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heian-era-housewife · 8 months ago

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Sex, Smut, & Scuttlebutt

Lately I've seen a growing number of virgins, "new-cummers", and even seasoned sex vets voicing their concerns or frustrations with the unrealistic portrayal of sex within smut. Adult fictions are so fun to read and write and even more fun to act out in real life (with a trusted partner), but they are fiction. Quite often exaggeratedly so and in no way representative of what really goes on behind closed doors, or open (you do you babes).

Nevertheless these concerns and frustrations are real, they are valid, and they deserve to be acknowledged. And so, without further ado, I present to you the very real, very raw, and sometimes very unsexy side of sex.

(Though tbh nothing Ryomen Sukuna does could ever be categorized as 'unsexy')

Love to you all, no matter your experience 😘

Pairings | Gojo, Geto, Nanami, Choso, Higuruma, Toji, and of course Sukuna 💕

Content | mdni, smut, fem!reader x jjk men, piv, oral (both f-to-m and vice versa), pubes, blood, sex on period, first time, Toji eats a worm. It's fine. Don't worry about it.

Word Count | 3.3k

Gojo:

White Hair...Everywhere

You've been ignoring it for a while now. Well...trying to anyway. The faint tickle on the back of your tongue has grown into a sharp pinprick that jabs at your throat with each bob of your head. It's uncomfortable, it's distracting, and worst of all it is threatening to trigger your gag reflex.

Gojo gasps and whimpers, long fingers running through your hair, pulling you toward him as he edges closer to his climax. It's all you can do to focus on the task at hand when his sudden thrusts render the job impossible. You gag and sputter against the source of your irritation, eyes streaming as you pull away from his hungry cock.

Confusion and poorly concealed dissapointment in his words of longing barely register as you wretch, two of your own fingers stuffed to the back of your throat.

You turn to meet his eyes with yours still streaming as you reveal the cause for disruption. With your middle and index finger you pull a long, coiled, pure white hair from deep within your throat.

"I think this belongs to you," you tease, wiping drool from your chin and flicking the stray pube his direction.

"Oof. My bad," he squirms, one hand sheepishly rubbing against his undercut.

"Shall we resume?" You offer with a playful smile, making a show of patting away his snowy bristles before taking his twitching length back into your mouth.

"Phewww!" He whistled. "I thought for a second sexy time was over!"

"It wiw be ith you don' shu-up," you mocked, mouth full and voice muffled. You reached a hand around to give one of his ass cheeks an impish squeaze for good measure. Gojo laughed playfully before falling back into a steady rythm of whines and whimpers.

Geto:

Welcome to the Jungle

Unwaivering confidence was one of the things you loved so much about Suguru Geto. On a scale of 1-10 his sex appeal was an 11 and you were about to find out for yourself exactly why he was so damn self-assured.

You, on the other hand, couldn't help but obsess over all your flaws and imperfections. Your outfits, those stretch marks, and was that =sniff, sniff= body odor??

But this was not the time to get lost in insecurity because you were perched pretty as a peach on his apartment sofa while Suguru stood, hastening to undo his belt, never once relinquishing that calm and cocky smile.

You gazed at him loftily, cheeks growing flushed, heart pounding in your ears. Your groin ached with longing as he stripped down to plain black boxer briefs and reached forward to help you down to bra and panties. Nerves and excitement churned in your core creating a volitile compound that set your heart ablaze. It was all too good to be real.

Finally, he guided your hands toward his own hips, placing them on the hem of his boxers, inviting you to remove his final garment.

Your brain buzzed with electric anticipation as you pulled downward, revealing that which, until this moment, you had only imagined.

And there it was.

And there you were.

Your buzzing brain cutting to standby as static filled your senses and every decision you'd ever made leading to this exact point in time sent you into a hurling spiral of doubt and regret.

Because Geto had shaved.

And you had not.

Not now...not ever. Frankly, it hadn't even occured to you before.

Insecurities came flooding in causing you to lose yourself entirely until the gentle touch of his strong hand on your pantyline dragged you forcefully back to your grim reality.

"NO!" You shrieked, pulling frantically from his reach.

"Oh! Have I hurt you?" He asked with concern as you wished with every fibre of your being for a quick and painless death.

"It's just...you're so pretty," you breathed, lip almost trembling as you spoke.

"I'm glad you think so," he said, cocky little smile returning to his perfect playboy face.

"And I'm...well..." you slipped off your own panties awkwardly, revealing a lush and uncut jungle, knowing you were already past the point of no return.

"You're.....?" Suguru prompted.

"I'm...you know...this!" You gestured to your unkempt garden.

"You're...female?" He finished, confused.

"NO!" He was missing the point. "I'm a gross unshaven mess! And you're...what? The centerfold of next month's Playgirl?"

Geto laughed, much louder than you expected, snorting as he did so. "That's what you're worried about??"

"That and a million other things...yeah!" You sulked, tears brimming your lashes as you slumped, defeated against the sofa.

"Come here," he said, pulling you close, forgetting entirely about his unclothed state. "I think you're sexy just the way you are. And, if I'm being honest, shaving is a real pain in the ass anyway."

Giggling to yourself, you watched as his impressive length grew soft and diminished as his arousal shifted to concern for you.

"Hey!" He objected, throwing a pillow over his lap. "He was just worried about you, give him a minute," he teased.

Both of you laughed as you snuggled on the couch together, sharing doubts and insecurities, reassuring one another, and settling in for a long night. One full of love making that was sure to be genuine, sometimes awkward, but far better than any magazine.

Nanami:

Corporate Cock Block

Nanami was pent up. Not only had he been called on a particularly large number of missions this week, he'd been forced into overtime nearly every day. Now that he was home, he was desperately looking forward to nothing more than dissolving in your arms and seeing where the night might take you both.

Needless to say, he was more than thrilled when you suggested skipping dinner and going straight for dessert. That's right. You were pretty pent up yourself. And who was he to deny his pretty and incredibly patient wife what she needed?

"Thank you-hah-for being so-mhh-understanding this-hahhh-week", he breathed through passionate kisses, slipping off his suspenders and tossing his goggles to the side.

Movements punctuated by more steamy kisses, you helped him take off his tie and belt while he worked his fingers up and under your shirt to skillfully unsnap your bra.

He backed you down the hall and together you fell onto the bed, both panting in excitement as clothing fell hastily to the floor.

Just then, the phone rang. His phone. Illuminated harshly against the evening's fading light revealing none other than Satoru Gojo as the caller. Nanami went rigid.

"Hun," you said softly, "it's okay if you need to-"

"No." He asserted, cutting you off. "He's had enough of my time. I'm off the clock and I'm spending this evening with my wife."

The seriousness in his tone was all you needed to know it was case closed, so as he let it go to voicemail, the two of you resumed your game of lips and hands.

Time passed, Nanami was absolutely aching for you, and you were practically trembling in anticipation. As he lined himself up, you closed your eyes ready to melt at the feeling of him entering your throbbing core. And that's when it happened. Again. The name "Satoru Gojo" shone through the darkness as Nanami's phone lit up your room.

"I'm going to kill him," Nanami said calmly, head hanging in frustration as he imagined all the ways he could cleave his obnoxious coworker in a perfect 7:3 ratio.

"Kento..." you whispered, bringing him back to reality. "I really don't mind if you need to-"

"Absolutely not! This is our time. You and me."

"But what if he needs-"

"There is nothing he could need from me that is more important than what's right in front of me," voice dripping with sincerity.

"I love you, Ken."

"I love you too. Truly," he replied. "Shall we?"

Picking up where you left off, he gave himself a few quick strokes before plunging deep into your core. Tension and relief unraveling as he worked his strong hips passionately between your shaking legs.

***

As the love making continued, a new tension was building within both of you and Nanami could feel himself reaching his climax, breaths coming sharp and shallow as he felt his nearing release.

"Im so close," He breathed.

"Me too, baby," you gasped.

And then...

=RINGGGGGG=

Nanami cracked.

Snapping up his phone while pounding the ever-loving life out of you, you heard his voice loud and hostile as he snarled into the speaker.

"Satoru Gojo, so help me God I have half a mind to cut you down where you stand. Do you know how long I've waited to FUCK my WIFE?! How many nights this week I had to give up SEX with HER just to follow your sorry ass around chasing curses and cleaning up the FILTH of this city?! I was about to give her one SPECIAL GRADE, MIND-BLOWING ORGASM before you-" he stopped thrusting, blood draining from his face, feral sneer dropping into a hollowed out look of utter humilation.

"Principal Yaga I- of course, sir, I'm so sorry...Yes..yes..right away. I understand. Again, I'm so- no of course not. I appreciate your discretion...I'll see you soon...bye."

Your eyes widened in horror as you listened to his conversation, unsure which end was worse.

"I..uh...I have to go. I'm needed at the school," he muttered sheepishly, unable to meet your shocked gaze.

"Yeah, I gathered that," you said with a nervous laugh.

You helped him get dressed, giving him a tight hug and wiping the beading sweat off his brow as he stumbled back out the door.

"Kento!" You called as he headed in the direction of the school. He turned to look at you, defeat written in his tired features. "Come home safe, okay?"

"Of course, love," he rasped, weakly.

"You still owe me that 'special grade, mind-blowing orgasm'," you teased with a wink.

Shaking his head, you heard him laugh as he hurried toward his next mission.

Higuruma:

Erection Overruled!

Hiromi's long week has finally drawn to an end and as your tired and more-than-likely dishevelled man makes his way home to slump into his favorite chair and fall asleep, you want to make sure he gets to finish the week out properly. You've spent the afternoon hard at work yourself, cleaning up, picking just the right music, and slinking in to that silky little black robe you know he loves slipping you out of.

The mood is set, candles are lit, and as if on cue Higuruma stumbles in through the front door, dropping his briefcase, and sagging languidly into his favorite chair. You approach from behind, running fingers through his dark and unkempt hair, tipping his head back with a provocative "Welcome home," allowing him to savor the view.

Experience tells him there's not a thing beneath that robe and his eyes grow wide and hungry as he scrambles to his knees, facing backward in his chair to take you in. He burries his nose against you as he presses passionate kisses to your collarbones, moving to nip at your neck, trailing his tongue upward and landing just below your earlobe before whispering , "I've waited all week for this."

One very steamy makeout session later, you find yourselves in the bedroom, working quickly to remove each other's clothing, air thick with ravenous longing. But as you slip him out of his trousers taking his not even half-hard cock into your loving hands, things start to feel a bit off.

Nothing a few good strokes can't fix, you think to yourself, stealing a downward glance at his would-be errection- flaccid, but hopeful.

Some time later there's still little change in terms of rigidity and you notice the exhaustion building behind his determined features. Knowing his pride is at stake, you start to wonder if it might just be best to let your tired man rest and resume love making another time. Opting for a mix of tact and humor, you make the judgement call.

"Ladies and gentlemen of the court, I move to postpone today's proceedings until the defendant can get some well-deserved and very much needed rest."

Hiromi's eyes snap open. "Objection!" He barks automatically, surprising himself.

"Overruled!" You reply, tapping his tip once against his tummy as though holding a gavel.

A moment of silence as you stare at each other seriosuly and then...

"PFFFTTT!" You both burst out laughing at the ridiculous scene. He pulls you in for more kisses and you lay together wiping tears from your eyes as the laughter continues.

Turning on his side he offers, "Motion to reconvene tomorrow morning?"

"Motion granted!"

More laughter. A heavy sigh and then, "Thanks for understanding," he says.

"Impartiality is my job, afterall," you continue the act.

Pulling your head to his chest he scruffles your hair until you fight him off, giggling.

This isn't the first and probably won't be the last time your romantic pursuits as a couple are thwarted by exhaustion, but you know that with a little patience and a good night's sleep he'll be a different man come morning, when your courtship is back in session.

Choso:

Shark Week

Choso's not just new to sex. He's new to life itself. Loving him brings you the unique opportunity of experiencing the world for the very first time through his eyes.

The eldest of his brothers, he's already learned so much, but he still relies on you to guide him through his many firsts as both a lover and a mentor for all of life's unexpected moments- the good, the bad, and the painfully awkward.

That is why, when you hear a sharp, panicked little gasp as he pulls out of you, dick still twitching from his orgasm just moments before, you suspect you are in for another brand new encounter.

"What's a'matter Cho?"

"Uhm..." He swallows hard, eyes trained downward. "It's...it's not there."

"What's not there?" You question, sitting up against your elbows trying to glimpse whatever it is he's staring at.

"The condom," He says weakly, mouth going dry. "It's just gone!"

"Ohh!" You reach a knowing hand between your legs. "It probably just came off inside me."

"Is that bad?!" He asks, voice thick with worry.

"Not necessarily. You can probably just pull it out if it's right there."

He slides two hesitant fingers over your entrance, feeling for the rubbery traitor that's caused him such distress.

"Oh! I found it!" He sighs, relieved, pulling it gently from your core.

"See? Nothing to worry abou-"

"OH NO!" He cries, forcing you to sit up in alarm.

"What's wrong? Is it ripped?"

"You're bleeding! There's-" He looks as though he might pass out. "There's so much!"

"What?! I-" Realzation hits you as he holds up the stretched out condom, slick with glossy crimson. Feeling between your legs, you pull your hand away, stringy and viscous from a mix of blood and fresh arousal.

"Oh Cho I'm sorry. I think I started my-"

"I can't believe I hurt you! I thought I was being gentle! Maybe it's my cursed technique?? No...that can't-"

"Cho I-"

"I can fix it! Hang on let me just-"

"Choso!" He pauses his string of frantic babble to look at you. Deep lines etched across his troubled face. "Cho, I think I just started my period," You say, reaching your other hand to comfort your worried man.

"Oh. You mean 'shark week'?"

You laugh as he recalls the nickname you taught him for that notorious time of the month. "Yes hun, shark week."

"Was it...because of me?" He asks, eyes brimming with shame and guilt.

"No, my love!" You giggle at his innocence. "Just a coincidence. I'm sorry I scared you!"

A wave of relief washed over him as he clutched his chest, watching you get up and head toward the bathroom.

"I thought maybe I broke you somehow..."

"I know, sweet boy," You called from the hall. "You did nothing wrong. But when I come back we're going to cuddle like there's no tomorrow!"

"That....sounds nice" he said with a sigh, collapsing backward on the bed, brain tired and foggy from the day's latest lesson.

"Wait!" He called, suddenly excited. "Does this mean chocolate ice cream and movie night??"

"You really are a quick study!" You praise.

Running to grab the ice cream he calls, "I think I can get used to shark week!"

Toji:

Three's a Crowd

Toji is a lone wolf. An elusive rogue agent. He holds everyone at arm's distance, including you. That is...until recently, anyway.

What started as casual hookups in seedy bars and late-night love hotels, hell even the back of a cab once (actually maybe twice...you were rather drunk), has turned into pseudo dates and sober conversation. To be honest, you've fallen pretty hard for your man of mystery and the last thing you want to do is scare him off now. That's why, when he finally invites you to his place for the first time, you're determined not to blow it.

"It's not much, but it's home." He says, leading you through the front door of a shabby back-alley apartment. Despite his somewhat delinquent nature, his apartment is well-kept and the made-up bed you spot through an open door near the back looks far more inviting than the sleazy moth-eaten matresses and dive bar sofas where you've been spending your less-than-romantic moments.

Grabbing his hand, you practically drag him back there, excited to see where he lays his head at night, smell the cologne on his sheets. He stumbles behind, a goofy yet seductive grin stretching the scar on the corner of his lips that you're just dying to taste.

As you step into the darkened bedroom, a small sound grabs your attention. Atop the dresser something is breathing- sputtering. You pause, trying to get a look at the noise's source, realizing Toji must have a pet. Your heart skips as you imagine this macho miscreant returning home to a small, soft animal for whom he shares a rare bit of affection. Fucking adorable.

The creature, appearing only as a shapeless mound at first (is it a cat?) turns to look at you. And that's when you freeze. Because there in his room, peering at you through swollen, squinted eyes, frothy drool dribbling down its pudgy face, is a gigantic....worm???

"Toji!" You gasp, turning back to hide behind the muscular arm you're now grasping for dear life. "What the hell is that thing?!"

"Oh." He says curiously, "You can see it?"

"OF COURSE I CAN SEE IT, WHAT DO YOU MEAN?! THING'S FUCKIN' HUGE!"

"Heh," he chuckles, amused. "It won't hurt ya. C'mere."

Without even another glance at the demonic creature, Toji pushes you against the bed, bringing his large frame down over you, rutting his hips as he feasts hungrily on your neck. You want to lose yourself in the throes of his passion, you really do. But all you can think about is the thing on the dresser. Turning under the weight of Toji's advances to see if it's still there, you find yourself making direct eye contact with the hideous overgrown catarpillar.

You can't believe he's not distracted. Can't believe he hasn't said a single word about the little drooling monster. And as Toji makes quick work of undressing while he hovers over you, you find yourself unable to contain your inner thoughts.

"Toji...it's so...long!" You say, eyeing the thing warily.

"Mm...I know, Doll," he agrees.

"I mean like...it's gigantic!" You mewl covering your eyes in disgust.

"Hah...so I've heard," he admits, slipping off your panties from beneath your skirt.

"And it...I don't know...it looks hungry. Like...it's about to tear me apart..."

"If that's what you want, love," he growls with a forward thrust.

"Seriously, Toji, I don't know if I can do this! It's just so gross!"

"...Gross?" He looks like he's been punched in the gut.

"Yeah! Gross and purple!"

"Purple?!" Pulling out, he stares down at his cock. "Fuck you mean, purple?!" Then, following your gaze he says, "You're not still on about that damn worm, are you??"

"What did you think I was talking about?!"

"Look, if it bothers you that much, I'll get rid of it." Without another word, he gets up from the bed, crosses the room to the dresser, takes the creature in his hands before crunching it down into a tiny ball and swallowing it whole.

"Now are we gonna get freaky or what?" He huffs.

Oh, we are wayyyy past freaky, you think to yourself.

Who the hell was this mysterious man of yours? You're left with more questions than answers. But despite the horror you just witnessed one thing has you smiling...arm's distance or not, you doubt very seriously anything you do could scare him off.

Sukuna:

Thousand-Year-Old Virgin

Sukuna is a hardened, battle-ready, godlike being of prowess and prestige, decorated by time itself. Stranger to no man and no challenge, his many achievements transcend the millenia. He has seen and done things even those with rich and deeply fulfilled lives will never experience.

Let's face it, he's a thousand fucking years old. So that's why, when he mumbled something under his breath, something you thought could only be some type of strange joke, you were too stunned to laugh. And the fact that you didn't is the only reason you're still alive. That, and he's fallen rather profoundly in love with you, but he won't be admitting to that any time soon.

So when he pulls away from your lips to stare sheepishly at his bare feet criss-crossed in front of him before uttering the words you're sure you must have heard wrong, you ask him to please repeat himself.

"I've never done this before..." he gruffs, crossing both sets of arms and averting his gaze to the side with a nose-crinkling sneer.

"Done...what?" You ask, innocently.

"This! All of this!" He barks, waving his arms in frustration.

Your brain is working overtime just to read between the lines. He's acting like it's obvious, but you can't understand which "this" he's referring to.

"I don't get what-"

"SEX OKAY!" He gruffs bitterly. "I've never had sex!"

You just stare. Lips parted slightly as your jaw hangs limp, still unsure you've heard him correctly.

"And would you stop looking at me like that??" He scowls.

"'Kuna, I...I don't know what to say."

"Yeah, well...neither do I," he admits, still avoiding your gaze.

"It's just that you're...a thousand years old...I guess I just figured in that time you would have-"

"I didn't get to where I am by running around like some dog in heat," he retorts. "I spent my time getting stronger, strategizing, honing my cursed technique. Then I was sealed away for a few hundred years. When the hell would I have-"

"I never thought of it like that. But I figured Heian Era and all, the 'King of Curses' must have had concubines, right?"

"Yeah? So? I had a bunch of that old-timey shit!" He spouted. You had to stifle a laugh this time. "Doesn't mean I cared. I was...you know...a little busy conquerring the world?"

It was beginning to sink in. The King of Curses, God of the Heian Era, the Great Ryomen Sukuna sat on a shelf like a minted doll for a thousand years, completely untouched, and you- little modern nobody you- were about to take his "v-card". You felt giddy.

"'Kuna," You began, reaching out to take his face in your hands, compelling him to look at you. He hissed as you did so. "Ryomen. We don't have to do this."

"No, I want-"

"If you really want to, that's fine. Just know that it's going to be messy. Probably a little awkward. Maybe a lot awkward! Heck, I don't even know what to do about the extra set of limbs and...appendages," You laughed, giving his thigh a squeaze. He rolled his eyes. You continued earnestly, "I just want you to know it's okay not to know it all- not to get everything perfect. That's where the trust comes in...and where the memories are made."

He heaved a deep sigh, turning away again as he became lost in thought.

"Hey, Ryo?"

"What, brat?"

"Thanks for waiting for me," you wink.

"Don't flatter yourself," he grumps, a rougey glow tingeing his cheeks.

"Of course not," you smile. Then, eyeing his extra arms you continue. "So I just have one question..."

"Speak."

"Will we need one condom, or two?"

Thank you so much for reading! Likes and reblogs always appreciated, but never expected.

MDNI banner credit to @cafekitsune

Special thanks to @heian-era-househusband for always listening to my stories and for being my trusted partner 💕

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vague-humanoid · 4 months ago

Text

Last year, toxicologist George Thompson began raising an alarm about the hazards created by the Norfolk Southern train derailment.

The situation is worse than officials have indicated, he said. The chemicals unleashed by the disaster created a stew of dangerous agents with the potential to reach much farther than the immediate area in and around the Ohio town of East Palestine. People in Pittsburgh, 50 miles southeast, should be concerned. So should people in Washington, D.C. In fact, after studying weather models, Thompson estimated the toxic fallout from the train crash could cover more than 126,000 square miles.

Despite Thompson’s experience — he’s now retired after working as a toxicologist for more than five decades — few people knew of his warnings. That’s changing.

Thompson will present his detailed report at two Ohio town hall meetings next week. The first begins Saturday, Sept. 28, at 1:30 p.m. at the Nazarene Church in East Palestine. That will be followed at 5:30 p.m. by another presentation at the Columbiana Arts Theater in Columbiana. The meetings are free and open to the public.

In addition, Thompson’s information will be detailed in an affidavit he hopes will be admitted into a final hearing Wednesday, Sept. 25, before a federal judge in Youngstown, Ohio, who will decide whether to approve Norfolk Southern’s $600 million class action settlement offer.

Thompson’s findings may surprise people who’ve been paying only casual attention to the disaster and its aftermath. Indeed, the report is at odds with the message from the Environmental Protection Agency, which has maintained that residents face no danger from contaminated drinking water, soil or air. (The EPA has not responded to a request for comment.) But his information comes as little surprise to many of those affected by the derailment. They say they’ve known all along that something wasn’t right.

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lorasdolly · 12 days ago

Note

Thought of some fluff with Ambessa.

Ambessa with a reader who never learned how to care for their curly hair properly. Their hair is similar but due to circumstances, reader just never learned how to manage/properly care for their curls and it shows.

— 🦌

𝐇𝐀𝐈𝐑 𝐃𝐀𝐘

︶⊹︶︶୨୧︶︶⊹︶

𝗰𝘂𝗿𝗹𝘆 𝗵𝗮𝗶𝗿 𝗿𝗲𝗮𝗱𝗲𝗿 𝘅 𝗮𝗺𝗯𝗲𝘀𝘀𝗮 𝗺𝗲𝗱𝗮𝗿𝗱𝗮

Ambessa's hands engrossed you in the bath, her legs spread as you sat inbetween them. Your back was up against her chest, both nude but in the hot water. Your eyes fluttered clothes as her hands massaged your scalp, bubbling up with the shampoo she used.

You hummed, feeling her broad figure behind yours. Ambessa had recently commented on your hair, wondering why she'd never seen you take care of it.

Your first response was to whine and complain about her bluntness, but she didn't give you a chance to before she was dragging you into a bath.

It wasn't the worst thing, she started whispering sweet things in you ear as she washed your hair. She took the shower head, gently rinsing the shampoo off and kissing the top of your head.

She repeated that once again, then lathered your hair in conditioner, only using her own products on your hair. "You didn't have to do this, 'Bessa." You said gently, leaning into her touch.

"And why not? Aren't I allowed to care for you?" She spoke, not paying much mind to your words. Her hands worked magic, nearly falling asleep in her arms.

"It's embarrassing," She scoffed at your words, grabbing your chin gently to turn your face, both of your eyes meeting. "It's embarrassing that you had to call me out on something like this."

Her thumb traced small circles on the side of your chin, "You need not to be ashamed. That's why I'm here." She reassured. Her hand let go of your chin, moving to rinse the conditioner too.

You shift awkwardly once the water pressure is turned off and she drains the bath, wrapping you in a towel and then herself. "Have you ever used any creams on your hair, dear?" She asked, using a smaller towel to dry you hair a tad bit.

"I— I've tried but they don't work." She chuckles softly, grabbing a few things and setting them down on the sink. Her hands wrap around you, moving to your under thighs. "Around me, dearest."

Your arms go around her neck, soon hoisted up by her onto the other side of the sink. She detangles it in sections, cooing softly in your ear.

She gets a generous amount of cream, apply it in the same sections tenderly. She notices the way you drift off, staring into her eyes without any focus. "Are you going to learn or will I be having to do it for you every time?" She says playfully.

You snap out of the trance, focusing on her movements. "Perhaps." You say, eyes flickering.

"Perhaps, what, dear? Perhaps I'll do this each time?" She questions, washing her hands in the sink, both of you still in your towels, yours slightly coming off.

She kisses your forehead, "Do you want it to air dry, dear?" Her voice is mellow against your forehead, her hands adjusting the towel.

You nod softly, wrapping your arms around her so she could hoist you up again into her arms, "Can we watch a movie, 'Bessa?"

She chuckles throatily, quickly thinking about how her routines have changed since she's been with you, accommodating her life to yours. "Alright."

(𝗔-𝗡 ; 𝗽𝗹𝘀 𝗳𝗼𝗿𝗴𝗶𝘃𝗲 𝗮𝗻𝘆 𝗼𝗳 𝗺𝘆 𝗽𝗼𝗼𝗿 𝗸𝗻𝗼𝘄𝗹𝗲𝗱𝗴𝗲 𝗼𝗻 𝗰𝘂𝗿𝗹𝘆 𝗵𝗮𝗶𝗿 𝗺𝗮𝗶𝗻𝘁𝗲𝗻𝗮𝗻𝗰𝗲 😩 𝗳𝗲𝗲𝗹 𝗳𝗿𝗲𝗲 𝘁𝗼 𝗰𝗼𝗿𝗿𝗲𝗰𝘁 𝗺𝗲 𝗮𝗻𝘆𝘄𝗵𝗲𝗿𝗲)

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mrs-weasley-reid · 5 months ago

Text

JUST SAY WHEN

Spencer Reid x writer!reader

Synopsis: You always choose Spencer Reid, but is it the right choice? Word Count: 3500+ WARNING: ANGST. not proofread!!! A/N: oh, here we go again... the angst plot in my head. this one feels disorganized. like my writing is all over. i've had this one in my drafts for over a month. but today i have the courage to hit post. honestly have mixed feelings about this. it's a new type of reader I'm dabbling in so i really am anxious about this. tell me what you think!

“You should’ve seen him when he first saw me.”

THE PURCHASE.

Vast lavender field soaked in chamomile tea. Dusty sunset through the window pane. Overwhelming aroma of old books. One figure tiptoes to the eighth shelf. Arm stretched to reach an old copy of The Scarlet Letter.

Whenever Spencer is asked what he felt at that moment, he thinks, “Like I saw an angel freshly descended from heaven.”

“Shit—” Gasps by the said angel.

A book and body drop on the carpeted floor.

Spencer runs to your aid. A failed attempt to prevent the seething pain you momentarily felt. First of many.

“Are you okay?” He asks, kneeling next to you. Spencer reflexively offers his hand.

You chuckle, taking his hand, and you feel him tense. “Don’t worry, I’ve had it worse.” You retract your limb to focus the pads of your hands on dusting yourself, squatting down to pick up the book.

Spencer nods unknowingly despite the confusion and the knots in his eyebrows. He glances at the book, “That’s a great book.”

Following his gaze, you hoist it up with a grin. “Very,” You emphasize. “I’ve read this, like, ten— thirteen times?” You brag excitedly, sparkling eyes as you meet his big brown sight.

“Eighty-four.”

You hum, raising your brows.

“I’ve read it eighty-four times.” Spencer shyly smiles, tight lips in a curved line. His hands grip the strap of his leather satchel. Socializing has always been his worst skill, let alone talking to someone as beautiful as you. He can’t help but feel his tongue twist itself into knots he can’t untie.

You blink—slowly and adorably innocent. “What?” You chirp. It’s not every day you meet someone who’s read a book more times than you. Plus, the boy in front of you is quite the charmer, and you’re distracted by the glow of hazels in his eyes.

Spencer nibbles on his lips, and a faint reddish glow creeps all over the land of his skin. “I— uh, I have to go. Bye.” He shuffles as if his body can’t figure out where to direct itself and ends up malfunctioning in the process. In the end, he walks past you, rushing to another aisle.

It takes you roughly twenty seconds to process that he’s no longer in front of you, twisting your body to his trail. “Eighty-four?!” You exclaim, baffled.

Your feet chase after him. “Wait!” You try to match his pace, almost jogging to catch up. “How is that even possible?” You get past him, completely blocking his way. “You just love this book so much that you read it on a loop, or what?”

“It really isn’t that big of a deal…” He mumbles, eyes glitching from one title to another, to towers of spines except you. A book with such a beautiful cover, his hands itch to reach and flip every page into memory.

You place your hands on your hips, furrowing your brows. “Tell me how you read it eighty-four times. I won’t leave you alone until you do. And I swear I’m the most annoying person you’ll ever meet, so it might be in your best interest to get rid of me quickly before you go insane.” You shrug like it’s a normal thing to say to a stranger.

Curiosity brims from your eyes, like a big doe's eyes begging a prey to bite her limb for the sake of adventure. And like a pirate tempted by a siren, Spencer takes the bait.

“My mom loves the book, so I read it to her all the time.” He admits, a hand behind his neck. It’s the start of a long explanation. You don’t dare stop him. Your eyes are fully fixed on his moving lips. He can feel it. And he fights not to meet yours because he just might explode.

Right then and there, you know the small contact from his hand completely stole your heart. And his words hold you into a willing prisoner because you saw him first from afar. Because you specifically chose the book in your hand despite having two copies of it to avoid first contact. Because you didn’t want him to know how long you’ve been staring.

Spencer gets abruptly cut off by a patron bumping into him. You fight every willpower in your chest to keep yourself from making a scene in a mall’s bookstore, shifting your attention to him.

“Want to talk more about it over coffee?”

“I was mesmerized. The beauty of his mind was so intricate I couldn’t stop myself from falling even if I tried. I wanted him to own me. And it happened just as I wanted. I just didn’t know it’d be torture… Reaching his hand out was his fatal mistake. Taking his hand was my demise.”

THE FIRST CHIP.

Disheveled. Broken. Sharp.

Big brown eyes dull in the dead of the night. Spencer stands before you with indifference.

He’s changed.

But the grip on the neck of his satchel tells you your Spencer is still there behind the walls he put up. The first of many false hopes you convince yourself to believe.

Five months. You’ve been dating Spencer Reid for only five months. And you’re in love with every fiber of his being. Only five months, and you know you’d love him for the longest run.

When people ask why you love him, you say, “Because I know he’ll never hurt me.”

Then it happens.

Tobias Hankel.

You loathe the name the moment you hear it. Accidentally burn yourself in the middle of making dinner when you receive a call from Penelope Garcia that Spencer’s been kidnapped by a serial killer.

In the moment, you panic. Almost causing a huge fire in your apartment building as you babble over the phone, asking Penelope where the hell your boyfriend is being held as if the word kidnapped meant a mark on a map.

Then, you worry. You beg Penelope to let you in on the progress of his search. You pace in your living room. You read every true crime book on your shelf. You pray on each page that an answer will dawn on you and that you’ll have something of use to locate Spencer, as if you knew everything when, in reality, all you knew was that he’s held captive by some sick villain in your story.

You felt like every sidekick in a hero’s movie. Useless.

When Penelope tells you that he’s on his way home, you’re never too tired or sleep-deprived to drive to his place. You waited hours outside his doorstep. You ignore the shivery breeze all over your skin, as you’d forgotten to change into something more weather-appropriate. You don’t worry about the unattended kitchen, the food you are excited to make.

You only think about one thing: be the first person Spencer sees when he comes home.

He arrives in the sixth hour, close to dawn. There's a gauze on his temple. His eyes are glued to the wooden floor.

It’s a strength not to cry out from the sight. Worry courses throughout your body. But the relief that he’s made it home safe cancels the anxiety out of your head. All you want is to cradle him, wrap him in your arms to remind him of home, of safety, of being loved.

You take Spencer into a tight hug. “I was so worried.” You whisper in his chest, breathing in his wake. He’s safe. Everything should be okay. “I’m glad you’re safe. I care about you so much.”

Only for him to say, “You should go home. It’s late.”

“I’m not gonna leave you by yourself.” You shake your head, pulling away to stare at his empty face. Your palm cups his cheek, and it’s cold. He doesn’t lean against it. He simply winces like your touch is dangerous.

“I’m too tired to entertain a guest.”

You.

A guest.

There’s a small sting inside your chest that you ignore don’t notice. Your heart feels similar to a teacup with a chip on its rims. Delicately painful to the touch.

You swallow the thick air in the middle of your throat, nodding as you bite the tears from the back of your eyes. “Alright, my love…” You softly enunciate, not wanting to sob at the sight of Spencer avoiding your image.

The spark in him that you love so much is nowhere to be found. Only hatred and something you can’t figure out swim behind his irises. He doesn’t even reach for your hand. Doesn’t hum in delight like he always does when your skin caresses him.

A prominent chip marks your being. As if you had been dropped from two floors down.

You shove the thought away.

You tell yourself that Spencer needs his space. Tell yourself that he needs time to process, to heal. You tell yourself it’s okay because Spencer’s had a long week. You tell yourself it’s not about you.

You leave a kiss on his cheek, “Rest well. Call me if you need anything.” You walk down the stairs with a weight you don’t discern.

Spencer doesn’t say he will.

And he didn’t.

“It takes a while before I realize the chip he caused. And even then, I said, what is love if I never get hurt? What is love if there’s no struggle? Besides, there are moments when the chip didn’t hurt. Minimum effort filled the aching void. Simplest gestures blinded me. Sweetest words impaired my hearing. I wasn’t hypnotized or caught in a spell. It’s plain and simple. He had a hold on me. I chose not to break free.”

THE VOICES IN HIS HEAD.

“Oh, here we go again.”

You feel yourself physically shrink.

Spencer rolls his eyes, pushing one hand into the depths of his right eye socket. Heavy sighs drool off his lips. The pounding in his head makes his vision blurry. And you’re convinced some type of voice tells him you’re no one important in his life.

You had asked him if he’d like to take a break from his files. After he’d said no, you carefully made a point that he hadn’t eaten anything the whole day. Then, you’re back to the now, where Spencer snaps at the mere mention of taking his fingers off the thin edges of the case.

A year into loving him. A year into being his solace—his words that now seem to be a lie—and you feel your entire body tense with every twitch and narrow of his eyes.

“Can’t you just leave me alone?”

Your chest tightens. A tug hitches your breath. A strong pressure sits over your lungs, deflating every air out without any chance of inflating back.

Since that night, Spencer changed. And you don't blame him. Completely understanding the stake of his trauma. Motivated to make his days better, to make him feel better.

The first month since that evening, Spencer didn’t text or call. He didn’t answer yours either. He isolated himself, and you’d heard from JJ that they even had a hard time talking to him.

So, you thought you weren't alone. That you weren't the problem. Because if everybody else can't reach him, then Spencer must want his solitude.

You climb on your shelf. You patiently wait for him to want you again. You let it happen. Let him consume you despite the ache that gnaws in the back of your mind.

And when he comes knocking on your door. You swing it so fast, eager to have him back in your arms. You lock the tingly feeling inside a vault. Because Spencer said he loves you that day.

“I’m trying to do my job. It’s a difficult job, unlike yours, where you just scribble on paper or tap on your annoying keyboard and be done for the day.”

It cracks. Every fiber of your being cracks. The colorful memories are stricken with connected lines, slowly turning into a depressing gray.

You crack internally. A glass hit with force enough to break but not enough to shatter apart. Your skin holds up every broken part like a puzzle piece.

He’s just mad. He doesn’t mean it. You chant inside your head. You don’t know who you’re lying to.

Spencer said he loves your writing. Love every word lined by your weaving hand. Love the stories formed from mundane moments and late nights. Love the emotions that brim within spaces and punctuation marks.

And you wonder if you should've kept not believing it. If you should've stayed appreciative but never convinced.

“There are people’s lives at stake. I’m saving people’s lives, not filling their free time by reading your made-up stories.”

A target made to be maimed. Spencer aims at the center with precision. And you’re stricken with every shot.

Your feet step back on their own. A subconscious pull for safety. Heart beats in fear, in ache.

“I’m sorry.”

It dies in your throat. Your body shakes in so much pain you don't mind the way your heart and lungs shrink. Afraid that tears may fall, willing them to stay in place—in the back of your eyes where Spencer won't find them.

His migraines worsen. You tell yourself.

He’s still in pain. You remind yourself.

His job is more important. You convince yourself.

Excuses after excuses. You make it a habit. Make excuses for him to distract the piercing agony.

“W-why don’t I give you some space? Refill your cup?” You offer a smile like it’s a job you must carry successfully.

Spencer gulps, hands in his pockets. “That would be great. Thanks.” He replies, getting back on his seat as if he hadn’t just cut through you like a sharp ax splitting a small trunk in half.

You flinch when he shuts the door as soon as you step out of the room. Each piece vibrates in place, waiting for the last hit.

“Litany of reasons come after that. I woke up each day with yet another excuse. A shameful attempt to sell what was rotten. Until I took a bite of it myself, and I tasted the sickening truth.”

THE DESTROYED SAND CASTLE.

It's deafening.

The sound of you shattering into a thousand pieces. Sharp edges cut through every fabric of what you thought was true, what you thought was real.

“I love her.”

But you're not her.

You’re not the great Dr. Maeve Donovan. The woman who kept his migraines at bay, if not anything, cured them. The smart, beautiful, successful woman who rang every local pay phone in his vicinity. The woman that occupied his waking days. Days he went through next to you.

Dr. Maeve Donovan. Spencer’s great love.

And he’s never seen her in person until her last breath. But her voice is enough to steal him away from you. Enough for the color in Spencer’s skin to light back up after years of your failed attempts. Enough for Spencer to fall in love with her. Enough to stay in love with her despite her being gone in the wind. Despite you sleeping next to him every single night.

She was enough. The idea of her is enough.

“I love her.”

Love. Present tense. Spencer loves her.

You don’t remember the last time he’d ever said those words to you. Don’t remember the genuine emotions that radiate along those words. Don’t remember the last time you’ve ever felt loved by him.

“Hey…”

You walk past Penelope. You don't realize it until she catches your arm, distracted by the fatal explosion inside your chest. You can see the way your world crumbles like a sand castle kicked by the meanest bully.

“Sweetie, what’s wrong? Did you not find Reid? Is he not in Hotch’s office?” Her eyes soften at the sight of your tears flowing like a steady river. “He’s safe, I promise. Just a little graze, you’ll see.” She tries to console you, rubbing the side of your arm.

Just a little graze.

Spencer has been carving little grazes on you for years, and the final blow causes your entire life to shatter in fine dust—close to nonexistence.

“Do you mind telling Spencer that there was an emergency, so I had to go?” Your voice breaks with each syllable, fighting the sobs from spilling out. It’s numbingly painful. Every part of you is sore and aching.

Penelope furrows her brows, “Sure, but is everything okay? What emergency?” She pries, no bad intentions, simply a sign of her kindness.

You take a rough gulp. “I…” You look into her eyes, begging for her not to ask further.

She nods, giving you a soft squeeze on your arm and a warm smile. That's when you knew that she knew exactly the source of your nonstop tears. Maybe no longer than you did because you can see the anger in her eyes. At least she's on your side. And it's enough for you. “Call me if you need anything, love,” Penelope says, pulling you into a bone-crushing hug. “I’m always here for you. I’m always ready to be on your side.” She adds against your neck.

And you're heading towards the elevator without a second thought.

You hear your name as the doors close, lifting your head to find Spencer coming out of the bullpen. Penelope is true to her words, blocking him from reaching where you stand. His voice makes your insides churn. The sound of your name rolling off his tongue is sickening.

Your body collapses on the floor. The sobs finally echo within the tight space. The tears endlessly flow in raging torrents between floors. You wrap your arms around your torso, holding yourself together.

But it's way too late.

Every piece of you has already shattered into messy pieces. Spread out in broken parts, unfit even if you tried to glue yourself back together.

Spencer has destroyed the castle you've built. The castle you made just for him.

You wonder if it's all for show. If Spencer chose to keep you just to avoid his boredom when Maeve’s unreachable. If he only tolerated you to fill her physical absence.

But you should’ve known that it was a matter of time. His kisses were merely ghosts. His touch was stinging cold. His words were hallow.

The signs were clear in plain sight.

Spencer stopped loving you a long time ago.

"It's my fault." You say out loud, as if thinking it isn't painful enough.

You made a choice. Each day, you choose to make up new reasons why Spencer is distant. You convince yourself that you aren't hurt by his cold glances. You tell yourself that it’s not torture if you love him.

The elevator dings to the last floor.

“Remnants of myself dried up inside that box.”

Tongue runs over the softness of your lips as the final lines of your book approach with the same heart-wrenching ache. For the audience, at least.

You flip the page, lifting your gaze. You scan the mass of teary eyes and silent sobs.

There, you find two familiar faces. Penelope sniffs next to Rossi, who’s smiling proudly. The sweet blonde became your secret ray of sunshine. And the Italian mentored your way to a New York Times bestseller.

"In that tight space. In the center of those four moving walls. I wished so much that he'd only said when. When everything felt too much. When I was unwanted. When he stopped loving me. I would've understood. Because I always did."

What you don’t expect is the third familiar figure. It stands in the farthest back. A shadow if you don’t know any better. You take a deep breath.

The next words are etched in your brain. The first words you’ve ever written in the making of the book under your palm. The words that still ring in your ears.

“I must say, it’s not that I never learned. I learned so much that within the cracks of my broken self, I filled them with empty promises. Promises I never kept. Promises I broke because I believed I’d be fixed in a couple of days. I believed that the space between pieces of me would mend if I made the choice to stay.”

His hair is unkempt. His eyes are as brown as the healthiest earth. His build is leaner. His face is worn out by horrors you don't dare imagine.

Flashes of his pleas, his tears, his knocks on your door. You remember them like they were just yesterday. The pain that left a prominent indentation on your heart.

Tattoos of pain adorn his face. Has he been there the entire time? Do you really care if he was?

You lock eyes with Spencer, pausing for a moment. You let the past seep in. You unlock the vault of your broken pieces. Let them sing in agony. Let him hear the melody of your suffering.

And then it stops. They vanish through the air of peace. The relief of moving on.

You smile at him. The one that started everything.

“It’s important to know that I always had a choice. And with that is the acceptance that each time I chose wrong.”

reid masterlist | masterlist

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thatnonameuser · 4 months ago

Text

The Red King holds a Bleeding Head

A Wonderland of Yanderes - Masterlist Chapter 1. Heartslaybul Part 4.

When things do not go well, they continue to not go well.

This is the feared Dorm Head Riddle Rosehearts. This abridged story's Red Queen, the Rose-Red Tyrant. And to you the most frightening title of all, the Head of a Dorm full of controlling yanderes.

Ace wasn't very smart. That was the first thing. Rule of thumb, don't bad mouth someone when you haven't checked first to make sure they aren't around.

Second thing, of all the ways to officially meet Riddle Rosehearts, this was had to be the worst way. Immediately after Ace's smear campaign. Are you unlucky? You feel unlucky.

Well, here we are, no turning back now.

Whatever you do next, it's all based on Riddle's reaction to Ace's stupidity. Riddle's face is tight in a scowl, arms tightly crossed and you can feel the glare going through Ace right now. Let's hope this doesn't end with an actual beheading.

Cater jumps in to damage control, "Hey Riddle! What's shakin', pal." That was so forced, it might as well have been written by a computer, and not said by a chronically online person. "You're lookin' adorbs, as always!"

Riddle's scowl softens, maybe there's hope. "Hmph, Cater, keep running that mouth and you'll lose it - along with the rest of your head." Nope, no there isn't. When was there ever? Riddle's face may have softened but his temper sure hadn't. Is he always like this?

How can he so casually threaten doing the magician's equivalent of an amputation for an greeting he didn't like!? Maybe your plan was doomed from the start. Does this guy even have friends?

Still, you're not trying to actually be friends. You're looking for allies to use in cases of emergencies. So you'll bite your tongue.

"Sorry, sorry! My bad!" Cater shuts up, faster than you ever seen him so far.

Grim probably seem can't read the room, because he tries to square up with the magic severing Dorm Head with a fuse shorter than Grim himself. "Myah?! You're the guy who put that stupid collar on me at the orientation ceremony!"

Riddle doesn't miss a beat, and throws it back at your foolish feline friend. "And you're the new students who were nearly expelled earlier this week. I'll ask that you not refer to my signature spell as a 'stupid collar" Ok, shitty start so far.....

He glares directly at you next, and you hadn't even said anything yet! "The headmaster's habit of tolerating rulebreakers like you is going to send this entire campus spiraling into chaos one day." You tighten your jaw around your the tip of your tongue. Don't say anything. Just don't say anything.

"Those who break the rules should have their heads removed immediately, without exception." You can taste blood in your mouth, but you won't say a word against his little slander rant. Even if Ace and Grim are sending this plan downhill at the speed of an avalanche, you will persevere.

Unlike you, Ace doesn't seem to know when to shut his big fat mouth, because even after that, and how this conversation started in the first place, he doesn't shut up, "Dude, seriously? This guy looks like a wimp but he sounds like a monster," You hear Ace hiss under his breath. You only hope Riddle didn't hear it.

This polite insult-laden speech finally draws to a close. "The headmaster may have forgiven you, but if you break any further rules, I assure you I will not."

Ace, pulling the idiot card from the deck once again, chooses now to get his collar off his neck. Perfect. "So, uh, listen, Dorm Leader, sir..." Off to a wonderful start, Ace. "Any chance i could get you to remove this collar?"

The response wasn't a surprise. It was expected, really, "I had intended to remove it once you'd taken an opportunity to reflect upon your crimes," So, no. Yay, Ace is stuck in your dorm tonight...."But I've not detected so much as a hint of remorse in the foolishness I've heard you spout today. So I think I'll let you keep that for a while." Saw that coming a mile away.

You tune out the reassurance that he offers regarding school life, more concerned with the fact Ace will be alone with you tonight, again.

"Now, if you've finished your meal, you should quit gossiping and prepare for your next class. Rule 271 is quite clear: One must leave the table within five minutes of completing their lunch."

There are over two hundred rules...? You'd scanned the first fifty rules of the Queen of Hearts, before stopping under the reasonable belief that no one actually followed these insane rules. Was that too much to hope for?

This time his ire is pointed directly at Ace, "You DO understand what happens to rulebreakers I trust?"

Ace sighs, "More insane rules...."

Riddle's eyebrow twitches in irritation, "I believe you mean to say, 'Yes, Dorm Leader!'"

"Yes Dorm Leader," Ace and Deuce yell, and you felt nearly compelled. He's like a dictator threatening his troops.

"Very well then."

Trey tries to calm Riddle down, "Don't worry I'll keep an eye on them."

Riddle eyes Trey with skepticism, "Hmm. As Vice Dorm Leader, I trust you'll avoid any further indiscreet conversation."

Trey is the Vice? Why didn't he tell you guys? Is he trying to hide something. Or, is he trying to separate himself from a certain tyrannical dictator.

Riddle seems satisfied now that he's said, read ordered, his piece. "Now, as per rule 339: The post-meal beverage is to be lemon tea with two sugar cubes. Thus I must go acquire my sugar cubes. Farewell." As he walks away you can hear him mutter under his breath, "Don't even get me started on their violation of running out of sugar cubes....!" Is he ever happy? If you can nitpick every single detail and violation then how do you find any joy in your life? No wonder he's such a jerk to his own dorm mates.

Is it even possible to get him to forgive you? Much less befriend you?

"Yeesh!" Cater exclaims, "That was terrifying."

"That guy......has some serious issues." says Grim. "I don't think serious is enough of a word to describe this...." You agree.

"Hey, we shouldn't disrespect him.." Deuce sounds like wants to agree with you but can't.

You shake your head. "I don't think we're the only ones who think that your Dorm Leader is a bit nuts." You can hear the fearful murmurs of some other Heartslabyul students, relieved that Riddle didn't collar them.

Cater and Trey don't argue against your claim, and that speaks enough in itself. Two upperclassmen are too afraid to even deny what you had said. Trey's smile now feels forced as he explains, "Riddle managed to secure the Dorm Leader title before the end of his very first week at school. I know he can come off a bit harsh, but-"

You cut him off, "Trey, no offense but over half of your dorm mates are cowering in fear because Riddle walked over here. I don't think he comes off a bit harsh. I think he is harsh."

"I know....but" But it doesn't seem like even he believes that, "he's not a bad guy inside. Everything he does, he does because he thinks it'll improve the dorm."

"Would a good guy go around putting collars on strangers' necks?" Trey and Cater laugh awkwardly but they can't deny it. So Grim actually is right.

"So what's this signature spell he mentioned?"

"Hm? You're curious about Riddle's signature spell?"

"That means, like.....it's a spell that only he can cast, right?"

"I doubt he's the only person in the whole world....But yes, a signature spell is a magical ability that is, generally speaking, unique to its user." It might be best you remember this. If there's magic unique to the user, could that magic be dangerous against you? Riddle's own seals off magic, so you're not in immediate danger thanks to that. But you still don't know about the rest of the Heartslabyul students you know. What exactly is their Unique Magic? Does Grim have one?

"Which is why all of us at Heartslabyul House try hard not to violate Riddle's rules." But back to the present issue, Riddle's magic sounds terrifying to magic users. So that does explain why Heartslabyul lives in fear.

"And as long as you are following the rules, Riddle isn't so scary." And that's all you needed to know. If he is kinder to those who follow the rules, then you just had to be a teacher's pet, or a dorm leader's pet. Wait, that sounds wrong either way.

"Speaking of which- are you still not gonna let me into the dorm until I buy a tart, Cater?"

"Don't @ me, but yeah. That's rule 53, so my hands are tied."

"Isn't that taking this too far? Sure, Ace stole something but he still lives in that dorm. Kicking him out is too harsh of a punishment."

"Riddle really looks forward to having the first slice of a tart. So he won't forgive you unless you come back with a whole tart."

Perfect. So all you have to do is find a tart and all will be well. You're starting to realise that that is a whole lot of fat chance served on a plate. Maybe Ace will steal it, and cut you a break.

But as it turns out, Ace is flat broke, so he can't just go buy a tart to replace it with. You would happily just go buy one to save your own ass, but Crowley (the bastard) is yet to give you any money.

Thankfully, Trey offered a solution that would work, make a tart on the cheap and give that to Riddle. You also learned he was a talented baker, which sounds like something you might take advantage of in the future but priorities.

You hope that the tart plan does work, because if you have to do an entire run around for a honestly exhausting wild tart chase is becoming very annoying...

"Riddle wants a chestnut tart next, so I'm gonna need you to gather a ton of chestnuts."

"Like that's any less of a hassle. But.....fine. How many do you need?"

"Well, it's for the unbirthday party, so....Probably two or three hundred?" You choke on your own spit.

"S-Sorry, HUNDRED!?" You splutter.

"And they're all gonna need to be boiled, shelled and pureed." What you do to get Ace out of your house. It may seem that easy to just make a tart and be forgiven, but with how complicated this whole thing had been so far, things will probably be more difficult.

Whatever you have Grim and Deuce to help-

"Alright, I'm gonna head out." "I'm leaving too."

Why are you even surprised. You would have done the same really.

"You heartless cowards!" Ace objects from the abandonment and betrayal. But to be honest, considering he caused this whole mess because he couldn't keep his fingers out of someone's tarts, and the fact he exposed you to another obsessive psycho, you really want to leave him to his own devices.

Before you can jump in with a BS-laden speech to persuade them Cater thankfully jumps in. "Hold up! Haven't you ever heard that food tastes better if you make it with your friends? This'll be a memory to treasure! It could even be your chance to make a splash as a cooking blogger!"

Trey even proves useful, "Don't tell Riddle, but chestnut tarts are at their tastiest when eaten right out if the oven.. And the only people who get to experience that culinary privilege are the ones who make it."

That's enough to convince Grim, "Well, when you put it that way...Come on, humans, let's do this!"but you doubt that's the same for Deuce. But where you'll go, he'll follow.

"I'm only helping because it will mean you're back in your dorm sooner, Ace. You gonna help, Deuce?"

Deuce smiles at you. "S-Sure, Prefect." You're starting to get the hang of this.

Later, you'd focus on Ace's apology tart. Right now, you'd focus on your own. The apology, not the tart part.

After getting the cut in your tongue treated, you'd asked Ace and Deuce to go to class with Grim without you to get something private done. They'd both pushed to go with you but you managed to shut that down.

With what you had planned, you needed Ace, Deuce and Grim away from you. To prevent any unwanted incidents like accidentally sending Riddle off in an angry fit.

You had a plan, so you just needed to start that plan.

So here you were back in the cafeteria, searching for a head of red hair and there he was sipping a cup of lemon tea with exactly two sugars, if you remembered the rules right, completely alone with only thick tomes for company.

You don't bother yourself worrying about the implications of the him sipping tea all on his lonesome. That's not your priority right now.

You tap Riddle's shoulder, "Excuse me? Riddle Rosehearts, was it?" you say as politely as possible.

He first gives you a look of chagrin, only for it to relax when he realises that you're alone. "You are correct. Have you come to cause more trouble and break more rules?"

His suspicion is warranted, but you've prepared for that. "Actually, I'm here to apologize to you specifically for all the trouble I caused." His eyes widen in surprise. He wasn't expecting that. Alright, here we go. "May I sit with you?" You say, allowing a small smile grace your lips.

He snaps out of his surprise at your question, but he doesn't reject you. After a few moments of silence, he finally says, "I-I'll allow it." He motions to the empty seat in front of him, and you accept the seat with another smile and a word of thanks.

Alright, step one of the potentially dangerous plan, apologise the the Heartslabyul Dorm Leader. "I'm sorry about bothering you like this. I'm sure you'd rather spend the time around your friends rather than a troublemaker."

He doesn't answer for a few seconds, "I'd rather spend my time in solitude than in the company of troublemakers," he responds. Does he not have friends? That answer makes you feel that the answer to the question is a yes. "However, you wish to apologise for your violations, so I'll humor your presence." Ok, so far so good. "Well, I should get the apologies out the way. I'm sorry about all the trouble I've caused since I've been here. Grim during the ceremony, accidentally damaging the Great Seven statues and destroying the chandelier. I hadn't meant to."

Riddle frowns, setting aside his teacup to cross his arms, "One should not apologise whilst making excuses." he recites as if he'd heard or said that a thousand times. He really is a stickler for the rules.

"What rule of the Queen of Hearts is that?" You ask, with how many there are you really need to remember them.

He shakes his head, "It isn't one. It's one of my mother's." Let's not touch that, insulting someone's mother is the fastest way to piss someone off.

You take a deep breath before continuing, "Well, then I'm also sorry for making excuses for my behaviour. I hope you can forgive me."

Riddle's silent for another few seconds, as if contemplating the validity of your apology. You feel yourself stop breathing in anticipation.

Finally, he answers, "It's rare for a troublemaker to be genuinely repentant, so I'll accept your apology. However, I won't be as forgiving should you choose to continue breaking the rules." So he is capable of forgiving troublemakers, that means Ace will eventually be back in his own dorm.

"Thank you." you let out a sigh of relief. Alright, time for stage two. Suck up like the worst kind of teacher's pet, "If you don't mind me asking, could you maybe teach about the rules of the Queen of Hearts?"

Riddle chokes on a sip of his tea, and looks at you in incredulity "Y-You what?"

"I want you to teach me about the rules of the Queen of Hearts, so if I ever break any of them I can't use ignorance as an.....excuse?" You trail off as you find Riddle completely stunned, has this never happened before? Has no one bothered to ask him to help them learn the rules so they could avoid breaking them?

"W-Well, it seems you really are trying to atone for your mistakes. If that is the case, then yes." He pauses, before offering you a cup of tea, smelling of sweet citrus, " Would you like some?"

If it's lemon, you don't want to drink it. The citric acid in the lemon will burn your tongue like hell. But there are unfortunately rules. "Are they any rules that say whether I can say yes or no?" You're not failing if this is a test.

Riddle smiles at you, "You learn quickly, Rule 114, One must never reject a cup of tea from the Queen." You, against your better judgement, accept it and take a sip and the tea burns the cut on your tongue but you force it down nonetheless. In the name of Future you's safety you would do what you had to. As long as it goes down without objection, you'll drink as fast as you can to dull the burn.

"Perhaps there is hope for you, even with that unignorable violation." Riddle says and you hesitate in your next sip.

"And what is that?" You ask, before taking another mouthful of tea.

He spares a few glances around as if looking for any eavesdroppers before dropping his voice into a hushed whisper, "That you are a darling attending Night Raven."

You choke, how does everyone keep knowing?! "H-How did you know?!" You ask, your voice barely a whisper.

"I was taught to recognise all the traits your kind has as soon as I was registered." How many of those were there?! Besides all the darlings here can't be exactly like you, that would just be impossible. Right?

Riddle continues, "That and you remind me of my father, kind and bubbly when you are surrounded by people you do think are trustworthy and jumpy and frightful when you think you are surrounded by those you don't. Subtly is not exactly your strong point."

You deflate like a balloon. You carefully set down the teacup before it breaks in your hands. "Are...Are you going to tell anyone?"

He shakes his head, "No, and while I feel your presence at this school is a travesty that Crowley has allowed to happen, you attempting to hide your identity keeps the members of my dorm from killing each other. You must understand it is quite difficult to mix paint in manner that hides the smell of blood." They kill people and mix their blood with the paint. Oh, shit, did...did you paint with blood earlier!?

"So I suggest you figure out how to circumvent your little issue." He finishes.

But that's impossible thanks to that stupid law, "But how do I do that if I can't access any of the things you can?" You ask.

"Your testing papers, all darlings have the legal right to see them after their registered. Headmaster Crowley should be able to give them to you if you request them. You'll be able to tell with those." Riddle gives you the first answer that actually helps you.

All you need to get Crowley to give you those papers and you'll be free to figure out how to save your skin.

You sag in relief, finally some good news. And then you remember, "Wait, why are you helping me?"

"Because it will keep you out of trouble. Speaking of, I expect your attendance at the unbirthday party tomorrow, so that I can keep an eye on you."

"Thank you." You whisper, for once you actually feel relieved. You were wrong about earlier it seems, he isn't as bad as you though he was.

"Now, Rule 71 of the Queen of Hearts states that one must never arrive on time, always early. You should leave now, before the bell rings." You nod, rising from your seat as he does the same.

"Thank you for everything. See you tomorrow, " You say with a smile before turning heel.

If only you hadn't failed to see how his face flushed and how he grabbed his heart as you left.

The woodland behind campus were surprisingly bright and vibrant, like a painting you would see in picture books, even with the change seasons coming up. As it seems the chestnut season is equally vibrant, as hundreds upon hundreds of chestnuts covered the forest floor. But the chestnut spines were too much of a bother to ignore, so here you were in the Botanical Garden looking for a basket and some work gloves.

The gardens are stunning, full of life and thousands of plants. Some you recognise, some you don't. The whole building is enormous. Finding anything here is like looking for a needle in a haystack.

Which means you have to split up to find what you need. "We should split up, we'll cover more ground that way."

Ace and Deuce open their mouths to object, "But-"

You're not wasting any time on them coming with you and taking longer. Besides having two bodyguard/friends feels a little suspicious.

"We're going to spend the rest of the night making tarts, we don't exactly have time to waste..." You argue and they don't fight back against this.

".....Sure. Dibs on the right side."

"Then how about I go left, while Prefect and Grim go straight ahead?"

"Sounds good, we'll meet up here at the entrance in 10."

You immediately regretted your decision to split up, as Grim got distracted every ten seconds by all the ripe, sweet smelling fruit. So you spent the five minutes that you were supposed to spend looking for a groundsman, chasing after your 'boss'.

"Hey, come take a look at this!" Grim runs to another bright, ripe fruit. "There's a ton of fruit growing here! Smells like they're ripe."

You grab his tiny body and yank him away from the fruit on the tree. "Grim, we're supposed to find a groundsman, not snacks!" You don't recognise any of the plants in this section. They all look mystical, but that doesn't mean safe. "Don't pick anything."

Grim wriggles loose to run to chase after another bright and shiny fruit. The grasses here are tall enough to reach your waist, and Grim disappears into the long stalks, "Grim. Stop!" Grim doesn't listen to you. "Don't pick anything!" You yell out as you wade through the tall grasses after him.

You stumble over the lush stalks of grass. It's so thick that you can't see your own feet. You hope there aren't any animals-

"Ngh!" A groan of pain fills the air and you feel something underfoot slip out and you reflexively take a few steps back. That didn't sound like an animal...

"Did I just step on something?" You think aloud, looking around for a source as a nearby patch of grass starts to rustle.

"Hey! You got some nerve steppin' on my tail and just walkin' away!" To your surprise, someone rises out of the grass, and he looks angry. Crap.

Originally, your brain had failed to compute the 'tail' part of what he'd said, but it's obvious to you now that you see his ears. He's a beastman. And he's wearing the Savanaclaw colours. Wait, didn't Cater say that Savanaclaw students like fighting. Shit.

"I-I'm sorry!" You say immediately, taking a few more steps backwards. You feel compelled to run.

"Tch. Ain't nothin' worse than bein' in the middle of a good nap and havin' some jerk step on your tail." Ok, no. He's the one who decided to sleep in waist high grass. Be mad at yourself for your bad decision making, buddy.

Despite how you feel, "It was an accident...." is what you mumble instead, but he doesn't seem to care, instead he stalks towards you, with a smirk on his face. "You.....I know you. You're that herbivore from orientation who couldn't use magic."

"What did you call me?!" You demand, outraged. He still ignores you, and he leans forward and..."And why are you smelling me?!"

He ignores you, pulling away with that punchable smirk. "Huh. It's true. You don't smell of magic at all."

"Did you miss the part where the mirror said that to everyone?!" You can feel yourself losing every ounce of your patience. You'd felt apologetic for accidentally stepping on his tail and waking him up, but this guy was being such a jerk, you no longer found it within yourself to care.

"Well, well, well, the little herbivore thinks she has claws. Can't say it'd be much fun to hurt someone like you. Still gonna do it, though."

"Do what?" You spit through gritted teeth. You clench and unclench your fists.

"No one gets to stomp on my tail and just walk away without payin' the price."

Ok, that's fucking it. You aren't a weak darling, and all the earlier rage and anger that you've felt in the last two days.

"Then maybe don't sleep in waist-high grass, and maybe in your dorm next time? That way no one will step on your tail" You say as sarcastically as possible.

"Hm? Herbivore, I'm afraid you're all bark and no bite." Oh? All bark and no bite, mystery animal man? Let's see how he bites your fist when it flies into his-

You tighten your fist before taking a swing aimed at his jaw. With his face so close to yours, he has no way of moving out of the way in time-

He stops your fist just shy of his face. He gives you an unimpressed look, before replacing it with that fucking smirk. He laughs at you, like you were foolish to even think that would work. His grip on your wrist is so tight that you wince as you struggle to twist it away.

"L-Let me go!" He laughs at your pathetic struggles to free yourself.

"Pathetic, like a mouse trying to kill a lion." He's a lion? Well then, what an arrogant asshole he is.

You struggle fruitlessly for a few more moments, before giving up. "Fuck you." You spit.

"You're a brave herbivore, I'll give you that. Still," His already tight grip feels like it's crushing the bones in your wrist. "You woke me up from my nap, that'll cost you a tooth."

"Fine. Take it." You hiss. Maybe you can get him in trouble for darling abuse or something after this. Would Crowley take you to a dentist?

"Leona! There you are!"

"Heh?" Leona turns to someone, and you follow his gaze to another beastman student, wearing the colours from the same house Leona is. His cocky, arrogant face tightens in annoyance.

The new mystery beastman looks like he's spent the time since last bell chasing down Leona. "I knew I'd find you here! We got after-school classes today, remember?"

Leona groans. "And now, I've got this guy on my tail...." You can hear him mutter.

You take the chance to do something stupid, rewarding in the moment but still stupid. Ah, whatever you only live once.

"What's wrong, Carnivore? Too afraid to bite?" You taunt, throwing his own words around and right back at him.

He glares at you. But the beastman speaks up before Leona can actually break your wrist. "Leona, you've already had to repeat one year. If you get held back again, we'll be in the same grade." You snort from repressed laughter, trying to hold back your laughter before the person holding your wrist captive decides killing you is better just breaking your wrist.

"Oh, put a sock in it already. I'm tired of all yer yappin', Ruggie."

Ruggie frowns, "Look, you think I like always being on your case? C'mon man. You act like it'd be hard for you. You could skate through life if you'd just TRY. Come on! Let's go already!"

Leona finally releases your wrist and you wince as blood returns to your fingers. "Hmph...Herbivore, you better not cross me again."

"Oh, I'll be sure not to." You turn, and walk as confident as possible through the tall prairie grass back into the fruit trees.

It was nice to actually be in control for once.

You eventually find Grim half finished eating a dozen multi-coloured unknown fruit. You don't feel as mad as you were earlier. So you don't bother with the scolding that you originally planned on giving him. Instead you scoop him up like a bag a rice.

"Nyeh?!" Grim exclaims in surprise, "Henchman, where'd you come from?!"

"Nowhere, I thought you already ate your weight in lunch earlier?"

Two familiar voices fill your ears.

"Yo, guys, we found the baskets and gloves."

"Prefect, what in the world happened to you?" And you smile.

"Nothing. Nothing at all."

You feel a little better now.

You feel worse now.

Not in a bad mood, just tired. A sleepless night would do that, then harvesting about three hundred chestnuts on your hands and knees plus hauling them back to the communal kitchens.

And now here you stood struggling to peel the soft skins of the chestnuts.

Deuce and Grim are lucky because they have the magic that Trey showed them to magically and quickly peel them, but you, a poor magicless human, must fiddle with sticky skins. Ace, forced to do this the old fashioned way, is struggling equally with the much higher pile that he'd been delegated for getting you all into this mess.

Still, it was actually fun to see the 'friendly' competition Ace and Deuce went through as Ace struggled to keep up with the magical efficiency.

Problem was, you were so much slower.

"Need any help?" Trey asks. He'd stopped supervising Deuce with his peeling. And he's looking at you with"You look like your having a hard time."

"Yeah...I've never really done this before...." You reply, still fiddling with the finicky skins.

"Here." He places his hands over your own, directing your fingers into a proper hold. "Like this." You can feel his chest against your back, his head over one of your shoulders. He smells nice, like a bakery right after the oven is opened and the sweet aroma of warm pastries has filled the air. The shell holding the nut finally gives way, done with your hands and guided by Trey's.

"Thanks", you say with a smile.

"It's no problem", he returns with his own smile. "Do you want help with the others?" He feels friendly, and you can't see that glint. Maybe it's his glasses.

"Sure." You respond.

With Trey's help, you start to fly through the pile of chestnuts that you'd once struggled to peel. You can actually keep up with Ace and Deuce in their chestnut peeling, being only a few dozen behind.

It's like painting the roses earlier, you like the serenity that you feel as you do this. The same when you were straining, and pureeing. Despite the fact you were willingly unwillingly roped into this, it's actually quite relaxing maybe you could talk to Trey about teaching you.

After what had to be a good two hours, straining and pureeing three hundred chestnuts, Ace finally groans in relief "There! Finally got 'em all pureed!"

"My arm is killing me..."

"Well at least it's over.." You agree as you massage the ache in your forearms. Deuce and Ace actually did most of the work for you, but you still tried to help. And now your arms hurt more than your legs.

"Nice work. It'll be all the sweeter for your pain!"

"Are you sure about that?" You say with a laugh. But seriously, your muscles hurt. It better be sweet for all the work that it better be.

"The smell alone already has me droolin'." You manage to grab Grim before he sticks his paws into the puree. You're not letting everyone's hard work to waste.

"I just need to add butter and sugar to the chestnut paste, and a sensible splash of oyster sauce- that's my secret ingredient." Oh, cool then you'll be done soon. Wait...

Your brain fills in the blanks. "Did you just say oyster sauce?" You say in utter disbelief. Maybe Trey shouldn't teach you how to bake....

"Yep. The umami of the oysters gives the cream a deep, savory flavor." He can't be serious, can he? Are desserts different here? Because last you checked a sweet dessert wasn't supposed to taste like salt.

"I use this one here: Walrus-brand Young Oyster Sauce. All the best bakers use it in their tarts." Your brain tunes him out in utter disbelief. Was this place just completely fucked? Because you'd have to dig through the mold on the underside of the barrel to actually find this madness. It's not the scariest thing or the most insane thing you heard in this misadventure, but an insane thing nonetheless.

Deuce actually seems to believe him, at least a little, "Really? But isn't oyster sauce like, super salty?"

Apparently so does Ace, "Some folks put chocolate into curry, don't they? Maybe it's the same idea." No, Ace. Whether it's pineapple on pizza or chocolate in curry, whether you like or hate it, it is not a total abomination of the culinary world. Oyster sauce in a chestnut tart cream is.

"You guys......are messing with me right?" You say, still in disbelief.

"Pfft...Ah ha ha ha!" Trey laughs, is he mad? If this dorm is Wonderland, is he actually the Mad Hatter and not the three of clovers.

"I'm totally lying! No one in their right mind would put oyster sauce into a pastry." You breathe a sigh of relief, okay this world wasn't completely far gone.

"Let that be a lesson to you. Don't believe everything you hear."

"Feh. And here I thought that human was actually somewhat decent." Grim murmurs.

"It wasn't that bad." Out of all the things you'd experienced this week, let alone today, this was by far the most tame. At least he revealed the lie, before Ace poured oyster sauce in the cream.

Trey has to be the most tame person you met so far, it's actually hard to connect that he's supposed to be a yandere and not a normal friendly dude with a hidden mischievous side.

That reminder isn't a fun one, but he seems perfectly nice...you hope.

"Next, I'll put in the cream....Oh!"

"What's wrong?"

"You guys gathered so many chestnuts that we may have overdone it with the chestnut paste. I don't think we have enough cream to mix in."

"Then I'll go buy some." Deuce volunteers himself, "Do they sell it at the school store?"

Thankfully, according to Trey, it does. You haven't been there yet, but no better time to find out like the present.

"I don't think I'll be able to carry all that back. ___-"

"I'll go with you." Whatever gets you back here faster. As soon as Ace gives Riddle this tart back tonight, you'll be in the clear. If he doesn't you're stuck with him tonight.

Deuce ended up calling this shop wild. Wild is an understatement. The shop is full of....everything. From fruits to stationary, and crystal skulls to rare plants. There's even a restricted access section, with locked cabinets full of freshly sharpened short and long blades to guns to pre-made potions filled with unknown fluids.

It's a perfect one stop shop for students, and for criminals.

"Do you really think they sell cream in here?" Grim says incredulously. Grim ended up tagging along, and looks equally mystified from all the products this 'school' store as to offer.

"I'm not-"

"Greetings, my stray imps, How fare you today?" You yelp as you reel back in surprise. The shopkeeper appeared quite literally from nowhere. "Welcome to Mr.Sam's Mystery Shop. What among my humble selection interests you? A charm from a secluded land? The mummified remains of an ancient king? A cursed tarot card?"

Ok, a name, the shopkeeper's name is Sam...something. And humble is modest understatement. You're pretty sure that this place makes the mega department stores back home look empty.

"How about some cream...for baking?" With so much stuff here, you feel a little overwhelmed.

"Y-Yeah, we wanted to buy all the items on this list."

"Ring up two cans of tuna while you're at it!"

"With what money, Grim?"

"Yes, Grim! We're not here for tuna!"

"What's this? Cream and eggs and....Quite the sacchariferous list! I'll get everything for you." It's impressive that he even knows that he has everything. With all the stuff here, you wouldn't even notice something strange or normal on these shelves. There's animals skulls, jewellery, weird taxidermy, even a weird shadow hand waving at you.

.......Y'know what, who cares. You wave back just in time for Sam to return with all your groceries. That was fast.

"Here you go. It's pretty heavy.....Are you sure you can carry this?Luckily for you, our 1/100th size flying saucers are 30% off today. Perfect for carrying groceries!"

Grim falls for the advertising, but Deuce stops him before he spends your nonexistent money. "We're fine, thank you. Let's go."

"Myah! I didn't realize today was National No Fun Allowed Day!"

"You're allowed to have fun as long as you don't make a mess." He deflates, "Grim, if it makes you feel better I'll give you an extra can of tuna for dinner." he perks up at that.

You and Deuce take the bags and bid Sam thanks. Deuce pulls you aside on the way out, "That store was amazing."

"Yeah, it was." You make a mental note to inquire about some products before your time of the month comes. That store has everything after all.

Main Street is practically void of any students, though you can see a pair walking up. The two are wearing red vests, Heartslabyul or Scarabia students probably. Besides that it's just, you, Deuce and Grim, who starts whining about his lack of purchases. "Yeah, and you guys are amazingly cheap."

"Hey!"

"Who are you calling cheap?!"

You shake your head, before readjusting the cords of the bags digging into your arms. You wince from the pressure relief, the bruise on your forearm that Leona gave you from earlier still stings. The bags are too heavy but you'll manage the rest of the way back.

"Hm?" Deuce must have seen your struggling, "_____, looks like you got the bag with all the cans. That must be heavy."

"It's not that bad," You shake your head, lying, "I can carry it."

"Here, let me take that one." He takes one of the heavier bags from you. And you breathe a sigh of relief now that the weight is off. "I've got a little trick for carrying heavy bags."

Smiling, you say, "Thank you." He smiles back, balancing all the heavy bags with ease. "You're quite the power shopper."

He nods, "Yeah. My mom always used to stock up at sales, and the bags would get ridiculously heavy. I was the only man in the house, so I got to do all the heavy lifting, and-" He pauses, "Oh, sorry. I didn't mean to monopolize the conversation."

You shake your head, "No, it's okay..." Actually, you might be able to learn something useful from this. "Y'know if you want, you could talk about her, you seem to care about your mom a lot."

He deflates, "No, it wasn't like that at all." He takes a deep breath, "The truth is, I-OW!"

The students you saw down the street from earlier, ran directly into Deuce.

The sound of something cracking into bits fills the air. Clear and yellow goop drips out of one of the bags.

"The eggs!"

Deuce hurriedly opens the bag to inspect the damage. "The carton is completely smashed! And now the bag's dripping egg goo everywhere."

"Ugh! Why don't you watch where you're- Hey!"

The offending student turns around infuriated, and then his eyes widen in recognition. You recognise them too. The delinquents from earlier. The ones who through a fit over a broken yolk. Surprisingly, they're wearing the Heartslabyul ribbons. Hard to be delinquent when a tyrant can collar them with ease.

"It's you from earlier."

"Yeah, and you're the jerks who broke the egg yolk on my carbonara!"

"It was just a yolk." You repeat but it's pointless.

The other delinquent stalks up to you, grabbing you by your tie , "I've had enough of you punks. You need to learn your place." They threaten.

You can see Deuce's eyebrow twitch in fury. "You're the ones who darted out at as from around a corner!" He mutters, you can hear the hostility deep in his voice. He's angry. "And you picked a fight with us at lunch over an egg that you were still totally able to eat!"

"And now you've destroyed six of OUR eggs!" That anger in his voice is getting louder, clearer. You've seen Deuce a little angry before, but something's off about this time.

"Yeah, he's right!"

"So what? You sayin' that was our fault?"

"I am. Please reimburse us for the eggs." Deuce is frighteningly calm. He's not yelling or anything. "And then apologise to the chickens."

"Ooh, look who's got his big boy pants on. You sure are makin' a big deal outta some stupid eggs." The one with hold on your tie taunts Deuce.

"You shut your mouth." You hiss at him.

"What?" Deuce is still way too calm.

The idiot delinquent keeps blabbering, "They haven't even touched the ground, so they're still edible. Quit whinin'."

His idiot lackey keeps up the nonsense jabber. "Yeah, you should thank us for savin' ya the trouble of crackin' em."

They laugh and it's mocking and cruel.

"That ain't funny." Deuce's voice has a low growl and very quiet, the delinquents are idiots so they don't notice but....

"Deuce?" You ask, and you can see his eye twitching. He's angry. dangerously so.

"Huh?" Idiot delinquent number one asks.

And then that anger that Deuce was holding back finally bursts forth.

"I said......THAT AIN'T FUNNY!" The yell is so loud, it stuns you. The normally polite and reserved Deuce is replaced with one with a voice so loud, you're surprised that it didn't awaken the statues.

"You don't get to call my eggs stupid! You don't get to call ANY eggs stupid!! Those eggs may not have gotten to be chicks, but they were gonna make some amazing tarts!!"

"And you," Deuce's voice drops low as he rips the second delinquent away from you. "You apologize to her, right now. Do you get it yet!? DO YOU!?" Your tie comes apart in the delinquent's grip, said delinquent too afraid to actually let it go. They looks like he's about to piss himself from fear.

"W-What is with this guy all of a sudden?!"

"You owe me six eggs. If ya ain't gonna pay me for em, then you're gettin' a bruise for each one!" Deuce cracks his knuckles for emphasis.

"A-Are you serious right now?" The other little twerp is shaking in his sneakers.

''Buckle up, jerks!!"

Deuce's fist sails home into the cheek of the red-haired one, and another into the nose of the other. Blood splurts out staining the gloves he's wearing.

Like two pathetic little bitches, the two delinquents scamper and struggle against the one man army Deuce proves to be. And he isn't even using his magic.

"This guy's outta his mind!" The first one stammers.

"Bwah! L-Let's get outta here!" The other squeaks. And they both take off running. You hope Deuce doesn't get in trouble for this.

"Next time you eat an egg, you better apologize a hundred times, you buncha chumps!!" He yells at the retreating duo.

"D-Deuce! You need to calm down." You cup his face with both hands. And the blind rage on his face dissolves completely into calm.

He pants as he tries to calm himself. "....Urk!"

"W-What's wrong?" You let him go. All that anger is replaced with sadness, or actually....It looks like disappointment. "Are you ok?"

"I did it again, didn't I...?" Did what again? Deuce stares at the blood on his gloves, and he looks pained. "ARGH! I was dead-set on becoming an honor student this time, too."

"Huh?"

"What do you mean?"

"When I was in middle school, I was pretty wild. I cut school all the time and got in fights. I called my teachers names, hung out with bullies, bleached my hair..." Deuce lists off all of his middle school crimes, and honestly....He did sound a lot like the delinquents back in your world, minus the Magic Wheel thing and the magic.

"So you were only a little more annoying than you are now?"

"Grim, not now...." You scold Grim before trying to comfort Deuce. "No offense, but that's kind of hard for me to picture..."

Deuce continues to tell his backstory, "But one night, I saw my mom talking with my grandma. She was trying to hide from me, but I saw her, and I could tell she was in tears. She was saying how she must have been a horrible mom, and that she never should have tried to raise me by herself."

Ouch, that must have been tough to hear, especially from his mom.

"That had nothin' to do with it! She hadn't done anything wrong. It was all me......And when the carriage came to take me to Night Raven, she was so happy for me. I decided then and there that this time, I wouldn't do anything to make her cry. That this time, I'd become an honor student-someone she could be proud of."

"And I messed it all up!"

"No, you didn't." He looks so surprised at what you said.

"But-"

"Deuce, you didn't get into a fight for no reason. You got into to a fight because someone destroyed your stuff, and threatened your friends. Besides, they probably would have attacked me if you hadn't stepped in. And protecting the people you care about is something honor students should do."

"R-really?" You nod.

"Plus the thing an honor student should do....is report this to the Dorm Leader that some of his students tried to get into a fight with two freshmen." You whisper into his ear. "Let's see how they like it when they can't use their magic." You chuckle.

"______....."

"And to be honest....I really enjoyed that."

Deuce cheers up at that, "Heh heh....I guess you're right! I just hope those chicks can rest in peace."

"Uh, Deuce, the eggs were unfertilised..." He blinks at you, he doesn't know what you're talking about. "They were never going to hatch in the first place..."

"Wha-WHAAAAAT?! Are you kidding me?!"

You giggle again whilst shaking your head. He's not very smart, but you don't mind.

"But about your mom, could you tell me about her? She sounds like a really nice lady."

#yandere #yandere twisted wonderland #yandere twst x reader #yandereverse au

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akutasoda · 3 months ago

Text

the fans are always right. right?

synopsis - mr reca seemed a bit more downbeat then your used too, maybe some rather interesting reviews would cheer him up

includes - reca

warnings - gn!reader, fluff, slight crack, wc - 1.6k

a/n: i uhh had an idea... lost it and tried to salvage what i remembered and this was the result- anyway all the reviews used were given to me by some lovely people ( @tragedy-of-commons, @singularity-sam, @vxnuslogy, @mikashisus, @/milksnake-tea, @/tetrachrxmacy and @theother-victoria) try and guess who's who :))

a huffed sigh escaped you, slouching down in your chair as the clock ticked rhythmically in the background. mr reca was supposed to meet you around fifteen minutes ago. he'd never been late before.

a reasonable explanation would be that he had something more important to tend to. and that would be understandable. but for now you were bored out of mind and leaving wasn't an option as reca could show up at any time - he probably wouldn't be as forgiving if you were to show up after him.

today you two were meant to develop a new script and start on the storyboard for his latest idea. in honesty, you're still not quite sure how you landed this job. you wanted to start getting into directing films of your own but couldn't quite place how to start and so you settled for finding a job as a co-director.

after helping co-direct a few pieces here and there, you got a message from the esteemed mr reca. you had to do a couple (maybe even hundreds…) of checks to make sure you weren't actually dreaming. mr reca didn't exactly strike you as the kind of person to need or even want a co-director.

and yet here you were. apparently he enjoyed the sense of style you breathed into the films you helped direct and thought it would pair nicely with a couple of his. even to this day you find it hard to believe that you still had this job.

but you put your all into it. a lot of trust and expectation was placed upon you and you would be sure to not let him down. even if that meant waiting for him to show up for your appointed meetings.

twenty minutes.

you looked around the room for anything to pass the time, all you could think of was your phone laid idly on the desk. then an idea crossed your mind. reca had recently released a film. perhaps you could read some reviews to pass the time.

you never really expected yourself to be mentioned in any of them. yes you got credits and the recognition for being reca's personally selected co-director but most people still only talked about him in their reviews, which wasn't exactly a problem.

it didn't take long to find a rather reputable review page and so you began scrolling.

you should've expected the first one being a five star review

@bebe_fanpage101 : ⭐️⭐️⭐️⭐️⭐️

- "This film has changed my life. My whole outlook on everything that exists in this world, in fact even in the entire universe. I can never look at anything I know the same way ever again. This film represents emotions most humans could never comprehend. But I can. Thanks to this film I have been awakened to many things previously thought unimaginable. Thank you."

a rather extreme opinion in your eyes, reca did have some “over-the-top” fans. your became intrigued after stumbling across a one star review soon after

@frankenweeniehater4life : ⭐

- "what ?"

[review has been deleted]

maybe it wasn't an actual review, but you stifle a laugh at the next review being from the same person

⭐

- "wrong movie how do i delete a review" (Edited)

perhaps this could definitely entertain you until reca arrived. you idly scrolled through the reviews, only stopping when some peaked your interest or made you smile

@seas_ablaze : ⭐⭐⭐

- "A film that does a lot of monkey business and goes bananas with it."

or alternatively,

@frankenweeniehater4life : ⭐️⭐️⭐️⭐️⭐️

- "i've seen about a million movies and dear god this has to be one of the worst. an absolute slog to get through. the pacing was awful, everything took years to happen. the soundtrack was grating. the actors either put no effort in or way too much- either put them back on the street or send them back to the musical theater. the cinematography was dull at best and straight up nauseating at worst- i had to pause multiple times so i didn't get physically ill. and don't get me STARTED on the stilted script and dull characterization. and the dog isn't even a weenie."

you reckon they might have gotten the wrong film again… but it definitely explained the username-

and at that moment reca finally showed up, he pushed open the doors grumbling something - obviously whatever kept him busy wasn't pleasant. he had walked in with a huff and his expression didn't exactly read that of happiness.

you brushed it off and greeted him like you usually would, something that was greeted with another grumble which you could only guess was a hello of sorts towards you.

watching, you noted how he slumped into the chair on the other side of the desk and it became clear that he wasn't in the mood to get any work done. the silence was starting to get uncomfortable and so you slid your phone over to him, reviews still open.

reca perked one eyebrow up and questioned you “what's this about? we have duties to complete not waste time”

you hummed in response before sliding your phone closer until he picked it up “it's reviews from your latest film, it's not like we'll be getting things done soon and maybe they could help guide our planning” a small pause “they're quite entertaining”

he scrolled for a bit before stopping on one and reading it out loud

@/blink!vxnus! : ⭐⭐⭐⭐

- "film was great and very informative. it made the story far more interesting compared to other documentaries tackling the same story. - 1 because mr reca wasn't in the actual film"

“it's not very helpful, just compliments” he sighed “and wishful fans being normal”

you smiled in response before reaching over as he turned the phone to you and scrolling back up again “this one's a personal favorite, especially the comments”

@/bebe_fanpage101 : ⭐⭐️⭐️⭐️⭐️

- "came for the reca shirtless scene, stayed for the storytelling. no regrets stan robin"

- @/ultimate_recakisser : "I mean I’d be the same as well I MEAN WHAT WHO SAID THAT Speakingofshirtlessrecaifoujdthisonefanartdoesanyonewantmetosendit?"

- @/bebe_fanpage101 : "me. dms. shhh."

- @/iwishsundaywasmywife : "id judge u both. but. im the same way abt bird man so i cant"

reca stared at the review, then the comments, before his face began morphing into something akin to the middle point of shock and disgust.

he sighed “there wasn't even a shirtless scene, these people are… enthusiastic, to be nice”

you hummed in response before suggesting that the lower rated reviews may help more and scrolled until you found some.

@/iwishsundaywasmywife : ⭐

- "Great movie. Plot flows well, characters are charismatic and overall a wonderful viewing experience. Just hate the director."

@/abardslyre : ⭐

- "my gf broke up with me for the director. mr reca count ur ******* days."

you had to hold back laughter at the sight of his face distorting into confusion and a slight grimace making the corner of his lips scowl

@/seas_ablaze : ⭐

- "This is awful, pretentious garbage. In all objective fact, he's an auteur wannabe who makes idiotic movies for the normie audiences who are too stupid to think for themselves. I didn't even watch more than five minutes of it, I just know it's bad from his name attached to it. I never made a movie before or have ever taken a film class, but even I could do better than this disgrace of an art form that only a few can ever hope to master. Hell, I would personally kill all subpar directors myself if I could, I'm just that smart. As Lord Scorsese says: Cinema is dead!"

mr reca sighed, deeply, “i can't decide if this helped or not, but im leaning no at the minute”

you definitely could say you enjoyed scrolling through the reviews more, but it wasn't hard to notice how his demeanor changed. how he wasn't so grumpy and you could've sworn that at one point you'd seen a smile on his face. your idea worked.

eventually you two managed to start discussing ideas - which was more him talking your ear off with his ideas and you listening and writing down anything he told you to. and then he paused.

before you even had the chance to question if anything was the matter, reca surprised you “maybe those reviews could help for the next film”

“what do you mean?” you couldn't believe what you were hearing, your spur of the moment idea to show him reviews to hopefully boost his mood so you could both actually talk about his next film properly worked. it actually gave him ideas.

reca prattled on about how some of the reviews gave him the idea for how to expand his latest idea that had hit a wall and now he could continue to elaborate the idea. it was sort of satisfying to see how passionate he had become despite his earlier attitude.

he then abruptly stopped before trailing off “maybe i should listen to some of those reviews and change genres”

you thought that was a rather drastic suggestion, arguing that his current genres worked perfectly fine and it was his speciality, his signature if you would. but then he started mumbling again

“maybe if we went that route… then you could…” he was trailing off, you could barely piece together his coherent sentence but you could pick up on “based on us”

“what? could you repeat that again mr reca?”

“what?”

mr reca was never easy to work with.

taglist - @little-miss-chaoss, @frankiesteinn, @https-sourlimes

#—stellaronhvnters.#x reader #x gender neutral reader #honkai star rail x reader #hsr x reader #honkai star rail x gender neutral reader #honkai star rail x you #hsr x gender neutral reader #hsr x you #hsr reca #reca x reader #mr reca x reader

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vagabond-umlaut · 8 months ago

Text

a battle well begun is the war half won

gojo notices you. you notice gojo. [the boy wants your eyes on him at all times.]

teen!gojo x fem!reader; first meetings; love at first sight[??]; lovesick gojo[??]; mostly fluffy; 1 small discussion on death; reader is in 1st yr whilst gojo is in 3rd yr; gojo has a very... unique definition of romancing in his brain; 'one-sided enemies to lovers' vibes; 2.2k wc

belongs to the series 'fictitious force' but can be read as a stand-alone if you wanna

the og saying is smthng else, yeah... ik. i js tweaked it a bit for fic title purposes, hehe. also, pls no comments on how i named this series... i used to hv a love-hate thing with pseudo-force problems in physics during my hs... and i'm srsly out of ideas :D

header frm pinterest // divider by @/benkeibear // jjk isn't mine

the sky bleeds green, the first time gojo sees you fight.

it isn't anything enthralling. your movements, far from well-practised. your twisted expression screams unease at best, extreme discomfort at worst— you are definitely not one of the best sorcerers the boy has seen so far—

yet he finds himself utterly transfixed.

feet rooted to the earth as an even brighter green beam cuts through the forest. and the second mountain of cursed energy becomes a few wisps of smoke. your form slumping to the ground not long after—

were the boy a better person at heart, he reckons he would've rushed to help you. but he isn't. not really.

so he keeps to his vantage point. blue eyes narrowing a touch behind his shades, as they watch you slowly heave yourself off the mud, face shifting into a scowl as you trudge towards a tree and plop down with no ceremony in front of it—

a barely-there rustle to his left.

followed by the appearance of the steady simmer of a cursed energy, all too familiar.

"yo, nanamin!" gojo greets, wearing a wide beam the second the said kouhai comes before him, feet carefully and soundlessly treading the rugged terrain— the latter's perpetual glower turns into a momentary flicker of surprise.

but it's vanished before the older boy can comment on it.

nanami's face flattens back to its usual state of annoyed indifference.

"the tournament is already over. yaga-sensei wants us all to report to him in another ten..." the boy trails off. rather abruptly. rather strange for him— aha! so nanamin has finally spotted you in the valley below, huh?— gojo wraps an arm around his kouhai's shoulders, allowing his gaze to return to you as well.

you look pretty cute when you're yawning...

"she's from kyoto, isn't she?"

"yes," the younger boy replies, pinning gojo under a curious look. but it's gone all too soon, all too swiftly like the ones preceding. he drops the arm resting on his shoulder.

gojo lets him. simply pouting in response, before he hums, "do you know her?"

"personally, no," nanami is quick to answer, "but from what i've heard from others... she's somewhat peculiar, if i may say so."

this is honestly one of the best opportunities he will ever get to tease that stoic underclassman of his, even more 'cause since when did he, the nanami kento, start gossipping like old geezers!?— but gojo opts to let this chance pass by.

getting more deets on you is way more important for him.

he doesn't bother to hide his burgeoning interest from his tone. "you know her name by any chance?"

nanami does. and as far as gojo knows, your surname doesn't belong to any of the sorcerer clans. none of the major clans, he is pretty sure of that— you might be from a minor one. or, what his gut feelings are telling him, you're from a non-sorcerer background.

not that it matters to him. he is better than the elders of his clan.

"and which year is she in?"

"first year."

wow. you haven't been in school for more than a few months, but you have already managed to make people talk about yourself, huh? quite impressive, gojo thinks as he steals another glance of you.

this time, no longer yawning. just staring vacantly at your keds—

except those muddy shoes are no longer the object of your attention. it is him— really, so very him— your bright, blinding, blindingly bright gaze, every ounce of it focused on him, as your back straightens. and he spots your shoulders tense, brows furrow—

gojo satoru doesn't run away.

he is one of the strongest duo of jujutsu sorcerers. the boy does not, he cannot, he must not run away... yet that's what he does when his gaze collides with you the first time.

grabbing nanami's hand and wasting not one moment to warp them both to the school rooftop, his kouhai's yelp of surprise goes with an ear-piercing whistle of the winds— gojo releases his hold on the boy, the moment his feet touch the concrete— and turns to him, eyes the calmest he can make them seem.

"tell me everything you know about her— like, right now— or i will tell your dear geto-senpai you were the one who finished his melon pan— quit glaring and start speaking, nanamin!!!"

****

turns out, nanami's heart has a very soft corner for gojo's best friend.

also turns out, the third-year need not wait till the breakfast at 10 am tomorrow, to approach you— you amble into his life, dressed in a tad too washed-out set of pajamas and a terrible hairstyle— gojo reckons an angel too would look the same, when you flip the kitchen lights on, making the clock seem a halo-ey thing behind your head.

you stop. suck in a sharp breath.

the boy swallows the last bit of his mochi. and grins.

"heeey! you're the newbie from kyoto, right? heard a lot 'bout you!"

honestly? it was less of hearing and more of extracting info, but gojo decides not to mention it. you don't have any business knowing that, whatever can be the case— ten painfully slow seconds tick by before you return him a response—

a stiff smile.

an even stiffer bow.

followed by you turning on your heel.

were gojo any slower, you would've slipped from the kitchen without any doubt. but he isn't. which is why not even four seconds can pass before he stills you again, this time not by his tall figure lounging in a terrifyingly dark kitchen but by his fingers grasping your wrist.

thumb pressing into the dangerously frantic pulse beneath your skin.

you try to snatch your hand away. and the boy lets you. only 'cause he was too distracted by the furious warmth of embarrassment creeping into your pretty face— no, it is not for how your skin felt a tad too soft beneath the callouses of his palm...

you're the first one to speak this time. voice so quiet... so firm.

"i don't think i can help you with anything, senpai. please don't bother me this way. let me go... please."

no way in hell is gojo bothering you right now— the indignant retort is the first thing the boy can think of. but he resolves to bite it back.

a stupid argument isn't how he wants his story with you to start. sure, there might and will be those later on, but not now. no. he shoots the second grin of his this night, your way.

"aw, i don't need your help with anything— but yeah, you're right. i'm not supposed to stop you like this... you need to sleep enough before tomorrow's one-on-one duels, don't ya?"

"yeah," you agree easily, eyes drifting to your shoes in a small nod.

gojo's grin widens.

maybe like a cheshire cat.

maybe like a victor cat who finally got the rat right where he wanted: in his paws.

"but you won't be needing a lot of rest if you're already determined to lose the match tomorrow— will you now?"

no, you won't. you obviously won't. gojo has learnt enough about you to predict this much accurately; but maybe not too accurately. given you don't show any sliver of shock or fear in return.

just two eyebrows raised, only to slowly descend to their original level a moment later. your tone feels firmer this time. "what exactly are you trying to tell me, senpai?"

"nothing too serious," the boy hums easily, stuffing his hands into his trousers pockets. why do they start being so cold, so clammy now of all times??— "just that it doesn't take a hell lot of work to maintain an image of being an incompetent idiot, like the one you always seem to be— c'mon," the boy coaxes, making his voice seem extra petulant at noticing still no emotion whatsoever on your face, "you do know what i'm speaking of, don't you?"

in retrospect, maybe... he should have handled you with greater care. you're not only new to your school, but also to the world of sorcery in general. pressing you so hard will hurt you, if not break you entirely— but gojo doesn't let such concerns form in his mind. not even for one whole second.

not when he wants to see something, anything come to life in those bright eyes of yours. he is dying to see a spark in them.

you fold your arms across your chest. brows nearing in a mild scowl. gojo doesn't really understand, but loves the sense of joy the sight is bringing him— "what exactly are you trying to tell me, senpai?" your adorable voice repeats, stonier than before.

he resists the urge to pinch your cheeks. or worse, coo at you.

the boy removes his hands from his pockets. copying your stance as he says, "i cannot really tell you anything, y'know— you're almost as smart as me— i mean, tricking those stinking geezers into believing you're just some weakass, with neither a cursed technique nor good fighting skills, despite the insane amount of cursed energy you've..."

"why did you never curb your cursed energy, by the way?" the query slips past his lips into the space in between: horribly genuine. a fact that doesn't escape your eye, he grasps when you reply— in spite of the not-too-little reluctance marking your features.

"the higher-ups were aware of my high cursed energy before i even knew what the hell it was— it was honestly too late," you state in an awfully matter-of-fact tone, "they would have noticed if i tried to do anything to it."

the 'and they would have harmed me or my family' goes unsaid, but gojo doesn't need to hear it to know it. not entirely intentionally, his voice grows softer with the next question.

"but you tampered with something that no one knew anything of yet— you lied about having no cursed technique, didn't you?"

your hesitation overpowers you this time, however. brows furrowing for a beat at him, before they flatten again. you offer a curt nod.

few more seconds borrowed until you speak again, "but my horrible fighting skills weren't a lie entirely... i really am shit at fighting— you saw that today, did you not?"

he did. he so did—

but that very moment, he also saw just how strong your technique is. surely not as powerful as his. but pretty much capable on its own— it frankly won't be a serious issue even if you keep fighting how you did today—

the sound of a yawn breaks his internal musings.

those big eyes of yours blink up at him. so bleary, so bright. he stifles the urge to pinch your cheeks again. deciding to shoo away the sleep in your eyes by throwing the next ask his brain has cooked up. one he knows, has the biggest 'yes!' ever for its answer—

"you're very scared of dying, aren't you? that's why you always make yourself seem so weak— so much so that you aren't assigned to any mission— don't you?"

— only to question his brain when he notes the easy smile twist your lips. it sharpens at the edges as you answer, "dying's rather easy and uncomplicated, senpai. it doesn't really scare me, except maybe, the pain i might have to suffer— but do you know what's scarier??"

"no," gojo says back quietly. honestly. your smile grows something an awful lot similar to pity— the boy detests it usually... but coming from you, he thinks he will take it.

he will take any look you're willing to give him.

as long as it's you on the other side—

your words reach him quieter than the breeze outside. "what's more terrifying is the worry of what is going to happen to your loved ones, should you just die someday— death is inevitable, but i just want to stave it off for as long as i can. just so i may live with my family... you know what, senpai?" you interrupt yourself abruptly, voice becoming the sharpest in these last fifteen minutes.

a feeble sound escapes the boy.

he isn't sure if it's because of that sincere little hum in your words or if it is the gleam of the moonlight on your face. perhaps, both...

yeah, both— it is rather difficult to distinguish between the beauty of your inner self from that of your outer self— the smile simmers down to a subtle twitch of your lips.

something stutters and stumbles inside gojo's chest.

"i know you see me as nothing more than a coward right now, but i believe... it's better to be a coward and alive, than to be a hero and dead— isn't it, senpai?"

[you're pretty bold, however.

far braver than he could ever deem you to be, the boy muses later to himself with a wry smile, an ice bag on the big toe of his right foot— this poor thing swollen and bruised from how mercilessly the heel of your slipper stamped onto it earlier—

okay, fine— the sorcerer concedes to the imaginary angel perched on his shoulder. something between a grumble and a sigh escaping— he shouldn't have asked you out on a date, in return for him to keep your secrets.

it was really inappropriate, he admits. and gojo likes to see himself as a gentleman... yet, yet, yet.

the need to see that placid mask of yours crack— let it be by a glower and not by the smile, he has never seen on you but knows will be just as lovely as you— that need was too overwhelming then as well...

shushing the angel and fist-bumping his guardian devil, gojo tosses the ice bag away. and falls back into his bed—

a very happy, a touch too giddy grin splitting his face into halves:

you really are a peculiar girl, heh!]

hope this was an enjoyable read! pls don't plagiarise, translate or repost this ❤️❤️

masterlist

#gojo x you #gojo x reader #gojo satoru x you #gojo satoru x reader #jjk x you #jjk x reader #kit posts 📝

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thewadapan · 2 months ago

Text

So why did Transformers One bomb?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I. The One True Origin of the Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

II. The Spider-Verse of Transformers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

III. I did not care for The Godfather

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

IV. No politics means no politics

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

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

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

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

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

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

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

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

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

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

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

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

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

V. Place / Place, Cybertron

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VI. Into nothing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That's all any of this stuff is.

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

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

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

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

...

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

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

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

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

When Eric Pearson came onto the project,

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

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

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

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

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

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

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

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

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

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

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

#transformers #transformers one #movie review #essay

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