Transformers: Deviations' Subtle Indictment
(Or: I Swear This Isn't a Site Article)
(Unless Va'al swoops in on Alpha Bravo and makes it so...)
(Which just happened.)
Note: This article is an editorial, and as such, it reflects the views of the authors and the author alone. Much like our reviews, top lists and other articles, it is not indicative of Seibertron.com, the site owner, or the staff. The
Transformers: Deviations one-shot came out this week and I was extremely excited about this book. I love the 1986
The Transformers: The Movie with a passion, and any addition to its lore, imagery, and self-contained universe is something I jump at with fervor.
There's a reason this movie has withstood the test of time. It's likely most accurate to say that there are a multitude of extremely good reason
s this has happened and not just one on its own. From the iconic music (whether or not you enjoy it ironically being outside the scope of things here) to the sublime voice cast to animation that put the weekly TV series to shame, this movie's lasting appeal is one of a hundred factors responsible for the brand's sustained success. Success which, it should be noted, has far surpassed a majority (though not all) of the 80s and 90s nostalgia act properties that have gone away for a time then re-emerged into current pop-culture awareness. TF:TM as I'll call it a lot from here on out was the first time the brand evolved, and it did so in the most amazing way for me.
I should really elaborate on some of those points in regards to TF:TM a bit more. First, to get it out of the way since I've already brought it up perhaps somewhat pointlessly, the music in TF:TM is a time capsule of everything 80s movie soundtracks did, for better or worse. This helps give the movie some lasting appeal. Since the ultimate point of this article is about a comic book which inherently doesn't get a musical element, that's all that will be said about that.
The voice cast for the original movie was comprised of a great mix of the talents from the Sunbow cartoon, interspersed with Hollywood stars such as Judd Nelson, Leonard Nimoy, Eric Idle, Orson Welles, and even the pop-culture star John Moschitta - the "Micro Machines Guy". Some could say it's odd to bring this up when setting the frame for why a comic disappointed me, and there's some merit to that. This said, the "voice" of a comic is found through elements such as the art, coloring, scripting, and even the letters. More on this later.
Same goes for the animation of TF:TM and the merits of bringing that up as a comparison element in this writing. While a comic is by the very nature of its own medium a static entity in visual presentation, recent works have set the bar extremely high for pencil, ink, flat, and coloring work, with outliers in quality usually relating more to stylistic choice rather than, well, any perceived quality.
Hopefully this has so far established the level on which I revere 1986's Transformers movie. If it didn't, hopefully that "revere" word tells you what the last few paragraphs may not have. I really, truly consider TF:TM to be that era's magnum opus for Transformers material, as it hits almost every beat in perfect harmony with what you'd expect out of Transformers while being simultaneously fun, scary, tragic, celebratory, uplifting, depressing, piquing, and imaginative.
Given this, works that have come out over the years which have expanded on or had fun with TF:TM have been both welcome and fantastic. We've had DVD commentaries expand greatly on the production and decisions made through out it. We've had the
amazing material unearthed and preserved by Paul Hitchens, whose YouTube channel is the gift that keeps on giving. Then there was the 20th Anniversary's retelling of the movie from IDW Publishing. While more or less faithful to the original work, this gave us something extremely cool: a two-page spread showing Omega Supreme, Superion, and Defensor defending The Ark from a Decepticon attack staged by Menasor and Bruticus. Retcons can be dubious, but this one was quick, effective, and satisfying.
It hasn't all been perfect either. Let's not forget the "Battle in Space" toy pack-in comic from 6 years ago, which had additional canonical material involving Tracks, Grapple, and Warpath, and while that wasn't the best in production either it's also not something anyone wanted me to spend
extra money on. The set cost the same as two deluxe toys did at the time anyway, and now I can imagine that those guys had something going on during all that.
Autocracy also did some fun stuff with the iconic Optimus v. Megatron battle, though that was more homage (in fact) and Flint Dille apologizing (in tone) than anything else. Even then, that was also only dedicated to a few pages of a work that was setting out to accomplish something completely different.
I could keep listing examples of works inspired in ways good and bad by TF:TM for eons, but that's not what this is for. Suffice it to say that if you need any objective measure of its impact, look no further than the amount of times Transformers fiction will trot out lines such as "One Shall Stand, One Shall Fall."
This all leads us to the announcement of
Transformers: Deviations. Part of a series of one-shot comics for various properties for which IDW has licensing rights, the Transformers iteration of this little side non-canon "What If?" series was going to deal with
The Transformers: The Movie and the pivotal battle between eternal rivals Optimus Prime and Megatron. As anyone reading this site is surely aware, Megatron not only defeats Optimus Prime, but kills him, albeit not right there on the spot. Optimus survives on an operating table long enough to pass the Autobot Matrix of Leadership on to Ultra Magnus. All the while, Hot Rod, the Autobot that many Transformers fans "blame" for Optimus' death just because he failed at run-in interference during that fateful battle, stands by observing.
The rest, is silence. Er, the rest is history. Sorry, Beast Wars Anniversary and all that on the brain.
Deviations' premise is set to have fun with history and imagine what would have happened had Optimus Prime lived through this encounter. This is immediately where disappointment started to creep in upon publication of the book's standard preview pages released online in advance of its print publication today. The most predictable thing to do is to say "well, guess Optimus would have killed Megatron if he hadn't died himself, right?" That's ok though, predictable stories can still be entertaining and there's still a whole world of interesting paths to take beyond that with the rest of the movie's material. Still, from the outset the book pigeonholes itself into path B leading to path C, when instead path B could have lead to paths D, E, F, G, 42, Z, Primax 1023.1 Alpha - really anything at all.
If you can't tell, my biggest gripe with this book is the story. I'll come back to it to wrap things up, but let's get the production elements out of the way.
The colors, letters, and in fact most all of the art is fantastically done and lives up to the legacy of TFTM to which it will be compared. These parts of the book's "voice" are, generally, very good. The disappointment sets in with a handful of pages/panels where the pencils and inks are just not the quality one would expect from a real talent like Tramontano. The inconsistency is even more glaring when I think about how really, truly beautifully done some other parts of this comic are. If this is due to deadlines happening then I can forgive.
Let's pause to consider some of the worst offenders in inconsistent style such as:
- Leaving off Astrotrain's wing upon takeoff on Page 6
- Ultra Magnus' downright weird looking glare on Page 7
- The entirety of pages 20 and 21
- The downright goofy looking Rodimus Prime in the last two panels of the book
If these were stylistic choices, then in my opinion they were poor ones. I could find more, but again, the production of the book outside of plot/story and dialogue really aren't the big issues that led to my disappointment.
It's the story. It's the characterization.
Deviations stopped being a fun "what if" and turned into the worst kind of parody, and it did so in one glaring moment: the first time Ultra Magnus speaks. This is where the voice of the comic got overridden despite many of its other elements being sound. The message behind the voice wasn't of reverence, it wasn't of disregard for one factor (big as it may be) of the original story, it was one of bitter disregard for what had otherwise followed Optimus' death in TF:TM.
If you're going to change an existing story based on one element, in this case Optimus Prime and Megatron's fates being swapped, and then choose to start things out
en medias res then you better approach the setting of the rest
ceteris paribus. Or at the very least, honor the little bit that came before that was not re-written. Magnus' first words to Hot Rod felt wrong. Off. They just weren't a thing this Ultra Magnus would say. Would Kup? Yes, so why didn't he?
Changing gears to paint my disappointment another way, I'll admit, I really did enjoy Megascream. I really wanted to like this book and I really tried to have fun with it. I kept trying to have fun with it when the Dinobots pre-emptively attacked the Sharkticons, or when the Decepticons combined
just like Trailcutter told us they would for no reason, or when Unicron just sort of snacked on dead Decepticons such as Thundercracker and Skywarp instead of reformatting them.
Yet this is where the disappointment mounted and the book started to spiral into a bad place for me. For every Megascream there was cringeworthy dialogue meant to evoke TF:TM that instead bastardized the original intent of the words. For every Dinobot attack there was the underlying pointlessness of their presence on Quintessa and a potentially super fascinating storyline with Kranix of Lithone (which couldn't even get spelled correctly - and it was done twice so tell the wiki folks to put that one under "errors") that was dropped like a hot potato. For every Decepticon combiner there was confusing scene building accompanied with overly busy layouts. What Moon Base got eaten? One? I think? For every Unicron snack, there was the realization that this "What if" was not a well-informed, "pick up the ball and run with it" dream engagement for the author, it was an indictment on the movie I love so dearly.
"Indictment" is a rather strong word, and maybe it isn't the right one since I don't think there was any ill intent, but that's really how it came across to me emotionally. Clever dialogue turned shallow. Alien worlds humming with the otherworldly imaginings of Floro Dery instead used as mere set pieces for your Action To Come After These Messages. Fascinating, fun new characters like Springer and Arcee thrown into the Planet Junkion in a flaming, doomed Autobot shuttle, barely to be mourned. At least they got to show up at all, and at least then without having their characters assassinated.
That's the other part where I felt like this book was an indictment of its forebear: the complete and gratuitous character assassination of Hot Rod.
If you didn't like Hot Rod as a kid, I understand. If you don't like him now, I understand. Hell, my wife doesn't like Hot Rod. "Hot Rod's a punk bitch" is probably what she'd tell you, or something to that effect. All the same, the best versions of Hot Rod through the years all make you "love him or hate him" but they keep one factor pretty consistent: he's competent and brave. While
Deviations hits the brave factor, it does so while putting Hot Rod into the part of The Fool. The Hot Rod one should expect here is the one that yes, indeed, shot at the attacked shuttle carrying the Decepticons into Autobot City, but that Hot Rod knew what he was shooting at. That Hot Rod had a plan when trying to help Optimus while he fought Megatron, even if it backfired. That Hot Rod had a semblance of leadership skills, and could bank a shuttle into a safe crash onto Quintessa then regroup and find his friends, "And then save Cybertron!"
This Hot Rod insults fallen comrades, makes shuttle damage worse to the point where the thing explodes, has to be told to get Daniel to safety, then runs in and saves the day at the last minute by a stroke of luck and not of guts and will like the Hot Rod that defeats Galvatron within Unicron's innards. Then he dies so he can personally redeem his earlier failure, because he's so incompetent this time that he can't escape? What even happened there?
At the end of my reading of the book, I felt the tinge that every geek like me into any Sci-Fi property does from time to time of what's colloquially known as "nerd rage". I had to take a few hours to calm down from this to collect my thoughts on what exactly I didn't like, because I could certainly "nerd rage" for hours and not do anyone any good in the process.
But after some days of processing it and then re-reading my paper copy today, I was able to distill my disappointment and find its source. The author of this book was well intended, and was clearly just trying to have fun, but ultimately penned an indictment on one of the Transformers franchise's most important works. If you're going to just have fun, go hire Tom Scioli to do the art and go absolutely crazy, then I can follow the intention. The accompanying poor dialogue choices, inconsistent art, and sometimes positively confusing scene building makes this a book I won't look back fondly on, rebuy three times, and pine for years for more like
Last Stand of the Wreckers, it makes it something I'll file away and never read again like
Continuum.
There's a certain subset of Transformers fans that will love this book. Some of them are on this site, hell even in this very thread. Enjoy it. This is
your G1, the version that basically doesn't exist after early 1986. This book is for you and this post is my last word on it, because no one likes a hater.
But for me? I enjoy the rich history of all soon-to-be 32 years of The Transformers. Ups and downs alike, I can find something to enjoy. I found some things to enjoy in this book that I never want to read again! While I can appreciate the
idea of
Deviations, the execution of the book left me so bitterly disappointed that it led to a realization. That is this: the creative team behind
The Transformers: The Movie all those years ago realized that the brand
had to evolve or die. Optimus dying wasn't a choice, it was a necessity. Since it's NCAA Tournament season, we'll say the franchise had to "Survive and Advance". IDW has helped some of our favorite Generation One characters survive, by advancing and evolving the narrative scope and quality of their ongoing books.
Deviations is an indictment on this progress as well, and looking on social media, the loud corner that wants "G1 back", despite it being here all along, often twice a month for the past decade, wants you to go buy this book in triplicate so you can vote with your dollars.
Do that if you want, but also realize the subtle indictment it implies.