, all yours , helping himself to every inch of you before he takes you.

“What do you like , soldier? What do you want me to do to you?” You move to your knees before him, putting your hands on his strong, tanned thighs and lightly slipping your fingers under the hem of his short tunica .

He hesitates, breath hitching, eyes wide as he takes in the sight of you between his legs. This isn’t his first time, you suspect, but something tells you Acacius may not be as practiced as some of his comrades in the art of love. The thought of showing him, guiding him, sends a thrill through you.

Your hands undo his undergarment and find his cock. He stammers, trying to find his words to respond.

“Would you like my mouth, hmmm?”

He nods, eyes trained on you, mouth open as you lick your lips and wrap them around the head of his cock. You move slowly, expertly; one hand holding him in place while the other caresses his balls, the way you know men like.

It’s not that you were forced into the profession, not like some of the girls sold into it - though Juno knows, you’d have preferred another line of work. But there, in the lamp-lit room with this big, handsome, polite young soldier falling apart at your skilled touch? It’s a fucking joy .

He whines and gasps as you vary the speed and movement, tongue flicking over his tip before you swallow him back down again. Acacius’s broad hand holds the back of your head as you move faster, taking him deeper. You feel his balls tighten as he falls back on the low couch, moaning and grunting with pleasure.

“I’m…oh fuck , I’m close, I’m….”

He comes in your mouth with a cry, head thrown back on the couch and beads of sweat glistening along his neck, broad chest rising and falling rapidly as he catches his breath.

A discreet spit and wipe and you tuck your naked curves against his spent body, fingertips slipping under the collar of his tunic to trace the line of his shoulders, the hollow of his throat.

He blinks his ebony-dark eyes open, apologetic. “I’m sorry. I didn’t mean to…” His exposed cock still glistens with your saliva and his come. “I didn’t mean to finish so quickly. I’m…I’m still dressed .” He grins, you giggle, and both of you burst out laughing.

“No need to apologise, soldier. We have plenty of time, time enough to go again, surely. I’ll help.” You rise from the couch and gesture for him to follow you to the bed.

“First things first - tunic off .”

You survey him now, naked, from your position on the bed. His body is taut and lean; too lean, perhaps, for his broad shoulders and long limbs. A few scars and bruises on his torso testify to his experiences in combat.

“Join me, won’t you?”

He settles close to your own naked form and his eyes move to your tits, pressed against the warm skin of his arm. You reach for his hand and bring the broad, calloused palm and fingertips to cup your breast.

You never forgot the fascination he seemed to have with your body. That first night, he traces the curve of your tits carefully with his fingers, playing a little with your nipples, pinching just enough to make you gasp, cupping and squeezing the soft flesh before caressing every bit of you in turn. The softness of your belly, the meat of your thick thighs and ass, the line of your hips, the flesh of your arms and neck.

Perhaps, you think, it has been a long time since he’s been with someone. Properly, that is. Perhaps his previous encounters were a more rushed affair, skirts hitched up to fuck hastily against a wall or a tree.

Now he can take his time with you. Wetness pools between your legs, anticipating him. You bring his hand to your pussy, guiding him to the little nub of pleasure hidden in your folds as you ride his fingers.

“You feel that?” He nods, transfixed by the way your hips roll against him, the way you pant and moan as you get closer and closer to your peak. “Find this sweet spot on a woman, and she’s all yours.”

He’s getting hard again, you notice, and starts to work you more quickly with his thick fingers. He looks to you for approval, warm eyes round and earnest, and you praise him with breathless words before coming undone on his hand.

“ Gods , that was very good, soldier.” A few strokes of your hand to his cock, and you know he’s ready. “Your turn, now.”

Acacius shifts his broad body on top of yours, using one knee to push you open a little further for him. As he breaches your pussy for the first time, he leans forward and kisses you: slow, soft, tongue slipping between your lips as you hitch your knees up and wrap your arms around his neck.

The young Spaniard fucks you deep and slow, his plush lips brushing against yours as his kisses mingle with both of your grunts and moans of pleasure. Such a display of tenderness is unusual here, where most men have one thing and one thing only on their minds as soon as they enter your chamber.

There have been plenty of young soldiers, plenty of officers, plenty of Rome’s heroes in your arms, in your mouth, in your cunt. Some handsome. Most not. Some respectful. Most rough.

Acacius is…different. You couldn’t explain it, not back then. Not yet. But you know in that instant, as he moves inside you and you look into his dark eyes, that there is something special about this man.

***

He comes to you every second or third night for the remainder of his furlough in the city, to the point that the lena begins to refer to Acacius as “your soldier”. You, privately, miss him on those nights that he does not visit.

He brings you gifts: wine, flowers, little cakes and sweets wrapped in pretty cloth. “You’ll have spent all your coin,” you chide him as you sit together on the couch, drinking wine and feeding each other the treats. “What will you say, if someone asks about the money you earned on campaign?”

Acacius leans in and plots a course of kisses down your neck, culminating at the fastening of your robe on your shoulder. He unpins the brooch and watches the fabric fall with a smile.

“I will say that it was money very well spent.”

***

The lena ’s knock on your chamber door is unusually early that day - not yet noon, you estimate, as you hastily finish pinning your hair and stand to receive her.

She smiles wryly as she leans against the doorframe. “You have a visitor .”

“This early?”

“Might I remind you that I determine the opening times of this house? Yes, this early, but…he wants to take you out .” She throws up her hands in response to your confused expression. “I know, I know, but you’re paid for! Put on something respectable, I doubt he wants you to look like a whore in public.”

You dress suitably, and fix your cloak around you before emerging into the large antechamber normally reserved for meeting clients. This morning, it is silent and empty, save for a lone figure standing with his back to you in the centre of the airy room.

He was a little broader, now, than he’d been the last time you saw him, eight or nine months ago. His arms and legs had grown more muscular, his garments evidently more expensive than the simple woollen tunic and cloak he wore the first time you met.

“Acacius?”

He wheels around and that familiar smile greets you like a beam of warm spring sunlight after the long winter. After a close embrace and a kiss, he stands back to take you in.

“How have you become more beautiful since the last time I saw you?”

You shake your head and laugh, cupping his face in your hands and rubbing your thumbs against the bristling scruff he now wears. “And you seem even more handsome and dashing, soldier. You look like the emperor now, too, with this beard.”

Acacius blushes bashfully. “Perhaps…in truth, it was my commander that inspired it, as he favours a beard too.” He smiles and winks conspiratorially. “But then maybe he wishes to resemble Aurelius, no?”

With a smile you lead him back into the main hall of the brothel and towards the door that opens onto the street. “The lena tells me you wish to take me with you into the city today.”

He offers a little bow in confirmation. “I do. I would like to walk with you, away from these four walls.” A glance over his shoulder in the direction of the lena sitting at her desk, whose all-seeing, eagle-eyed gaze bores into the two of you. He speaks a little louder, for her benefit. “And I have promised to bring you back.”

He gives you his hand, you open the door, and together you step into the bustle of the imperial city.

***

“Am I correct in thinking that isn’t a native Roman accent?”

You nod, looking at Acacius from under your lashes. “It is not. I am a country girl by birth, from a farm in the north.”

He smiles with satisfaction. “I have an ear for accents. Hard not to, when you fight for an empire as vast as ours. How did you end up here, then?”

It is as if he is speaking to a… normal woman, not a whore. You swallow hard, looking at the ground as you compose yourself to answer, not wanting to sully your relationship with this man with the painful memories of the past.

“I…was promised to a man, and he brought me to Rome. But he lied, and he cheated, and he died over an unpaid debt, and I…”

Acacius holds you in his kind, concerned gaze as your words trail off. Enough , you muse to yourself, I have said enough .

“And you…had to stand on your own two feet.” He gives your hand a reassuring squeeze that feels as comforting, somehow, as if it were his warm embrace.

In the mercatus adjoining the new forum, he buys little cups of wine and a jar of olives for you to share as you walk together through the packed marketplace and public squares. The tall column honouring the victories of the emperor Trajan casts its long shadow on the gleaming marble pavements below.

“Perhaps some day they will build a monument to you,” you suggest, a wry smile on your lips. “A great bronze, to the great warrior Acacius.”

He raises his eyebrows in astonishment and laughs. “A monument to an ordinary centurion? I don’t think so, somehow. Now, a statue of my commander , on the other hand, would be entirely more likely and more fitting.”

“You admire him, don’t you?”

Acacius sips his wine and nods. “He is the greatest of commanders and the bravest of men. Kind, too, away from the battlefield. I… I would die for that man.” He turns to you and grins, excited. “Have I told you that he is from Hispania, too? He tells me sometimes that we’re the finest fighters in the empire.”

You give an impressed little coo. “Have I seen this great man? Perhaps he was with the rest of you, that first night…the night we met.”

“He was not.” He takes an olive from the little clay jar, a wistful look on his face. “General Maximus has a family - a wife, a little boy - and such love he has for them as I’ve never seen. He is the emperor’s most loyal general, but in truth he would give anything to return home to them, for good.”

The two of you fall silent for a few moments, each lost in your own thoughts. You study his handsome features as you walk together: his strong, proud nose, now marked with a fresh, livid scar; his fine brow, knitted in thought; the line of his pink mouth, framed by his dark beard.

“Is that something you would like, too - a wife, a family?”

He nods and smiles as he meets your gaze. “It is something I would like very much indeed.”

***

You think of him, worry for him, miss him in the long months of campaigning in far-flung corners of the empire. Without realising, you have become part of an invisible sisterhood: yet another daughter of Rome who goes about her business and makes her living, but whose heart and mind march, always, with “her” soldier. For the first time, you really see the careworn women carrying offerings and lighting candles at the little street shrines or in the temples, muttering prayers to Juno for the safe return of a husband, a lover, a brother, a son.

You try to listen daily for updates from the newsreaders in the public fora, steeling yourself for news of a defeat. Even your work provides opportunities to stay abreast of the progress of the northern legions, as you hone your small talk with clients to focus on questions of war. Though other men might have your body for a short time, your soul is always and only with him , longing for the day he’ll be in your arms again.

He’s gone longer, this time. In your lonelier moments you wonder if perhaps he has met someone else, someone with whom he can have the family life he dreams of.

He is not yours , you remind yourself as you make up your face for another night’s work. He can never be yours .

A commotion coming from the direction of the entrance hall startles you: strong, confident footsteps on the marble floor; the lena ’s voice calling angrily after someone; and suddenly, a knock on your chamber door.

“My sweet, beautiful lady.”

Acacius sweeps you into his strong arms before you have finished opening the door properly, pulling you tight to him and covering your face with kisses as you wrap your arms around his neck and giggle with joy and relief at the sight of him.

“Your soldier hasn’t paid, girl!”

The lena ’s irritation is obvious even from the other end of the hall, her arms folded and jaw set. You break Acacius’s embrace and reach for his hand to guide him into the room.

“He’ll pay, don’t worry,” you call out to her down the hallway. “He’s been away fighting for a long time and he deserves his reward, one can hardly blame the man for being impatient!”

He’s waiting for you as soon as you close the door, cloak discarded and body poised to pin you against the wall as he holds your face in his hands and leans in for a long, slow kiss. He drops one hand and you feel your garment being lifted as his thick fingers make their way between your thighs.

“Gods, I missed you. I’m so sorry I was away for so long.” He sucks on the delicate skin of your neck as you whine with pleasure, his fingertips finding the little nub of your pussy, just like you taught him. “Did you miss me, my love?”

“Mmm, I… oh, Acacius !” First one, then two fingers slip inside you, and you struggle to form a coherent thought. “I missed you, so very much, so much.”

He fucks you with his fingers there against the wall, the sound of your wetness both lewd and erotic as it mingles with your pants and little moans. He’s still in uniform , you realise, wrapping your arm around his leather-clad torso as you pull him tighter to you. Gods, he really couldn’t wait to see you.

“I need to have you here, now,” he hisses in your ear as you edge closer to your peak. “Need to be inside you, feel you again.”

He withdraws his hand and turns you to face the wall, bending your body forward a little and caressing your ass appreciatively. The head of his cock presses against your entrance, opening and stretching you as he slides smoothly into your cunt with a low groan.

“As good as you remember?” You turn to give him a sly look as he starts to fuck you, deep and hard.

“ Better ,” he hisses. A broad hand reaches for your breast while the other grips the meat of your hip, holding you in place. “Been thinking about this, about you …every day, every night …”

His beard bristles against your skin as he angles his lips against your neck and shoulder, sucking and kissing and nipping at you. He’ll leave marks, you know that, and you know you shouldn’t let him, not in your line of work. But instead you just twine your fingers through his dark curls and keep him there, revelling in the sensation as you start to fall apart for him.

Acacius mutters praise and filth into your ear in equal measure: how beautiful you are, how good you feel, how tight your cunt is, how well you take him. The fastenings and metal ornaments of his uniform press into your flesh as he fucks you harder and faster against the wall.

You shouldn’t have let him leave marks on you. And you definitely shouldn’t let him finish inside you. But, more than anything else, you want him to make you his, really and truly, inside and out. As his rhythm starts to falter, a slight arch of your back and an extra tilt of your hips sends him even deeper and makes him come. His groans of ecstatic pleasure as he fills you with his seed are music to your ears.

***

You bathe together in the brothel’s small, steamy bathhouse, your fingers tracing the scars and bruises his strong, solid body had acquired since the last time you were together. Acacius hums with pleasure as you wash his hair and rub perfumed oil into his skin, pressing your lips gently to every mark and freckle.

“I love you, you know.”

Strange, how this impressive warrior could become so vulnerable as he says the words: eyes wide, expression open and hopeful, as he reaches for your hand and kisses your palm with tender reverence.

“I love you, too.”

***

Dawn breaks over the city and the early morning light reaches through your small, high window. The night was sleepless and perfect: lovemaking punctuated by conversation, by fruits and wine, and culminating in your two bodies wrapped naked around each other in your bed.

Acacius kisses you awake, smiling as your eyes blink sleepily open.

“My love is tired, I think.”

You arch an eyebrow and smirk suggestively. “Gods, I wonder why ?”

As you cuddle against his broad chest, you spy a leather coin purse resting on the table beside the bed. The sight pierces your soft, loving cocoon like an arrow to the heart.

He pays for you.

Before you can second-guess yourself, you speak. “You don’t have to pay any more. Unless you would rather continue to buy me…”

His expression shifts from confusion to concern. “What do you mean?”

“You pay for me, but you love me and I love you and…It was different before, but now I think our love shouldn’t be bought .”

Acacius smiles and pulls you to him, kissing your forehead. “I know, my love. And I agree, but… Don’t you think your lena would be suspicious, if I stopped paying?”

“She only gets a cut, either way.” A thought occurs to you. “Perhaps we just give her the cut she’d get anyway, for appearances’ sake? And I’ll tell her you gave the rest to me directly.”

He nods, reaching for you again and holding you close against him.

“Perhaps you won’t need to worry about the lena at all, any more.”

It’s your turn to be confused as you pull back a little and look in his eyes.

“I was going to ask you anyway, I’ve been thinking about this all the time I was away… I wonder, would you be - would you consider being - my wife?”

“I could pay off any debt you owe to the lena, to this place.” He hastens to reassure you, seeing the look of shock on your face. “And I have money enough to buy us a beautiful home, some land… I have been promoted again, since I saw you last, and now we have some time together until the next campaign, we…we could marry, be together. Husband and wife. What do you say?”

Your heart says yes. Yes. Forever and always, yes , thank Juno and all the gods that brought this beautiful man to you.

But hearts don’t make the rules in Rome.

You kiss him gently, twine your fingers through his, caress the dark curls that frame his handsome face. “I would give anything to be your wife.”

He smiles sadly. “But?”

“We can’t . Even if I left this world behind for good, I still wouldn’t be allowed to marry, and -”

“I have known men whose wives were once meretrices , it’s not always so strict,” Acacius interjects.

“Were these men imperial officers with a bright future ahead of them?” you ask, as kindly as you can. “At best, I could be a mistress.”

He frowns and shakes his head. “I don’t have to be an officer forever. I don’t want to do this forever, to wage war forever. So I’ll give it up, find another occupation, use my savings…I just want you , my love.”

His thumb wipes away the tears glistening on your face as you fight the sob rising in your throat. “I want you too, I love you too, but…you are under oath, under contract, are you not? They would come after you if you broke it, I would rather die than see you hurt on my account.”

Those beautiful dark eyes are resigned now, full of pain and all too aware that there is no way for this dream to become a reality. Acacius puts his arms around you and holds you tight to his chest, silently kissing the top of your head.

When he leaves you a couple of hours later, to attend to business elsewhere in the city, you turn over and weep, sure that you will never see him again.

***

Catalina knocks on your chamber door a couple of days later, anxiously looking around her, as if afraid she might be seen.

“I don’t think there’s a rule against visiting each other in our rooms, you know.”

“Can’t be too careful, now, can we?” She lowers her voice and beckons for you to come closer. “I’ve been given a message for you. From your soldier boy.”

You move quickly to sit on the couch, afraid that your legs might give way. “He…he came to you ?”

Catalina laughs a little too loudly, and claps her hand to her mouth. “No, he did not - sent one of the other legionaries to me, just so he could get word to you. Well, not just that, we did have a good time, me and young Sextus…” A knowing smile spreads across her face.

“The message . What was the message?”

She snaps out of her reverie and sits beside you. “Tomorrow, noon. The big temple on the Capitoline, at Juno’s cella .”

You nod, taking in the information and already plotting your excuse for the lena . “Catalina, why didn’t he come directly to me?”

“Apparently he was afraid you wouldn’t see him. He’s got it bad for you, according to his pal.” She turns and pulls you into a warm hug, leaning in to whisper in your ear. “Good luck. I’ll make an offering for you.”

***

He’s already there when you arrive, standing at the entrance to the main cella and dressed simply but beautifully in a tunic, belt, and dark green cloak that only serves to emphasise his strong, broad build. You cross the marble floor to join him and he immediately reaches for your hand.

“I am so glad to see you, my love.”

You smile and squeeze his hand. “But why here?”

“I wanted to talk to you, and I needed courage - so I have made some offerings to the goddess.” Acacius nods towards the doors that lead to the cella of Juno, where priests busied themselves with candles, incense, and laying worshippers’ offerings on the goddess’s altar. “I hope she looks favourably upon me.”

“And me,” you add, and he grins. “Come, tell me. What is it that is so important?”

He leads you away from the cella and guides you through the throngs of people making their way to the great temple until you reach a quieter spot under a small portico.

“I meant what I asked you. I want to marry you, more than anything. I know, too, that the rules of this empire won’t allow it.” He takes both of your hands in his. “But I wondered if we could make our own rules.”

“Our own rules?”

He reaches into the leather purse hanging from his belt, and produces a small gold ring set with a polished garnet stone.

“If we cannot marry by law, then perhaps we might marry in spirit.” He places the ring in your palm, wrapping his hand around yours.

The bustle of the city fades far into the distance. In that moment, it is just you and him.

“You wish this, even though I cannot tend your home, be a real wife to you? In spite of my… work ?”

Acacius nods, hand still cupped around yours. “You will be a real wife, in all the ways that matter to me. And in time I will find a way for us to make a home together.” He looks into your eyes and smiles that hopeful smile you love so much. “And, perhaps, to raise our children there.”

“My work, Acacius. I would still be doing…what I do, at least until then. This does not concern you?”

He shakes his head. “It is a profession, it is not you, no matter what the law says. You do not mind that I fight and kill for a living, this is no different.”

You laugh and shake your head. “I don’t mind, but you are fighting for Rome , for an empire, not…selling yourself.”

“It is a profession .” Acacius reassures you, kissing you on the cheek. “And it is not forever.” He holds up the ring to you again.

Your smile and nod is his cue to slip the gold band onto your finger, leaning in for a deep kiss as he pulls you tight to him and whispers in your ear.

“I am yours .”

A passing temple worshipper tuts loudly at the public display of affection, and you giggle.

“And by Juno, I am all yours.”

***

The wedding feast, such as it is, is wine and sweetmeats purchased from a street vendor and consumed, picnic-style, in a quiet, secluded grove of trees near the river. He spreads his cloak on the ground, helps you down, and lays out the food before toasting you with the cup of wine he pours from a wineskin.

“You deserve a far greater feast than this, beloved.”

“This is already far more than I could ever have hoped for, my love.” You lean in and kiss him gently. “I only wish I could be a wife to you in the eyes of the law, too.”

Acacius shakes his head and strokes your cheek. “You are all I need, just as you are. Hang the law; I will find a way for us to live as man and wife. I promise.”

The dappled sunlight catches the garnet of your ring and you hold your hand up, delighted.

“It pleases you?”

“Very, very much.” You rest your head on his shoulder, both content in the quiet. Such pleasure, you think, to be here, with him - your husband , in spirit if not in law - away from the brothel, from the noise and the lena ’s eagle eye.

His hand drifts gently down your bare arm and along the line of your thigh as his lips find yours again. At your ankle, his thick fingers slip under the hem of your dress, hitching it up as his palm caresses your calf, your knee, and starts to plot a course towards your pussy.

“In public , husband?”

Acacius sighs happily at the word, encouraging you to lie back on the cloak as he moves himself between your open thighs. “There’s no one around, wife .” The bristle of his beard scratches at your neck as he nips and sucks at you, fingers already parting the lips of your cunt. “Aren’t couples supposed to consummate their marriage?”

You chuckle and writhe under his broad body as he pushes one, then two fingers into you. “Arguably we consummated this some time ago, my love,” you hiss, reaching under his tunic to undo the undergarment and stroke his cock. He whines with pleasure and fucks you a little faster as his thumb traces tight circles over that most sensitive, intimate place, smiling as you buck against him.

“What did you tell me, that first night? Find this sweet spot and she’ll be all mine?”

“All yours.” Gods , you’re close. “And I am…I am all yours.”

You come almost as soon as his thick cock pushes inside you, unable to contain the cries of pleasure. You give no thought or care to the possibility of being discovered here, of a passerby witnessing your lovemaking.

Let them see , you muse, as he fucks you hard and deep, fondling your tits through the fabric of your garment. Let them see how he takes me, fills me; how a man makes love to his new wife.

***

He comes to you every night, then, maintaining the fiction of a transactional relationship by having you give the lena her dues directly. She raised an eyebrow sceptically when you first explained the situation, but money is money, and if she suspects anything she does not let on.

In your chamber, you can almost pretend you are a normal couple. You dine together, bathe together, talk together. As he recounts his experiences with his legion, you realise the extent of his unassuming heroism and his nobility. Unlike many of the other soldiers you have encountered in this work, Acacius has a real sense of the human cost of war, of the humanity involved, whether Roman or barbarian.

“It is no wonder General Maximus has sought to promote you, my love,” you tell him one evening as you pour him another goblet of wine. “You are clearly a great leader, as well as a great fighter.”

“He has trained me well.” He sips his wine and looks bashfully at the floor. “He does not seek to waste good men like some of the other commanders; he knows the value of their lives. And we look up to him, admire him, for that.”

Your private connubial bliss must, of course, play second fiddle to the demands of the empire. One night, he arrives with a dejected air, explaining sorrowfully and apologetically that his legion is returning to the northern campaign immediately - far sooner than he had anticipated.

“I thought we had more time, my love. I am so sorry.”

You smile, shake your head, and kiss him. “We will have plenty of time to come.”

That night, the last night together before fate would make her intervention and change the course of your lives, Acacius is content simply to wrap his arms around you and hold you close to him as he sleeps.

***

The emperor is dead, and the city mourns. In the public squares and fora the newsreaders proclaim that Marcus Aurelius, philosopher-emperor, has died on campaign with the armies of the north, and succession passed to his heir, Commodus.

The armies of the north . Your thoughts turn, as they so often do, to Acacius. His commander was close to the old emperor, you remember, and the heir had a rather more difficult reputation. You walk back to the brothel and imagine your love, clad in the fur-trimmed woollen cloak worn on campaign in the north, willing your love and strength to him across the many miles.

Emperors come and emperors go, but life goes on. A months-long series of gladiatorial games is announced, to mark the death of Aurelius and the accession of his son. The lena cheers when she hears the news, knowing that the attendant surge in visitors to the city means a boost for her business.

You keep abreast of political and military developments, as usual, via the more informed and talkative of your clients. Severus, a senior aide to one of Rome’s senators, is always happy to oblige.

“Quite the news from the north,” he says one evening, as you help him unwrap his heavy outer toga.

“Is that so?” Your heart is pounding in your chest, and you steady yourself on the table before pouring him a goblet of wine. “Sit, tell me.”

“A traitor general , if you’ll credit it!” He sips the wine and shakes his head in astonishment. “Cursed the new emperor, took off and left his men. They think he went south, to his homeland. A Spaniard, you know.”

Your breath catches.

“Do you - do you know the name?”

Severus chews the inside of his cheek momentarily. “Marcus? No, that’s not it, it’s…Maximus. Maximus Decimus Meridius. One of Aurelius’s best men, they say, but off he went, revealed as a traitor.”

He puts a hand on your thigh and leans in to kiss your neck, ignorant of the stunned, horrified look on your face as you try to process this information. He does not seem to notice or care that you barely react. You move into position on the bed unthinkingly, letting him strip you and bend you over so that he can fuck you the way he likes.

You barely hear his grunts and moans, barely feel it when he pulls out and spills his come on your back. He says something to you before he leaves, but his words are a discordant buzz. Curled up on your bed, your mind races into the small hours until you drift into a fitful sleep.

***

The weeks pass, the games begin, and the blood of men and beasts stains the sandy ground of the Colosseum day after day. The new emperor, out for blood and driven mad with power, seems to want to undo the work of his father with each passing day, starting by crippling the senate.

Information about the fate of Maximus’s legions is scant and often contradictory. Some say that a new commander has been appointed and that the campaign continues, as usual. Others tell of a mutiny in the ranks, of infighting and chaos. Still more swear that the legions will come south and unite in Rome.

“He’ll come and find you, I know he will,” Catalina whispers to you as she passes in the hallway one morning. “Don’t give up. He’ll come.”

The not knowing is unbearable. You make daily offerings at the little shrines and altars in the streets, praying that you might, at least, discover Acacius’s fate for good or ill.

As you pass a butcher’s shop, you overhear a familiar name, and stop in your tracks to listen as the butcher and his assistant regale their customers with the story of the great general who has become a gladiator.

***

“Where are you off to?”

The lena eyes you up and down in the entrance hall, arms folded across her chest.

“I’m going out for some air and to buy some little cakes, for tonight. We’ve got a while before today’s games are over, I want to take advantage of it.”

“Fair enough. Be back in plenty of time, mind, we want you all fresh and perfumed and powdered!”

You navigate the packed streets, stopping at the baker’s shop to buy a selection of the tiny fruit and honey cakes you like to have in your chamber, before turning back in the direction of the brothel. Your route is a little quieter and you know it by heart, making use of side streets and alleys to avoid the crowds.

You do not notice the hooded man standing in one of the doorways until he steps out in front of you. The parcel of cakes falls to the ground as you cry out with fright, and the man immediately kneels to retrieve it. His fingers caress the back of your hand, and in an instant, you know him.

“You came back to me, my love.”

Acacius lowers his hood slightly, eyes sparkling but alert to his surroundings, and takes your free hand in his, kissing it repeatedly. “Of course, my beloved. I have been trying to come home to you for a while, but given…” He pauses as he searches for the right word. “Given everything , it has taken a little longer than I’d hoped.”

He keeps his hood up as you open the door into the brothel, pulling you back to whisper in your ear. “I’d rather it not be known that I’m here, my love. Not tonight. Here, take this purse, tell the lena I’m a foreign visitor.”

You don’t ask for an explanation. He follows you inside, hanging back in the entrance hallway as you tell the lena that this gentleman approached you in the street and wanted to spend the night.

“He’s a quiet one.” She surveys Acacius suspiciously, and you pray she does not recognise his broad frame.

“He’s nervous, is all,” you suggest, as lightly as you can manage. “First time in the big city, he’s come from a long way off. Best make it a special night, eh?”

She sighs, nods, and counts the coins as you lead the way to your chamber.

***

“I can explain everything, my love, or at least as much as I’m permitted to say.” Acacius takes off his cloak and settles on your couch, pulling you to him. You press your fingers to his lips.

“After. Explain after.”

The lamps and candles cast a soft glow on the contours of your body as you slip out of your dress and gently sit on his lap, tracing the lines of his features with your fingertips as you kiss his face, featherlight.

“I hope I’m not too heavy for you, love.”

He smiles and shakes his head, mouth a little ajar as he takes in the sight of you. “You are perfect.” He tilts his head and sucks on each of your nipples, holding you in place around the waist, as your hand slips under his tunic. A shift of your hips and you are straddling one leg, rocking your hips back and forth against his strong thigh, gasping at the sensation as your cunt grazes against the warm skin, soft hair, and firm muscle.

He watches you, enthralled, one hand resting on your ass and the other squeezing your tits. You hold his gaze, then, caught in the dark fire of his beautiful eyes as you reach your peak and come hard on him, head thrown back and body quivering with pleasure.

“Gods, you are extraordinary.” He helps you stand up and guides you to the bed, tucking a pillow under your head before he strips off and joins you. “My extraordinary woman, I have missed you so.”

His beard scratches against your skin as he kisses your body, moving from your tits down to your soft belly and generous thighs. His lips press against your mound, your pussy, tongue diving into the slick that’s pooled between your legs.

“You taste spectacular,” he murmurs, shifting forward. He kisses you, deep and slow, so that you can taste yourself as he pushes his cock inside you.

“See?”

You giggle as he begins to fuck you, pulling in and out slowly and deliberately, making sure you feel every inch of him and he every inch of you.

The worries and uncertainty fade as you make love, bodies moving in perfect harmony, mingled voices gasping and moaning with pleasure, and sweat glistening on your skin.

After . Explain after.

***

“There are legions at Ostia.”

You pop one of the little cakes into his mouth and settle against his shoulder. Ostia . You like the way he pronounces it, the inflection of his accent.

“Legions?”

He looks at you cautiously. “Legions.” His face tells you he cannot say more, and you fill in the blanks for yourself.

His legion. Maximus’s legions?

“And you rode into the city on…business?”

He nods and reaches for the cup of lemon water on the bedside table. “Business, yes. In preparation for the games to come.”

“Can you stay tonight, or must you return to…?” You daren’t name the place.

“I can stay tonight, but must leave at first light.” He puts his arm around you and lowers his voice. “My love, there may be some trouble in the days to come. I will come for you as soon as I can, but…be warned. Be ready.”

He speaks with such grave sincerity that you immediately understand the stakes involved. “I will be ready, love.”

***

The commotion outside in the streets brings you and the rest of the girls into the main antechamber, wondering what on earth is going on to cause such tumult. There is no sign of the lena , though her ledger and pen have been left in their usual places on her little table.

Althea runs a finger along the edge of the scroll and emits a low whistle. “You don’t think she’s done a runner, do you?”

Catalina shakes her head. “She wouldn’t leave the ledger behind. Or, for that matter” - she gestures to a little box discreetly tucked between a pillar and the wall - “her petty cash.”

The sound of the main door opening hushes the gathering, and the lena strides purposefully into the room.

“Suppose you’re all wondering what’s going on, hmmm? Well, ladies, looks like we’ve got another dead emperor. No-one seems to be mourning that lunatic, though, unlike his father…Anyway!” She throws up her hands and rolls her eyes in exasperation as she seats herself at the table. “Just another ordinary, quiet day in Rome.”

You and the other girls cluster around the lena , asking question upon question as you vie for information. With a roar, she silences you again.

“All’s I know is this - he died in the arena, and it was that Merciful Maximus or Maximus the Merciful or whatever in Hades’ name they call that gladiator who did it. Commodus challenged him to a duel, didn’t he?” She sucks her teeth. “Not the brightest, that one.”

“Maximus?” Your voice cuts through the gasps and mutterings of the other girls. “Maximus defeated the emperor?”

The legions. This is why they were at Ostia, to overthrow the emperor and restore the senate. You wonder if Acacius has already entered the city - indeed, if he was there to witness the fight.

“He did,” the lena sighs. “Fat lot of good it did him, he’s dead now, too. Right! Back to your chambers, we might get a few boys in festive mood now that Commodus is gone.”

Your stomach churns as you walk silently down the hallway and back to your room. If Maximus’s legions had massed at Ostia to march on the city, and were already on the move, who knew what fate awaited them now that the general was dead, leaving a power vacuum at the very top of Rome? Or perhaps, you reason with yourself, the senate will work quickly to restore order, and will not punish the legionaries who were ready to stage a coup. After all, it was the senate they were fighting for.

One way or another, tomorrow you will begin the search for Acacius.

***

Trade was as dead as the emperor that night, much to your relief. In the early hours, you lie awake and stare at the painted ceiling, thinking over and over about the places he might be and where you should start. Sleep, eventually, finds you.

You dream that he has come to you, that he is calling you by name, over and over, shaking you by the arm until you respond.

“Please, my love, wake up.”

No dream at all. He is there, real and whole, sitting on the side of your bed. His handsome face is marked with dirt and grime, hands and knees grubby, as if he has come fresh from a long journey on horseback.

You sit up and reach for his hand. “Acacius…husband. You’re alive, you’re safe.”

He nods in response, until he buries his face in his hands and leans forward, head between his legs, and gives a devastated, feral roar the likes of which you’ve never heard before. You tentatively move beside him, fingers working to undo his cuirass so that you can rub his back through the thin fabric of his tunic. His big, strong body shakes with fury and hurt under your gentle caress.

Neither of you speak for some time. You try to ground and console him with your touch, your closeness; and in time his rapid breathing slows and he raises his head to speak.

“I would have come sooner.” His voice is low and croaky, worn out by a day of shouting. “I would have come…I had to help them, had to get the boy away, get him safe.” He looks at his grimy hands, as if noticing them for the first time. “The road was dusty, I’m covered in the stuff. I’m sorry, I…”

You shake your head and nod at him to continue. Acacius sighs despondently.

“I was in the arena today. Me, a few other officers, other centurions, all loyal to Maximus, the senate, the people. We wanted to be ready, to prepare for the others.”

He reaches for your hand, cupping it in both of his and kissing it with reverent care.

“I…we…” His voice breaks a little. “He died , there on the arena floor. Murdered by his own emperor.” He steadies himself, a note of rage entering his tone. “He was a hero of Rome. A hero of Rome . And that was how his life ended. That was his reward.”

He looks at you, features set hard, eyes burning with anger. And then his face softens, expression crumples, and he cannot hold back the tears as he buries his face against your shoulder.

***

You wash him clean of that terrible day in the baths, anointing his cuts and bruises with balms, ointments, and kisses.

He watches as you apply the mixtures carefully to his skin. “I did not know you were a doctor, sweet lady.”

“No doctor,” you smile. “Just some knowledge passed from my mother and aunts, about healing plants and balms. I like to keep a few with me, just in case.”

“Just in case?”

“In case I marry a soldier.”

When he is clean, you dress him in a plain tunic from the linen cupboard and take him to bed.

Acacius rests his head on your bosom as you stroke his hair, his strong arm draped across your body. After a time, he breaks the silence.

“How can I keep fighting, if this is the fate of a Roman hero?” He shakes his head a little. “And yet, I am bound by my oath to serve.”

You kiss his forehead and stroke his cheek, tracing the line of a scar. “What would he say to you now?”

He looks up at you with those pitch-dark eyes, permitting himself a little smile. “Apart from ‘how did you ever manage to get a woman as lovely as her to marry you ’?”

You raise an eyebrow. “Apart from that.”

“He would probably say that the dream of Rome is worth fighting for.”

“I think you have your answer, then.”

He does not seem entirely convinced as he sits up beside you and leans in for a kiss. “Perhaps.” Another kiss. “Or perhaps only love is worth fighting for.”

You lie down and pull him to you, happy to feel his solid weight on top of you again. “Aren’t you fighting for love, though, when you fight for Rome?”

“If only she weren’t such a cruel mistress.” He kisses your neck, tugging down the neck of your robe to expose your breast. “Gods, I need you, my love.”

With your help, he discards his own tunic and takes off your dress. He sits back on his heels for a moment, running his big hands up your bare legs as he looks into your eyes.

“I am all yours, Acacius.” You extend your hand to him, guiding him into position. “Let me help you forget it all, even if just for tonight.”

He moves forward on top of you, holding your gaze for a few moments as he caresses your face and strokes your hair. His kiss is tender but urgent, his hand reaching for your breast as he starts to grind against you.

“All yours, my love,” you repeat, watching as he moves back down your body. “Take me as you wish, as you need.”

He tries to take in every part of you with his mouth, lips moving with desperate need and grazing over your tits, your soft belly, your hips. One, two thick fingers slip between your thighs, keen to remind you what you taught him that first night together. You writhe against him as his beard scrapes against the delicate skin and curls that cover your mound, unable to stop yourself guiding him between your legs.

”Mine. Mine .” Acacius mutters the word as he hooks his arms under your thighs and buries his face against your cunt, nose rubbing against you while his tongue parts your folds. It’s as if he wants to devour you, such is the urgency with which he sucks and laps and licks. He runs his fingers over your dripping core and drops his hand to his cock, using your wetness to stroke himself as he continues to eat you out. He laps greedily at you as you come, your slick still glistening all over his face as he shifts forward and enters you.

He holds you down as he fucks you hard, fingers twined through yours, sweat dripping from his beautiful body onto your tits. There’s a desperation to his lovemaking tonight, a desire to escape his grief by losing himself in you - in your cunt, your flesh. He comes with a roar, filling you with life as he tries to rid himself of the bloody memory of death.

***

He leaves in the early morning, following military orders to assemble at the Field of Mars in spite of his misgivings and wavering loyalty. You make love before he goes: slow, soft, congress in the dawn light.

You watch him dress, sitting up naked in bed. “Be careful, my love.”

Acacius fastens his cloak and leans in for a final kiss. “You too, love. I will come for you as soon as I can.” Before he leaves the room, he nods towards a leather pouch resting on the table.

“That isn’t payment , in case you are wondering. It is my duty as your husband - some money, should you need it urgently while I am away.” He looks as though he would rather sacrifice himself in the arena than leave. “I love you.”

That was the last time you saw him, until he appeared, a decade and a half later, as a vision in white: the triumphant hero of empire.

***

The crowds have dispersed now, the city humming with excitement at the prospect of a series of games to celebrate the feats of Acacius and his army in Numidia.

The terracotta oil lamps cast a warm, comforting glow around your small home, nestled in a side street in a decidedly unfashionable part of the city. The brothel is firmly in the past for you now, as you earn a living making medicinal balms and ointments, using recipes learned from your mother and aunts. You prepare your simple evening meal and eat it quietly, preoccupied all the while by Acacius.

He had seen you today, you were sure of it. What did he remember of you, of your love, of the secret “marriage” of spirit the two of you had entered into? Had he recognised you at all? He had grown even more handsome with the passing of time. You were not sure the same could be said of your beauty.

The little metal figurine lies on the table before you, your fingertips tracing over the outline of the man you had loved so much. With a gentle sigh, you move to the corner of the room and retrieve a plain, well-worn wooden box from the chest that holds your most precious possessions. He fits in well here, this Acacius, nestled among carefully-folded fabric you have preserved like a relic all these years.

What might have been, in another world. But you have your memories, and your relics, and the comfort of having seen him one more time, after all these years.

***

A day or so later, you are about to turn in for the night when you hear the distinctive sound of a horse coming to a halt just outside your home, swiftly followed by a firm knock. A knock on your door at this hour is not usual , but neither is it unexpected or unprecedented. People have, on occasion, come in urgent circumstances, desperately seeking this balm or that ointment.

You reach for your mantle and open the door a little. “Tell me what the problem is and I’ll get you what you need, if I have it.”

The cloaked figure at your door chuckles, turns, and takes down their hood.

"So you really do live. I am not sure one of your fine balms could fix the problems I’m facing, dear lady.”

You steady yourself on the doorframe, unsure whether to laugh, cry, or touch him to make sure he’s really there.

“Oh, gods… Acacius .” You shake your head and correct yourself quickly. “I mean, General Acacius, I… how ?”

“Acacius, please. I’ll always just be Acacius with you.” He crosses an arm over his chest in a gesture of honourable sincerity, those dark eyes warm and oh so familiar, even after a distance of nearly twenty years. “May I come in?”

You gesture towards the table at the centre of the room and close the door, still not quite believing that he is really here , in your little home. He is no longer wearing the dress uniform, you notice, spying a simpler tunic and belt under the cloak.

“I have some wine, if you would like? Nothing like the fine stuff you’re used to now, of course, but…”

“Anything you have is perfect.” Acacius moves closer to you and reaches for your hand, pressing his lips to it and smiling with delighted recognition when he realises you still wear the ring he gave you. He seems reluctant to let go, caressing your hand in both of his as his eyes take you in from head to toe. “I am so happy to see you…I thought I would never see you again. I…”

Before he can finish his sentence, you throw your arms around him and pull his beautiful, broad frame to you in a tight embrace.

***

The conversation is light, at first - small talk, mostly about the triumph, about the campaign in Africa, the sheer weight of the special armour and cloak he had worn for the procession, his relief in seeing his wife, Lucilla.

You smile when he mentions her. “You are both very lucky indeed, I think. She’s much loved, very beautiful, kind… maybe now you are home we will see more of her in the city? She is missed by the people.”

Acacius purses his lips. “Her movements are…not always in her own hands, these days.”

You nod in understanding as silence settles over the two of you.

He sips his wine and takes a deep breath. “I came back for you, did you know that? All those years ago. I kept my word, my vow to you. But you were gone .”

He tells his side of the story simply, though at times he struggles to keep his emotions in check. After Maximus’s death, it was well over a year before Acacius saw Rome again. In the political turmoil that followed the demise of Commodus, young officers like him were deployed to various parts of the empire to secure the Roman presence - and, he suspected, to prove their loyalty to the litany of new emperors who followed in quick succession.

“As soon as I got back to the city, first chance I got, I went to find you. And everything was different - a new lena in the place.” He shakes his head at the memory. “When I asked about you, she…well, she said you were gone.”

You press your fingertips against the surface of the table. “I had returned to the family farm, I meant to come back, but…”

Acacius nods. “She knew you had gone to your family, but she told me you were dead . Said the news was that you’d died, a few months after you left Rome.”

He tells how he refused to accept your death. He searched for you as best he could, trying to piece together the little he knew about your life before Rome, before the brothel, before him . Dead end after dead end eventually convinced him, against his instincts, that you were really gone.

”I mourned you as a…a husband . Grew my hair for the period of mourning, didn’t trim my beard…” He smiles sadly. “I even covered my head and burned that linen tunic you’d dressed me in, that last night we spent together, in lieu of a funeral pyre. It was all I had of you.”

You reach for his hand, noticing the scars and callouses that were not there the last time you held it so tenderly. “I am so sorry, my lo-” The words came as easily as they did that last morning together. You checked yourself. “I mean, Acacius .”

He squeezes your hand and continues. “I kept telling myself I had let you down. Had I been here I could have helped you, made sure you were safe, protected you.” A sombre look darkens his features. “When I saw you up there in the crowd, for an instant I wondered if I was seeing things, if you were an apparition…reminding me that I had failed you.”

“You could never fail me, Acacius. Never. Not then, not now.”

You sip your wine as you prepare to tell him your side of the story.

“I left Rome a couple of months after you did, and went back north to my family. I had to go but I intended to return, because I knew you would keep your word.”

Silence, again, and you know exactly what he’s going to ask you.

“Why did you leave the city…why did you have to go?”

Another sip of wine.

“I was with child.”

***

When you were absolutely certain, about two months after he left, you packed your things and made the necessary arrangements. His money helped pay your way northwards and home - and paid off your outstanding debts to the lena .

“Don’t you have siblings who can look after your ailing mother?”, she’d said, already starting to count your coin. “Can’t be doing with losing good girls like you, these days.”

“Only my brother remains on the farm, and he cannot manage it and care for my mother at the same time.” It wasn’t a lie , not really. Your sisters were scattered, and since your father’s death the farm was your brother’s responsibility. And strictly speaking, he did have to care for your mother - even if she wasn’t ailing in the way you’d described to the lena to justify your sudden departure.

You looked carefully at every soldier you saw on the road north, hoping against hope that one of them might be yours . In a roadside tavern you even asked after Acacius, after you overheard a group of legionaries talking about Maximus, but to no avail.

At home, you were circumspect about your situation in Rome - and about the circumstances of your pregnancy. Pressed repeatedly by your mother, you told her the father was a young officer who loved you very much.

“And where is this lover boy, now that he’s got a child on you?” She surveyed your swelling belly with a mixture of irritation and resignation.

“He returned to his legion and we have had no word since.” Another not-really-a-lie.

Your mother rolled her eyes, but could not disguise the sympathy in her tone. “Tale as old as time.”

You did whatever work you could, within the limits imposed by your condition. And one day, as you rested for a few moments in the meadow, the sun glinting off your garnet ring as your hand lay protectively across your swollen stomach, you felt the child quicken in your womb.

In your lowest moments, you worried that your certainty about paternity was misplaced, given the nature of your work. With every fibre of your being, though, you knew that this child was his. It could be no one else’s.

You planned, originally, to give birth and raise the child to the point where they could be taken care of by another while you worked. At that stage, you assumed, you and your child would return to Rome - and to Acacius.

But fate dealt a very different hand

***

There’s shock and sadness and a kind of excitement, even, in Acacius’s eyes as he listens to you tell the story. Realisation dawns: he was a father .

His voice is hushed. “A boy or a girl?”

You squeeze his hand, as much for your own comfort as for his. “A boy. And your double, from the moment he came into this world - all dark eyes and curly hair and even strange little habits and gestures that I knew were yours . I…named him for you.”

“A son .” He seems awestruck. “I have a son . Gods, I wish I had known.”

“I am so sorry, Acacius, I wish I could have found a way to tell you, for you to know…but I had no idea where you were, how I could find you or reach you.” You swallow back the tears. “Truly, please forgive me.”

He shakes his head and leans a little closer to you. “You don’t need to apologise, there’s nothing to forgive.” He kisses the back of your hand again before wiping an errant tear from your cheek.

You look at him - really look at him, really take him in properly after all this time apart. He wears his age beautifully, from the lines on his face to the silvery strands of hair that frame his brow. Acacius has acquired more scars in his years of soldiering - across the bridge of his fine nose, a more livid, longer mark to his right cheek. But his eyes, in spite of all the terrible things he has seen and all the blood he has spilled, are as warm and kind when they look at you as they were the first night you met.

“I always meant to come back to the city,” you continue. “I thought we’d return once he was old enough, find you again, and somehow make a life together. And then my mother died, and I couldn’t leave my brother to tend the farm alone, and my… our boy was so happy there. You were rising through the ranks, too, and a woman and child would have been the last thing you needed.”

Acacius shakes his head, regretfully, and sips his wine.

“Did you tell him? About me?”

“As soon as he was old enough, yes. I told him all about you.” You smile at the memory of that time and tell him about your little boy’s bright eyes and dark curls, the wide smile on his face as he dashed here and there on the farm, chasing chickens and helping his uncle plant seeds. Your brother whittled him a rudimentary wooden sword, so that he could fight imaginary battles in the fields and cry out, with all the force his little voice could muster: “I am Acacius, hero of Rome.”

“He’s near a man now, I suppose?” Acacius looks around the room, as if making sure he hasn’t missed the boy somehow.

You close your eyes as another memory casts a long, dark cloud of grief and pain: a memory of fever sweeping the countryside, of the horror as your bright, clever boy fell ill overnight, of your desperate attempts to heal him. And that indelible image, the one that still wakes you at night, sometimes: your brother, tears rolling down his weathered farmer’s face, carrying the small body in its small shroud.

***

Acacius says nothing for a long time, just holds your hand on the table and stares at his cup of wine as he tries to comprehend what you have told him. He breaks his silence with just two words.

“How old?”

“He was seven.”

You rise from the table, gently squeezing his shoulder as you cross towards your wooden chest and take out the plain wooden box where you had placed the miniature Acacius a couple of nights before. Settling back beside him at the table, you remove the lid and show him the contents.

“Is this…” He smiles wryly at the little figurine, picking it up to examine it more closely.

“I told you, didn’t I? They would cast you in bronze some day, Or, if not bronze, whatever that is.”

Carefully, you take out the rest of the items you’d stored with such love since the day you lost your beloved boy. A small tunic. A pair of his sandals, still marked with dust from the farm. A wax tablet, inscribed with his rudimentary letters and numbers.

Acacius handles his son’s belongings as though they are the most precious objects in the world. He turns a little figurine of a soldier, carved from bone, over and over in his palm.

“He loved that one best.”

It is strangely comforting and intimate to sit with Acacius in this shared grief, watching him somehow try to know the little boy he never met through the few belongings he left behind in the world.

“Acacius…” He looks at you, eyes glistening with tears, and you fight the urge to embrace him again. “I think you should keep that. If you wish, of course, but -”

He nods, cupping the toy in his big hand before placing it with great care and tenderness in the leather pouch on his belt.

“I can carry him with me.”

***

Before he leaves you, you give him a jar of your very best healing ointment as a parting gift.

“For your next campaign, to help with cuts and bruises.”

He kisses you on the cheek, smiling as he opens the jar and inhales the warm, fragrant aroma of the balm. “I hope to get some respite from the battlefield for a while.”

You grin. “I’m glad to hear it. And I am so glad that you have a wonderful wife to go home to.”

His travelling cloak once more around his broad shoulders, Acacius bids you farewell and holds you in a long, tight embrace and murmurs into your ear.

“I loved you so very much. Always remember that.”

***

More games. More bloodshed. You stay at home, away from the festivities and the crowds.

Another late-evening knock to your door, and this time you decide not to answer. The games have brought a rowdy crowd to the city, and it’s impossible to know what awaits on the other side.

They knock again, firmly, clearly. Not the knock of a drunk, you muse.

You open the door to a young man, dressed in the typical garb of a servant, and a woman of regal bearing, dressed in a simple hooded cloak.

“May I come in?”

She leaves the servant outside and checks that the door is firmly shut before she takes down her hood, revealing her fine features and blonde curls as you gasp in recognition - and panic.

“Gods! I mean…my lady, I…”

Lucilla smiles that sweet smile so beloved of the ordinary citizens and reaches for your hand, attempting to steady your evident nerves. “Please, don’t be alarmed. I cannot stay long, but…may we sit?”

Dumbfounded, you gesture towards your simple wooden chairs, watching in astonishment as the daughter of Marcus Aurelius seats herself at your table. She nods towards the other chair, encouraging you to join her.

“I am very sorry for arriving like this so late in the evening, unannounced. I do hope I’m not putting you out.”

You shake your head quickly, panic and terror still written all over your face, and she chuckles gently. “Please, I meant it - you have nothing to fear from me. And yes, I know my husband came to see you.”

“He…I mean, I…I mean, we …”

Lucilla places her elegant, pale hand on the back of yours by way of reassurance. “I know. He has often spoken of you to me - and of his sorrow at not being able to protect you. When he realised you still lived, well…I simply wanted to meet the woman who meant so much to Acacius. We have a lot in common, you and I.”

For a moment, you wonder if you are dreaming. Most women would rather ignore their husband’s past loves, let alone want to visit them.

“You didn’t mind that he came to see me?”

She shakes her head, blue eyes meeting yours. “Not at all. In fact, I encouraged him to seek you out, after he saw you during the triumph.”

“I…I’m not sure I understand, my lady.”

“We’ve lived , you and I, haven’t we? When Acacius and I met, I had already lost so many people. My husband, my father, my brother…and the man who was my first great love.”

Lucilla looks away for a moment, emotion threatening her poise. She speaks haltingly, more quietly now. “And I lost my son, too. I was very sorry to hear about your boy.”

In that instant you forget all etiquette and protocol and extend your hand to hers, to comfort and to share the burden of your common grief. No more a former prostitute and the daughter of a great emperor - here, at your rustic table, you are simply two women united by the experience of loss.

“So we do have much in common, it seems, my lady.”

“We do. And that’s without even mentioning Acacius.” She smiles at you conspiratorially, and laughter fills the small room.

“It haunted him, not having been able to find you again. Not getting to say goodbye, to tell you how much you meant.” She pulls her cloak more tightly around herself and rises from the table. “I was able to bid farewell to my first great love. When we realised you were alive, well…I wanted my beloved Acacius to have that chance, too.”

Before she takes her leave, Lucilla embraces you, kissing each cheek. “Thank you for loving him so well, all those years ago.”

You nod, still not quite believing that this conversation is really happening. “And thank you , for loving him now. And for encouraging him to visit me. He…he married a very good woman.”

She pulls up her hood and moves to the door, pausing for a moment. “He has always had impeccable taste, it seems.”

A final smile and nod, and she is gone, helped onto her horse by her servant before they ride away into the night, and home to the waiting arms of a hero of Rome.

#acacius x F!reader #marcus acacius x reader #marcus acacius fanfiction #gladiator ii fanfiction #marcus acacius smut #general acacius #general acacius x reader #general acacius x you #marcus acacius oneshot #general acacius x lucilla #gladiator fanfiction #gladiator ii #gladiator movie #laurels fic #ladameecrit #pedro pascal character fanfiction

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levshany · 1 year ago

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Tandem, this is an AU in which the Collector possesses Philip, and there are a lot of things happening afterwards. but now we’ll just retell how it basically started

@angstyhikka drew a couple of arts and helped me with coloring

This is an alternative development of events after the ending of the fanfic “At The Dawn of The Light” (it's not finished yet, but there is already an AU from the ending, yes). The idea belongs to @lasymit, and I (Lev) picked it up :3

Before King's Tide, all events take place according to canon. And then the following changes occur: the witches capture Philip and lock him in a cave in the Titan's skull. The draining spell is stopped without the help of the Collector, but he himself is not found. His mirror remains lying at the bottom of the pit.

For 10 years, Philip was under a sleeping spell. Everything would be fine, but when the Hexside squad wakes up Philip to make him help them with one super important problem, not only does he become mischievous but he also has problems in his head now. Luz and the team think that Philip is manipulating them (you can't blame them for this, Philip is Philip, even with a leaky memory and a leaking roof, he manages to be such an asshole), and therefore they torture him to force him to cooperate with them.

While Philip was sleeping, a cozy corner appeared in his head, in which there was nothing but a green hill, a small house and an apple tree. There, Philip, in his child form, lives with Caleb, who is a figment of his sick mind. During his 10 years in this mindscape, Philip convinced himself that this was reality. And the Boiling Isles, the cave and the witches who torture him are an endless nightmare. Because, on the Boiling Isles, he sometimes remembers that he killed his brother. But this simply cannot be reality.

At some point, Luz and Hunter realize that Philip is not pretending that he is seriously ill and no matter how much he denies it, he needs help, and they soften towards him somewhat. Although both have rather mixed feelings towards their dementia grandpa.

Even in the moments when Philip remembers himself fully enough, his attitude towards the Boiling Isles, Luz, Hunter and even his own mission has changed greatly in any case. He no longer cares about the destruction of witches and revenge for his brother. Philip is tired. Deadly tired. All he wants to do is sleep. He slept for ten years, and this was perhaps the first time in decades of his life that he felt peace and happiness.

While he is in this state, it happens that he encounter the Collector. This is a difficult meeting for both of them, but it all ends with the forgiveness of all grievances. They both don't want to lose each other now. The collector is still locked in the disk, but Philip has the opportunity to let his friend into his subconscious. Seeing the deplorable state of Philip's mind, he decides that he must help - after all, Philip is still his only friend. Collie asks Philip not to go to "sleep" forever, but Philip replies that he has no joy in waking up here. All he dreams of is never returning to the world of the Boiling Islands. The collector, frightened that his only friend is about to leave him, possesses Philip and promises him that he will get them both out of this nightmare.

This is how Tandem's story begins

a huge amount of detail has been omitted to avoid spoilers for "The Dawn". if you wanna learn more go check the fanfic *wink wink*

#by the way their name is Colibri #toh #the owl house #toh tandem au #phillip wittebane #toh phillip #toh collector #collector possess #toh colibri #toh tandem #my comic #my art

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thewadapan · 21 days ago

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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.

#transformers #transformers one #movie review #essay

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