5 TRULY FORGETTABLE MOMENTS IN BOB BUDIANSKY’S MARVEL TRANSFORMERS US COMICS RUN
5. CARWASH OF DOOM (TFUS#31)
The story that saw Bob get some death threats, Car wash of Doom proves not to be a masterpiece. Okay that didn’t really happen, but Bob did make that death threat comment himself as a joke in an interview. About rabid fans obsessing about comics he wrote a couple decades ago made for kids and expecting them to stand up to an adult’s taste and nasty-minded criticism today.
The Marvel Transformers comics were written for kids, and for that purpose they are fine. For adults the stories are ho-hum, with a few cool highlights for fans of all ages. Adults criticizing twenty plus year old comics written for kids is kind of a DUMB activity…
But here we are anyway…looks like I’m the dummy in this post.
Poor young Buster just want to get his car clean and enjoy some quality time with his main girl, but what he doesn’t know is THIS particular car wash (part of hid dads auto repair business) has been sabotaged with another hair brained Decepticon trap.
The car wash is a sweet irresistible consumer deal that lures in all the customers so Ratbat can spring his trap. Sure Ratbat… nobody can resist a bargain priced car wash *cough*. Ratbat has some mad mind control mojo making the townspeople go crazy and they start chasing Buster.
All that is missing is some of that hillbilly chase music Grandpa Simpson is so fond of. Buster turns and runs – right back into the carwash – natures natural protection against evil flying predatorial micro-cassettes.
Wasn’t the whole carwash a trap to start with Buster? Did you learn nothing from the yokels chasing you while playing that damned hillbilly music?
This Witwicky survival plan turns out not to be such a genius scheme after all as Ratbat follows Buster Witwicky into the carwash.
The one part of the comic that is actually pretty scary, and very METAL – Ratbat starts eating and tearing at parts of Buster’s vehicle. Good thing he’s in the car wash then so he can’t just get out and run away. $%#^&5^# idiot!
Ratbast smashes his way in, and it is the most exciting scene in an otherwise dull issue of Transformers. If Buster had died here, and Ratbat took over as one of the main characters, I don’t think there would have been any complaints from fans.
Buster puts up a valiant but very *sudsy* fight, but then Ratbat gets him anyway and flies off with him. It’s a pretty cool sequence, but the rest of the story about the luxury car wash luring people in so Ratbat can use his mind control to accomplish…. *something?*… is pretty silly and pointless. The grand scheme never really plays out. So, let’s move on to the next bit of nonsensical 80s Marvel Transformers comic book then shall we.
4. SATURDAY NIGHT MICROMASTER SMACKDOWN! (TFUS#55)
An issue that starts off with an epic cover and promises an exciting story. The cover artist did their job well. Too bad the story inside doesn’t live up to that promise.
Minicons come to town fresh from Cybertron (aka Hasbro Toy Catalog Land) and what to do with their free time? Why they try their metal fists and torsos at Pro-Wrestling of course.
Roadhandler checks out the backstage training area, and is greeted with a warm welcome from the other pro wrestlers.
Roadhandler is being managed by the most trustworthy fellow in the biz “Swindler”
Robots that weigh more than a ton and made out of who knows what kind of metal are perfectly safe for how wrestlers to wrestle for the fans. It doesn’t matter, it’s not like they are hooked on pain killers for their chronic back and knee pain or anything. Why not attempt to fling a ton or more of Autobot metal over your head? Remember this was the 80’s pal, and folks were tougher in those days!
Roadhandler gets into the wrasslin’ game pretty fast, and learns how to help his opponent put on a good show. It’s all good fun for the kids and families.
Just when Roadhandler gets the upper hand, his opponent ducks beneath the ring and emerges with… a jackhammer. The dirty cheat!
Roadhandler crushes the Jackhammer, and no that’s not a euphemism. His opponent is none too happy, but that’s nothing compared to what happens next.
His buff opponent hurls him from the ring with a Herculean throw, but what’s this… Roadhandler transformers in mid air and lands safely in his alt mode.
Roadhandler transforms once again and re-enters the rings, where he makes quick merciless work of his slick haired green speedo wearing opponent.
The fans love their new champ, he goes on to win more matches and it seems this Bot has got it made living large, stylin’ and profilin’.
Just when Roadhandler was living on Easy Street, a match goes sour with the surprise opponent turns out to be be a no good villain, Stormcloud.
Stormcloud makes for a vicious opponent, slamming Roadhandler to the the ground with so much force that it made the whole ring and the crowd momentarily disappear!
The lousy cheating Con transforms to alt mode and tries for a high stakes aerial attack, but Roadhandler is having none of it, and brings him smashing back down to the ground using one of the ropes ripped from the ring itself. I’ve never seen anything like this folks, in all my years as a commentator – what a match!
The Saturday Night Micromaster Smackdown is a very silly story, but really perfect nonsense for eight year olds who love wresting and Transformers. It’s the kind of thing you would only ever see in a comic book (or maybe an episode of TF:animated) so in a way it’s quite good. You can tell I’m really cheating on my own list, as I love all the Transformers comics, even the bad ones.
Now let’s see what other TV inspired horrors await the poor fools in our next story.
3. STARSCREAMS FANTASY ISLAND (TFUS#47-49)
In a story that makes as much sense as the time Soundwave and Starscream ran a nightclub in the Sunbow cartoon, Starscream decides to run his own private fantasy island getaway.
A luxury resort for humans to enjoy and show how nice the old Decepti-creeps can be.
A “magical island… with “friendly staff”. It seems the CONS have changed their creed, and are embracing their new LOVE of humanity!
It’s also the World’s Smallest Island apparently.
Also the CONS have a giant underwater *murder-base* underneath the island.
*Whoops* – they forgot to mention that feature in the advertising campaign. Those fiends!
But don’t let a secret base stand in the way of good public relations. Frontman Starscream barks the immortal lines of dialog never to be heard again in any Transformers fiction, not even in a million million years:
“HI, I’M STARSCREAM. FLY ME!”
I guess Starscream doesn’t like to waste people’s time with small talk. But things get fishy pretty quickly.
A red headed bikini lady is enjoying some sand, waves and fresh tunes on the beach courtesy of our main man Blaster. She’s actually there undercover to investigate the island for whatever forgettable reason. Something to do with that secret underwater Murder-Torture-Base perhaps.
When Seacons Attack! No it’s not coming up next on the Discovery Channel, it’s what happens to the bikini lady who just wanted to enjoy some scuba snorkeling and the latest B-Boy mixes.
She follows them to see what is up, only to discover the CLUB CON underwater murder-mayhem base, and also that Blaster is waterproof.
It’s great to sea the Seacons (however briefly) as they don’t turn up too often in any Transformers media other than those weird Japanese cartoons where they combine into King Poseidon.
The red headed lady follows the Seacons underwater into a secret entrance to the CONS hidden base with Blaster snugly tucked under her arm – narrowly avoiding detection by any of the lurking local roughnecks.
Jesse’s recon (hey I finally found her name) is complete, she confirms that Buster Witwicky is being held prisoner but is unable to free him. Instead Jesse has to make a hasty escapes. But the Seacons attack back on the beach. Blaster fights them off pretty much singlehanded – well enough for the two to make their getaway and blend in with the beach crowd.
Some stupid kid distracts blaster, resulting in him taking some serious damage.
But the important thing is, everybody else on the beach pretty much ignored or forgot about everything that just happened. Starscream still loves humans, and invites them to return to his luxurious island resort (but downplays the murdery world domination aspects of the island-base) That’s good PR!
The Underbase Sagastarts out a very vanilla story, but the later chapters have one of the coolest moments in TFUS history- “Underbase Starscream”. But that one we will save for my upcoming list of “Epic Memorable Moments in Budiansky TFUS“, rather than the dodgy issues such as this one.
3. THE BOSS / BRUCE SPRINGSTEEN COMES TO TOWN (TFUS#14)
Too cheap to pay for tickets the Autobots can’t stay away from the Bruce Springsteen concert in town and decide to gate crash. Did they have a mission too? Possibly, they stay in their vehicle alt modes as they are undercover, but really it’s just an excuse to listen to The Boss live without paying, having spent all their pocket money on Energon Lollipops at the gate – those cheap auto-bastards!
The Autobots narrowly avoid detection by some greedy-lazy Security guards, who can’t be bothered looking for the drivers they just saw in the vehicles. The Autobots used their holo-avatars rather haphazardly at times, and didn’t know they were supposed to pay to park in the concert stadium.
With The Boss belting out some classics, the Autobots lie in wait, apparently with a tip off that Decepticons may be in the neighbourhood.
SURPRISE FOOLS! The Cons turn up all right. Three familiar Seekers burst out of the ground, as flying jets typically do.
Carnage ensues with the Seeker’s attacking the stadium, and a weird cable thing that is part of the stage is going to topple over when…
Hoist appears on stage to save the day. He grabs the broken scafolding and welds it back together that was about to crush Bruce Springsteen. He’s a swell guy that Hoist.
But watch out, the danger is not over yet!
Shockwave appears on the scene, looking a bit grey and determined to turn into his gun flight mode and shoot the stadium. Quick thinking yellow faced Bumblebee hurls an Energon cube at the purple one eyed monster.
The results are spectacular, the explosion looking like it’s all part of the show. The other Cons have had enough, they turn their tailjets around and follow then leader Shockwave back home, presumably enjoying the Springsteen concert on their in flight radio.
Once again, the day is saved, thanks to the Autobots. The rest of the issue has various humans and military leaders planning what to do about the robot alien menace.
Overall it’s not a bad issue at all. But the whole execution is just really vanilla. A lot of the Marvel Transformers comics had stories that were more serious in tone. But this issue feels more like one of the Sunbow cartoon episodes, with the Cons attacking a public concert. The only thing that makes different than other vanilla issues, is the appearance of Bruce Springsteen (they use a pseudonym in the issue) which really should make for a more memorable story, but it ends up being a couple of pages and a cool gimmick cover.
Let’s move on to one of the creepiest issues of TFUS up next.
2. SKIDS IN LOVE…with a human? (TFUS#20)
Rating high on the “EW! CREEP” factor, Skids falls in love with a human, only for the human woman to shamelessly reciprocate in the second example of manbot and female human love in Transformers fiction. Inter-species romances are mainly the domain of science fiction, but it does come across as a bit creepy in a kids comic. Clearly Skids learned nothing from that doomed romance of Seaspray and his alien humanoid fish lady. But at least Skids didn’t change into a human for sake of inter-species love or anything.
Charlene finds Skids overturned and abandoned in a ditch, and takes him to a mechanic. Skids is stuck in stasis lock with no way to communicate with her, other than through his radio – not unlike Bumblebee in the first live action Transformers film.
Being a cheapskate (and a thief) Charlene is not one to turn down a free ride and keeps Skids, because hey the “Finders Keepers” rule clearly applies when you find passenger-less cars in ditches.
But to Charlene’s surprise, Skids is eventually is able to transform again, and explains his situation, but can’t see to explain why his vehicle mode has a big butt, when his toy is a compact car.
Charlene likes her free ride so much, that she continues to drive around a Transformer. But things get odd when strong country boy Wendell asks her a date, and instead Charlene replies that she has already made plans. But we (the reader) know she don’t have no kinda plans, so is she just giving Wendell the brush off perhaps?
Turns out those plans are rubbing herself up and down Skids while “washing” him doing her best attempt yet at being trailer trash. Not creepy at all. Get your freak on Charlene!
Giving new meaning to the term Auto-Erotica, Charlene turns out to be a bit of a hussy. This is only their first date after all. I guess that’s how she rolls.
The story goes on (dear Primus why… just end it here…) and Charlene falls for Skids, making for one super-creepy KIDS story. Take another look at the panels just above before moving on, and tell me its’t not creepy-weird, someone was having a laugh drawing those panels. And for whatever reason Skids is not drawn as a small compact Japanese car – he seems to have Transmorphed himself into some kind of mini-van with a big phat caboose that brings all the country girls to the yard.
1. AMERICAN GRAFFITI – DECEPTICON STYLE (TFUS#23)
In a throw away story that is a bit of fun CONS Runabout and Runamuck run around defacing major American landmarks and monuments. It’s two fun loving decepticons as serial pests. No world ending threat, no doomsday devices or plot MacGuffins, just some good old fashioned mayhem courtesy of two lovable rascals. It’s a bit of forgettable nonsense, but fun while it lasts.
Yes, American landmarks are mysteriously being vandalised by some mysterious serial pests. But who who could be responsible for such tomfoolery?
Why Runabout and Runamuck of course, two loveable rascals that aim to misbehave!
Little Jimmy the Idiot Boy Olsen wearing a Spider-Man T-shirt seems to think the antics of these troublesome CONS are awesome, and well – he’s not wrong.
Our two dapper carbot gents go to town painting various monuments and landmarks with giant cans of spray paint.
Travelling around America, our troublesome twosome elude capture by the authorities, drawing crowd of onlookers
“They’re back, yippee” remarks the ginger kid. Guess he’s a CON fan.
Some Commandos with amazing taste in fashion (orange pyjamas and motorbike helmets) turn up early to the party at Liberty Island, and hide out in Lady Liberties head in anticipation of our gruesome twosome.
They also failed to bring any quality snacks or top shelf booze to the shindig. Runabout and Runamuck were stuck in traffic, but luckily they came prepared to party.
But watch out, Omega Supreme has come to spoil the fun. And he’s sporting a new ultra sheik bland head for… reasons… that I”m just not going to get into here.
*sigh*… Okay, he’s a FrankenBeiner.
It’s all stuff from another story and really just not very interesting, trust me on this one -just look at poor garishly colored Omega-Franken-Former and have a laugh, okay?
Circuit Breaker is controlling the Franken-Former and means to end this taggers party once and for all, busting out the heavily artillery.
“Shoot first, ask questions later” remarks Runamuck, showing off his sweet Con style and attitude, not to mention that shiny car finish.
As if being shot at while having a good time is not enough, poor Runabout and Runamuck are toasted to a nice crispy finish with either lasers or a flamethrower, it’s hard to say.
Their paint jobs ruined, they fall rather comically into the ocean accompanied by some no expenses spared neat sound effects. It seems Omega FrankenFormer was jealous of Runabout and Runamucks sweet color schemes and cool devil may care attitude. He revokes their License to Party and calls it a day.
I’ve always found the bad guys more fun than the good guys, and toasting two tagger rascals seems a bit harsh when less violent methods could have been used. Oh well.
Runabout and Runamuck had a good run that lived up to their names and gave us a bit of fun while it lasted. I have to admit I quite like this issue, so why is it on this list? Well, it’s another gimmick cover and a few panels with a barely there story that was not fleshed out, so despite the cover it’s still kind of a forgettable story. But it’s great fun, and that’s what comics for kids are about right?
And giant Franken-Formers burning robots alive with flame throwers, that’s what the kids really want to see! Thanks 80’s Marvel. You really knew how to bring the pain.
Now if you’ll excuse me, I have to go punch that annoying ginger headed Jimmy Olsen looking kid in the Spidey shirt from earlier…
Transformers Generation Oneor G1 means different things to different fans in the various Transformers communities.
The majority of G1 fans think of the 1980’s Sunbow/Marvel/Hasbro cartoon when they hear the term, or the toys that cartoon was designed to sell. The American cartoon was the core fiction or tree trunk from which other branches would grow. For some fans who never saw the show, Generation 1 may mean the Marvel UK Transformers comic book, or the Marvel US Transformers comic book.
It surprised me to learn while doing research for this article that some fans had rarely if ever seen the 80’s cartoon, and had mainly grown up with their exposure to Transformers being one of the comic books, or whatever slender crop of toys appeared in their local region.
Not leaving out our friends in Japan, some fans associate their Generation One with the three exclusive Japanese shows that followed on when the US cartoon ended – Headmasters, Masterforce and Victory, along with the TV-manga short comics that preceded them and tied in with those shows, and the one episode Original Video Animation – Transformers: ZONE.
The one universal then in Generation One that all fans can agree on surely must be the toys? Seeing as how every major region in the world received different waves of toys, minor and major variants, odd confusing releases like Milton Bradley branded Transformers boxes in, hastily repacked actual Diaclone toys rebranded as Transformers and weird Mexican licensed variants and European oddities have been discovered well over a decade after official G1 Transformer toys lines had ended, so what is and is not a “G1 toy” is a topic with room for debate.
So even the topic of what qualifies as a G1 toy can still be surprisingly complex. With some fans arguing for releases falling squarely on the side of the very earliest releases, and others who have more expanded time frames that includes foreign and domestic releases and obscure licensed variants. You can find more on this interesting sub topic in Diaclone expert MAZ’s article Europe’s Strangest Attractions It’s a terrific read.
The term Generation One then is a loaded term, that has gone on to mean far more than the toys it was first associated with.
Generation One can refer to any individual toy, toyline, cartoons, fiction or retro-active fiction set in the “G1” universe or related to it in any way.
For the purposes of this article, which explores the Generation One continuities of the 80s, I will specifically be talking about the toys, comics, manga and cartoons released from 1984-1990, with other sub topics relating to G1 being covered in PART#2 of this article. However PART#1 of this article will overlap somewhat with PART#2 covering a little of 1990-1995.
A WORLD TRANSFORMED
The term G1 / Generation One didn’t exist in the eighties, and was a fan term later used to refer to and differentiate the older “original” toys when Generation Two was released, the term was later adopted into semi-official status by Hasbro.
The first two forms of actual Transformers Generation One fiction are the Marvel penned outlines/concepts by Jim Shooter and Denny ‘O Neil (made at the request of Hasbro. Along with that outline were the character bios written by Marvel man Bob Budiansky. Those profiles would later be expanded into full page bios during the Marvel US run of Transformers comics. The first issue of the comic book appeared several months before the cartoon, making if the first official Transformers fiction available to the public. The comic book was made as a pre-promotion for the toyline and the cartoon.
When the Marvel/Sunbow/Hasbro cartoon aired, it shared the basic ideas and outline the comic book did from Jim Shooter’s treatment – that of a warring alien robot race stranded on earth. Along with the comic, the cartoon, the Shooter outline, the Budiansky profiles/bios were Hasbro and Marvel internal documents that would be constantly added to eventually turning into a “show bible” with character profiles, animation model sheets for reference and other miscellaneous bits of information.
Eventually Hasbro would go on to take more direct control over the brands fiction, while each subsequent Transformers cartoon would have it’s own reference material, Hasbro now has a large stock of Transformers Fiction reference material they can use for any part of the brand, of subline of fiction and toys. They even have nice color pretty picture in them too, instead of ugly xeroxes and faded looking pictures.
Most shows past a certain era tended to move their own internal reference documents into the digital format. So really, the old format “show bible” becomes a digital document in the modern era for most animated shows, however Hasbro has their own more general “Transformers Everything” internal references that cover everything relating to the brand, rather than just a specific show for example any licensee will be given if they are making a particular type of merchandise, however usually a licensee will get the specific references for what Hasbro wants from them, not just random pages of stuff,
A lot of the original documents and references from old cartoons sadly end up typically in the garbage, or sold / sneaked out the back door to be lost forever, or in the hands of private collectors. It’s typical of anything made for TV in the 80’s, nobody ever expected an average cartoon to last beyond a year or two, and reference materials are considered disposable.
Jim Shooter’s first hand version of events of those early meetings and bullshit sessions you can find on his blog. It’s a very entertainingand insightful read – as are the rest of his wild wacky stories, like office break time Wrestling and Marvel gunfights in the office that evolved into a Marvel Comics office paintball team.
Along with Jim Shooter’s expanded personal story of his fateful meeting with Hasbro, I recommend checking out Shooter’s original treatment (outline) that would be used as the basis for the first fiction of the Transformers brand for both the comic book and cartoon. This treatment, along with the four issue comic mini-series, the Budianksy penned character profiles (used on packaging) and the first cartoon story arc – More than Meets the Eye #1-3 – together make up the first ever forms of Transformers fiction.
After Generation One ended we had Generation 2 between 1992-1994 (releases varied depending on what region of the world you were in) and over in Japan various toys based on the three Transformers Anime shows and OVA finished up. Japan continued with some exclusive toy releases most of which were only released in Japan, some of which made it to parts of Europe and Australia, or were released years later in commemorative editions in various territories.
A good number of classic Transformer toy designs and cartoon based models (as in model sheets) were also recycled into the various Takara/Sunrise commissioned BRAVE super robot cartoons in Japan.
Scorponok and his menacing BRAVE counterpart “Zazorigun”
These Brave or “Yuusha” shows were created to fill the toy and toon void left by Transformers in Japan when their JG1 animes ended in 1990. JG1 Transformers would continue as a toyline and various Manga pages to tie in with those toys, but no new animation post 1990 until Beast Wars II.
While each Brave/Yuusha show was its own thing, not tying into the continuity of previous shows – they did play out the same themes with minor variations in the typical “monster/threat of the week” formula frequently used in super-robot and sentai shows.
Meanwhile in the West post Generation Two, Beast Wars successfully relaunched the Transformers brand after the somewhat failed Generation Two brand as a new computer animated TV show, from the same company Mainframe who brought us the brilliant award winning ReBoot CG animated show.
The new Beast Wars toyline was handed over to subsidiary Kenner (most famous for their Star Wars and Batman toys), but with the I.P. still owned by Hasbro. Beast Wars started as a completely independent story Lore-wise. A deliberate choice by the creators to start fresh and not be held back or connected to what had come before – but in later seasons decided to connect the dots of Beast Wars To Generation One, specifically the Marvel/Sunbow cartoon. This sub-topic I will get into in further depth in another post covering Transformers Generation One: Retro-Active-Lore.
I WANT IT ALL… AND I WANT IT NOW!
So even when looking at just the toys it can be hard to say what exactly does G1 mean? When the original cartoon and toys were released the term Generation One didn’t exist, the same as the term World War One did not exist until we got WW2. Transformers had Generation Two, so the previous toys were retrospectively called Generation One.
We can be a bit more sensible and avoid at least *some* of the arguments over what is/is not”G1″ by noting that various Transformers toys were released in America in a specific time frame, and also exported to other parts of the world where the toy lines would vary. Most folks consider everything in a certain era (eg 1984-1990) to be Generation One. However, what it ultimately means to each of us is very personal. To those of us who crave cold hard facts, it can be a bit frustrating.
To poeple G1 is mainly the toys, or mainly the cartoon, to others it’s the lore that is set in that era, even if that lore is retroactive and created twenty years later (a topic for another upcoming post). The confusion arises when we confuse our own personal stories and feelings about Transformers, with objective measurable facts.
So, let’s get to it! Just what are the various Generation One continuities from 1984-1990? Let’s take a look at this collection of continuities that I’m calling The Transformers Matrix…
Just what are the various Generation One continuities from 1984-1990? Let’s take a look …
GENERATION ONE US CARTOON (1984-1987)
The Generation One US cartoon was created by Hasbro, Marvel and Sunbow. Hasbro imported and gained the rights to the Japanese Diaclone toy line (from Takara) of Transforming robot-vehicles, along with a few odd toys that were not Diaclones from other companies toy lines, (such as Shockwave and Roadbuster) and rebranded them in America as Transformers with new fiction, box art, logos, instruction sheets etc.
The cartoon was created mainly to tie in with and promote the imported re-branded toy line, as was the Marvel comic book. Many of the initial Transformers names and ideas (fiction) were created by Marvel at the request of Hasbro. Bob Budiansky created the majority of character names to be used in toy box profiles, the cartoon and the Marvel comics.
The Transformers (also sometimes called The Transformers: More Than Meets The Eye) show ran for two seasons, had a theatrical tie in animated movie where Optimus died and Hot Rod gained the matrix and became the new Autobot leader. The show continued for a third season with a new post-movie cast of characters, and many of the old character died permanently in the theatrical movie. Season four The Rebirth was only three episodes long and meant to establish new stories and characters to tie in with new toys such as the Headmasters and Targetmasters but sadly, the show did not continue.
An interesting and well made fan-video exists that explores the ideas of what *might* have happened if The Rebirth had continued as a full season. It’s only 31 minutes long, but features surprisingly competent voice acting, new lines, new story and dialogue and we get to see characters together that previously appeared in The Rebirth or Headmasters edited together. It’s worth a look, I thoroughly enjoyed it, and frankly I hate most fan dubs of ANYTHING.
The Rebirth established Headmasters and Targetmasters as main characters amongst other new story elements. The Japanese continuity ignore the Rebirth episodes, instead creating their own new post Season 3 show, Headmasters, again loosely based around some of the toy lines such as Headmasters and Targetmasters.
While no new episodes of the Marvel/Sunbow toon were made after The Rebirth, a Season Five exists that broke the movie into parts, and recycled segments from old shows in an attempt to keep the show going. Season 5 is ignored by most people, and was only shown in some parts of the world. Later another new show Transformers Generation 2 aired, but was again only more recycled episodes of the old Transformers show with no new content, just new intros and show bumpers, as part of the somewhat failed relaunch of Transformers as a comic, cartoon and toy line for the Generation Two branding.
Transformarian and wearer of epic hats Jim Sorenson explains it in a way only a true hardcore fan who actually watched this recycled cartoon nonsense back in the day ever could – over on his Disciples of Boltax Blog, you can link to the full article if you like, but I particularly want you to read the bit I’ve quoted / screen grabbed below:
After the original toy lines died out, Generation Two was a somewhat failed attempt to revive the toy line. The toys sold, but the the passion, ingenuity and status that Transformers Fever had risen to in in the eighties was not coming back. Generation Two lead to the later Beast Wars TV show which did successfully revive the Transformers brand along with a new toyline.
Japan went with their Sunrise/Takara BRAVE shows as a substitute for Transformers (1990-1998) and eventually came back to the core brand with Beast Wars II (1998-1999). But not until the release of the first Bayformer live action movie Transformers (2007) would Transformers reach and connect with a mass mainstream audiencein record numbers once again. The Michael Bay live action movies brought in a whole new generation of toy hungry fans, and kick started the nostalgia for some of the older fans for the toys of their youth.
JAPANESE GENERATION ONE [JG1] – CARTOONS AND MANGA (1987-1990)
The american branch of Transformers and the Japanese branch of Transformers parted ways at the end of the Generation One Sunbow/Marvel Productions cartoon, which had been localized in Japan, and curiously split in half with the the first version of the show being called Fight! Super Robot Life-Form Transformers and then rebranded as Transformers 2010 for Season 3.
The post-US Season 3 episodes (aka Season 4) “The Rebirth” episodes were not played in Japan, instead a brand new show The Headmasters picked up where the US cartoon had finished after Season 3. Headmasters did share some of the concepts and characters as The Rebirth to tie in with the toyline. JG1 continued with two further Japanese exclusive shows Masterforce and Victory and short Manga comics and illustrations often by Ban Magami accompanied the various shows in Japanese magazines and promotional material.
Japanese Generation One cartoons ended with the OVA Transformers: Zone, then continued in some very short Manga stories, that are more like basic concepts and outlines, settings, world building etc than actual full stories.
Some concepts were laid out for fiction to tie in with some of the later Japanese toy releases such as Star Convoy and Grandus, but those brief promotional images and few post anime pages of manga were not animated. The fiction was more a handful of concepts in comic pages and an outline to tie in with the toys, that could have been used and expanded upon as the basis for a further show if one had been approved, and again was used in various promotional materials for the final lines of exclusive Japanese toys.
DO YOU HAVE THE WILL…OF A WARRIOR!
After the original imported US Generation One cartoon ended, three new shows continued the Generation One stories. With new characters, and subtle differences to the “official” story of American Transformers Lore as outlined in Hasbro internal documents, the Marvel Productions show bible, toy box Bio’s etc.
The three Japanese exclusive shows that make up the core of JG1 post US Cartoon continuity were Headmasters, Masterforce and Victory.
All three were action heavy Transformers shows with new characters and various new memorable Autobot leaders and villains such as Star Sabre and God Ginrai. The animation was exciting, the look of the characters were more distinctive, a little more detailed and refined than the US cartoon. But while these shows featured some memorable stories, the quality of the writing was really not up to the standards of the American show, and often was aimed at a younger audience.
Various cultural differences mean that a lot of context is lost to Western audiences, and some aspects of the shows fall more in line with traditional Japanese Super Robot shows, rather than the good old US of A brand Transformers comfort food cartoon many fans grew up with. As the three JG1 shows continued, they grew more and more like other super-robot shows in tone and style, and less and less like the American Transformers fiction.
Typical made for TV Japanese anime shows are produced on a limited budget, with mostly generic simple stories that can make it harder for Western audiences to enjoy them. However the animation and art style of the JG1 cartoons was generally of a higher quality than the US cartoon.
The US show was animated by various studios in Asia (as are many American cartoons today) as work for hire. Animation models and basic information is supplied, and the third party studios do whatever work is required, which meant a pretty sloppy job for the US show, which is full of many notorious mistakes in animation models, colors and continuity.
In contrast the JG1 trilogy of shows were from studios that were much more consistent in their output, of higher standard overall and had a much closer relationship to the producers of the JG1 shows, so were not full of glaring errors like the American show was. They are visually rich, but for me, often a bit boring to watch as the stories are a bit sloppy.
Most of the Japanese Transformers stories followed the usual super-robot and sentai pattern – that of the monster / threat /drama of the week, and the subsequent battle to overcome that threat, along with the various gimmicks, super modes and upgrades of their particular characters and show specific themes.
JG1 shows are distinctive enough to make them different from the typical super robot and sentai shows in Japan, there is just enough of a Transformers flavour to keep them interesting and unique, but at times they veer a little too much into super-robot-anime tropes. However to the average Western audience who has not watched other super-robot shows, the JG1 shows do come across as kooky, odd and a bit disjointed.
It’s fair to say they are an aquired taste and take a bit of work to understand properly, both in their story, themes and cultural context, and convoluted Lore that often contradicts itself (like pretty much every other form of Tranformers fiction ever…). There are many fans who love the JG1 toylines and art, but who pretty much ignore the shows.
While not for everyone – there are parts of Headmasters, Masterforce and Victory that I really enjoy, and parts that I really loathe and can’t stand – I do recommend the shows overall to any Transformers fans old or new, give them a go and see for yourself if they are fun for you.
A BRAVE NEW VICTORY
After the third exclusive Japanese Transformer Anime show Victory ended, (OVA Transformers: Zone did not become a TV show) Takara commissioned a new transforming super-robot show – Brave Exkaiser (also known as “Yuusha”) to fill the void left by the end of the JG1 Transformers shows.
Brave would prove so popular that new unrelated Brave shows (new stories and characters) with similar themes were produced for nearly a decade, with many popular well engineered high quality toys selling based on those shows, that continued many of the ideas, concepts and evolved the Transformation schemes established in Diaclone and G1 Transformers toys, while also going off into their own new territory.
The Brave shows are notable for not only reusing and re-purposing old Transformer toy designs, but also some of the animation models within the various shows and lore, such as ShadowMaru (pictured above on the left) who used both the toy and animation base model of Sixshot as the basis for his cartoon and toy mold appearance.
One key idea that kept the Brave shows fresh, is that each new show and toyline was some kids first ever super-robot show, and as the main target market for toys are kids (who get older and forget about the toys) having a new non-connected show and toyline each year or so meant keeping the newest youngsters entertained, while avoiding the problem of declining sales from the older kids who had moved on to other things.
Basically it’s the Super-Robot and Super Sentai / Power Rangers formula applied to a Transformers style series of shows. Nearly everybody combines or powers up to some new mode, lots of crazy demonic monsters, and big powerful laser and energy based attacks, giants swords etc. If you’ve ever seen Power Rangers or a Godzilla movie, then you have an idea what you are in for.
Brave anime shows typically had heroic super robots fighting an evil alien/demonic conquering force on earth. Some of the concept designs came from super-robot legend Kunio Okawara (Gatchaman, Time Bokan, Gundam, BRAVE). If you’ve never heard of Okawara, then you have to read this brilliant Forbes article about the super-robot legend whose influence can be felt directly or indirectly in just about every super robot and mecha anime from the original Gundam onwards.
While Headmasters, Victory and Masterforce are stylistic departures from the American Transformers stories (and leave some fans a bit confused as to the overall themes and ideas) there are many diehard fans who love each of these shows, each show being somebodies favourite over and above any other cartoon in Transformers media.
As the Generation One toys dried up and stopped being made, Takara continued making Generation One style super-robots with their new Brave/Yuusha shows, many of which included fun innovative gimmicks, the main gimmick being that nearly every toy either combined or had a super / powered-up mode.
Unlike the basic Scramble Citycombiners of the Diaclone years, Brave combiners were true marvels of engineering, fun to play with and aesthetically quite beautiful, though many are considered brick-like by today’s standards, Brave toys from various lines remain highly collectible and sought after by vintage collectors and super-robot fans, often selling for very high prices.
GENERATION ONE MARVEL US COMIC BOOK (1984-1991)
Bob Budiansky was involved with the Transformers four-issue mini-series and also went on to write the majority of issues from #5-#55 of the ongoing US Transformers comic, while Simon Furman took over from issues #56-80. Budiansky and Furman were free to write their own stories within certain limitations – new toys /characters had to appear frequently, old characters frequently disappeared without explanation, or were never mentioned again.
Budiansky did not watch the animated show, and so followed his own stories and particular characterizations. The reason for overlap in why *some* characters were still similar to the television show is that Budiansky also wrote the initial character profiles that were later used as guidelines by the voice actors and production staff.
Some notable differences in the comic included Shockwave and Scorponok featuring prominently as power hungry capable temporary leaders of the Decepticons. And on the Autobot side, Blaster was a more lethal, compassionate and dangerous warrior, even going toe to toe in a “fight to the death” with Grimlock while the other Autobots watched and cheered in a particularly memorable issue.
Scorponok was featured heavily in TFUS, the bitter endless struggle for leadership of the Decepticons between Shockwave, Megatron and Scorponok being a major highlight from the run. Not to mention Thunderwing, Straxus, Starscream and Soundwave, all of whom made their own power plays for leadership during various stories.
Simon Furmans’s stories were more epic and larger in scale than Budiansky’s more earth based storied, picking up some similar themes and ideas explored in his Transformers UK run, such as new battles with Unicron, a psychotic Thunderwing possessing an evil Matrix and other potentially world ending threats in typical comic book fashion.
Both writers contributed immensely to the Transformers brand and fiction, and both have their fans and detractors. Both Budiansky and Furman also killed Optimus Prime multiple times, but otherwise ignored events of the cartoons and 1986 animated theatrical film.
Bob Budiansky’s box profiles were expanded in the back pages of the ongoing TF-US comic to full pages with illustrations. Later those same profiles were collected into their own one off comic books and republished as “Transformers Universe” (these profiles were also reprinted years later in IDW’s Transformers Classics US Vol#8).
Simon Furman would return to write the Generation Two Marvel US comic to tie in with the toy line. The stories were mostly self contained and not really connected to anything before or after the story, with only minor references to other fiction. Generation Two had a brief few issues in the UK, and also a short run in the US comic, where the UK stories were reprinted, before continuing with some new content for several issues.
G2 Marvel US ran only a handful of issues before it was cancelled, and notably Megatron turned up in Marvel’s ongoing G.I. Joe comic. The Joe comic had a battered G1 Megatron rebuilt by Cobra into the tank alt mode he is famous for in Generation Two. It was pretty cool but I only read those G.I. Joe issues for Megatron, the rest of it was pretty boring.
The Marvel G2 comics I quite like and have read several times. They are often erroneously labelled as crap and “too much” like other Marvel 90’s comics that over the top in violence and dark themes.
But, well, the issue I take with that is that mainstream Marvel comics in the early nineties were a lot of crap (I was there, I read them), and the dark uber violent themes were more of a pervaisive post Watchmen and Dark Knight tone, they were not actually very graphic at all in violence.
Except Tranformers Generation Two, it was GLORIOUSLY violent, likely the MOST graphically violent piece of Transformers fiction ever depicted. However, there were no angry self-loathing super-hero style battles. Instead their was grand machine on machine carnage with splatter style horror and gore, just with robots instead of humans.
Horror violence and super-hero violence are very different. I STILL cringe when I read any retrospective’s that erroneously lump Transformers G2 comics in with other typical Marvel Comics of the era. If anything it’s atypical, surprisingly well written with some very ethically challenging themes explored. The art is alternative, but very expressive, and a really unique style that throws a lot of people off, as they don’t recognise it as horror fiction style art, rather than super-hero fiction style art from a very competent artist.
Take a look at the page below and tell me it doesn’t remind you of Zombie films or splatter-gore horror movies….
Further down the road, Furman would return to the Marvel Transformers comics fiction again, this time for a new publisher IDW. Transformers: Regeneration One was an interesting project that I quite enjoyed. It picked up where the Marvel TFUS stories had first ended, mostly ignoring his own brief G2 comics.
Regeneration One tied up some of the loose ends from the Marvel US run, and let Furman finish those stories for good. He also went to write Transformers stories for both Dreamwave and IDW comics.
GENERATION ONE MARVEL UK COMIC BOOK (1984-1991)
The UK Transformers comics were created as original content filler material to fit around reprints of the American Marvel Transformers comic book in the UK.
The UK, like Japan, often serializes stories in comics and magazines, with several unrelated stories or features in each issue. So the entire UK run incorporates reprints of the US Transformers comics along with new material, and some new cover art for the shorter page counts as reprints were often split in half. Other materials could include tie in stuff like promotional art, redesigned ad layouts for toy stock photos and oddities like Marvel UK’s bounty hunter Death’s Head becoming part of the later stories, and taking a key role in the battle with Unicron.
Transformers UK became one of the most popular licensed comic books ever published in that region, following on the trails of other popular licensed Marvel books such as Star Wars, KISS, Conan and Dr Who.
TFUK also kicks a LOT of ass, big action, cool fun stories, lovely art. ‘Nuff said!
Most jarring to new readers is the early stories that use the toys as the basis for the art, rather than the animation models. Marvel UK had to use whatever materials they were supplied with, eventually the art switched to be more in line with the animation models, when Marvel US finally passed on some reference materials that they had neglected to even mention to Marvel UK.
The art changed for the better in the UK stories – but still with its own distinctive look often much richer in colors than the American comics, including some painted covers that are bloody good medicine for the eyes.
The reason the early comics had toy likenesses is that Marvel UK were not supplied with or even aware of any model sheets or character style guides. They had to make do with box art that were already illustrations based on the toys, and the actual toys themselves.
The majority of the TFUK run was written by Simon Furman, who would later go on to write the TFUS comic when Budiansky left, writing some of the most memorable US and UK stories. Some fans prefer the UK comic over both the US comic or cartoon for its rich art and unique stories. A significant number of issues featured painted covers, and sometimes interior painted art as well.
While the early Marvel UK stories are rather bland, (“Man of Iron” being the exception) the later stories are more enjoyably complex with greater depth to the characters, and longer story arcs that pay off.
Simon Furman later found his groove with more intricate plots, and getting away from the generic simplistic first stories that were if anything experimental (even by his own words) -and a bit boring with some lovely art.
Transformers Marvel UK (or TFUK for short – the naughtiest abbreviation in TF lore) will always be remembered mostly for Simon Furman’s contributions, and expansions of Transformers new ideas and lore, that were later incorporated into other shows and media.
Furman’s stories were recognised and loved by some fans, and it was a natural fit that he wrote the second third of the Transformers Marvel US comic book, giving us some of the most epic stories in that book.
Furman notably went on to be a key writer in the early IDW Transformers relaunch, as well as some stories for Dreamwave such as The War Within, and the IDW penned sequel to Marvel Transformers US titled Transformers:Regeneration One.
Furman also did most of the lore related material for the DK guide book Transformers: The Ultimate Guide, as well as being a TV writer on Beast Wars and writing various club comics and one off stories. Many of Furman’s original ideas have been adopted by Hasbro into various media such as later cartoons and the live action movies. A good number of key concepts in any modern Transformers Lore were first established by Simon Furman.
The Transformers UK comics have some great stories and ideas thrown about including a time travelling Galvatron who goes back in time and fights Megatron, frequent clashes of Galvatron with Ultra Magnus, Deaths Head the bounty hunter teaming up with and fighting various Autobots and Decepticons – but ultimately proving himself to be a hero rather than then a merciless bounty hunter.
The UK stories also featured the first appearance and origins of Primus, established as Unicron’s equal and opposite force in the universe. Primus was another Furman creation, and unrelated to “Unvorsum” the Cybertron planet-former from the scrapped draft of Transformers: The Movie (1986). Primus went on to star in the Unicron Trilogy of cartoons and received his own impressive planet-former toy (a remold of Armada Unicron).
TRANSFORMERS UK GENERATION TWO
When Generation 2 launched, only a handful of UK Transformer comics were ever published, those same comics were reprinted in the US run of G2, which then went on and continued with some new stories, but only for a very short run before it was cancelled.
Some fans gloss over the G2 UK_US comics as afterthoughts, and even Simon Furman himself wrote “around” them when he penned Regeneration One for IDW (the sequel to the Marvel US stories). Short and sweet as they are, they feature some lovely art and are well worth reading, even if they are bit of a let down after the epic final runs of Furman TFUK and TFUS.
The Generation Two comics are a good bit of fun, and well worth reading. The UK portion is a little bland, but the story continued -somewhat – in the US version by Furman, and is a really unique piece of storytelling that takes risk, and throws in a lot of interesting concepts, it’s a shame the stories are mostly forgotten today, but you can still track down at least the US version reprints in two tidy volumes from Titan Books.
THE LORDS OF TRANSFORMERS
So, looking back at 1984-1990, and 1990-1992 we have four main simultaneous continuities that are some of the branches on the tree of “Generation One”.
If trees are not your thing, then perhaps a delicious Pie graph. Some of these continuities overlap, but each is its own unique thing, with a particular vision and authorial style, and each with their own pros and cons as far as how they make sense with each other (mostly they don’t, and were never intended to) or fit into the larger puzzle of Transformers lore from 1984-2017.
All four of those continuities grew out of Hasbro’s design documents, the Transformers show bible/internal guide book (that is, when they bothered to actually share their resource material…lazy buggers!)
The key distinction is that each continuity was based on the same source material but free to do its own thing, giving us a rich more layered look at Transformers fiction that laid down the foundation for future shows, toy bios (and live action films) to pilfer from. It’s a richer universe of fiction for having multiple different strands of stories and lore, in different countries and regions etc, rather than one bland homogeneous single continuity.
Like a lot of science fiction, there are too many ideas in Transformers to limit them to just one form of fiction.
This article is not meant to be definitive, but more of an overview, so some minor details are left out to make it easier to understand, and I will be covering some other sub-topics in another installment of this series where I will look at post-modern G1 continuity, which includes various continuities set during G1 and G1 retro active lore, and eventually I will move on to the shambolic mess that is the modern Aligned Continuity where I will likely swear a fair bit while writing.
If you can’t remember everything in this article, I hope my infographic below gives you a quick point of reference that is a bit easier on the eyes
Bob Budiansky is a integral part of the early days of Transformers. He came up with many of the names of the original characters, writing basic names, outlines and bios that would be used as reference points for the Transformers characters. A Marvel Comics writer, editor and artist, he wrote or co-wrote issues #5-#55 of the Marvel US Transformers Comic Book.
While free to write his own stories in a different continuity than the cartoon, Bob’s stories also had to endure frequent cast cullings, that is whenever new toys came around, he was forced to write them into the story, leaving other characters in the dust, or having to abandon old stories in favor of entirely new ones. It’s not a job anyone would really ask for, but Budiansky did his best, and his stories breeze along at a breakneck pace. Here are 5 of the most surprisingly memorable highlights from Bob Budiansky’s Marvel Transformers comic book run.
5. DECEPTICON PRETENDER SKULLGRIN GETS A JOB AS A PROFESSIONAL ACTOR
In one of the most surreal stories in any Transformers fiction – Decepticon Pretender Skullgrin follows Shockwave’s orders to gain energy for the Decepticon cause by any means necessary on earth. Reasoning that there is no reason why he should not just earn the energy, rather than steal resources like other Decepticons, Skullgrin gets a job… as a professional actor.
The irony of a Transformer “Pretender” becoming an actor is too delicious for words. Unlike some of the Autobot Pretenders, who had human disguises as outer shells, Skullgrin was a hideous monster, so perfect to play the part of… a hideous monster.
The story is not unlike Frankenstein, or even King Kong – Skullgrin refuses to be a simple monster who terrorises, and instead develops feeling for humans, only for it all to go pear shaped in the third act when the humans inevitably turn on him.
Far from being just a comedy issue (the intended tone is never clear, but the scenario is ridiculous) Skullgrin shows his true colors again in a later issue (#54) that calls back to this story when he is reunited with his Decepticon Pretender brethren, now under the leadership of headmaster Scorponok.
Skullgrins fellow Decepticons want to kill humans who are simply in the way during a battle. Skullgrin rather than admitting to his fleshbag sympathies, simply says that there is no need and instead he will keep the human prisoner – thus avoiding killing humans, despite the Decepticon mandate from leaders such as Megatron, Shockwave or Scorponok to kill, destroy and terrorize. It is an odd story about an evil monster who refuses to simply be a monster, we’ve seen it all before, but it is one of the most bizarre and memorable Transformers comic book stories ever written.
4. RATCHET STANDS UP TO THE MIGHTY LORD MEGATRON
With the majority of the autobots temporarily out of action, Ratchet is on the run and desperate. When Megatron confronts him, he expects no challenge at all from a medic, instead a confined Ratchet stands up to Megatron, fighting him with everything he has in him.
Knowing there is no way he could ever beat Megatron in battle, Ratchet takes a big gamble that he can take care of the traitorous Shockwave for Megatron, he tells Megatron Shockwave was previously defeated by the Dinobots, and Ratchet promises he can use that knowledge to beat Shockwave once again.
Surprisingly it pays off, with Megatron doubting Ratchet’s ability to stop his adversary, but no doubt savoring the delayed satsisfaction of killing Ratchet, having nothing to lose by leaving the worm Ratchet dangling on Megatron’s hook just a little longer.
Ratchet bargains for time, out-bluffing Megatron in a deadly game of cat and mouse, fortunately for Ratchet it’s the last page of the issue, so he is temporarily saved by the “to be continued next issue” box in the corner I conveniently cropped out.
3. SHOCKWAVE SINGLE HANDEDLY KILLS NEARLY ALL THE AUTOBOTS
It’s debatable if or how a Transformer can truly die. In most fiction, their bodies can be destroyed, but as long as their brain survives (or is copied/downloaded) and they have a spark (heart or energy/electromagnetic spirit) then they can revived from “death” seemingly an infinite amount of times. But even these simple details vary in each fiction.
When Shockwave “kills” the Autobots, they are effectively in stasis lock, meaning as good as dead, but not yet disassembled , and it was only a matter of time before he pulled them apart or committed some atrocious experiments on his dead/comatose victims. The point is that when Shockwave came to town, he trashed the majority of the Autobots single handedly, proving his superiority to Megatron for the first of several times during Budianky’s stories, and living up to his boasts as being more intelligent, capable and in a word… superior in every way as a Decepticon leader.
The sight of the Autobots strung up, hanging upside down like slabs of beef is disturbing, even more disturbing was Optimus Prime’s decapitated head that Shockwave questioned and tortured for information while keeping Optimus alive. Over the course of two and half issues Shockwave dominated everyone and everything in the Transformers world, making for one of the most memorable Marvel Transformers stories with horrifying consequences for anyone that dared to get in his way.
2. GRIMLOCK BECOMES LEADER OF THE AUTOBOTS
With Optimus Prime out of the picture Grimlock takes over as leader for no reason other than he chooses to. Grimlock insists he is the the strongest in physical strength and will power, not caring for the plight of the humans, Grimlock not only ignores them but actively encourages Autobots not to to help humans, as they are so inconsequential to his concerns.
The autobots refuse to follow many of Grimlocks more nonsensical orders of course, proving just how unfit Grimlock is to lead. Later Grimlock realized the error of his ways, and quits as leader only for the other Autobots to refuse his resignation, and insist he stay on despite his shortcomings, as Grimlock did manage to trash most of their enemies while making a complete ass of himself as self-deputized leader.
Grimlock’s reign was short but lasted several issues. He became more bossy, lazy, dominant, incompetent and slothful as King Grimlock’s leadership soared briefly before nose diving into the ground. The contrast of how good a leader Optimus Prime was, and how flawed Grimlock’s self indulgent leadership was, was driven home effectively. Grimlock continued to belittle any Autobot who questioned his decisions and of course Grimlock spent more time talking up how great he was, while accomplishing very little as leader, making his run as leader even shorter than Bumblebee’s.
1.BLASTER FAILS TO SAVE HIS FRIEND SCROUNGE, WHO DIES A HORRIFIC DEATH
Blaster fails to save his friend Scrounge from the smelting pits on a Decepticon dominated Cybertron. In a single issue Bob Budiansky introduces us to new character Scrounge – a nobody – we see his friendship with Blaster, the tension between the conservative Autobots cowering and hiding in fear from the brutal relentles Decepticons. We see Blaster’s reckless but brave heroism and Scrounge’s untimely death.
Issue #17 is the single saddest issue and moment I’ve read in any Transformers comic book (and I’ve read them all). In one short story we see the bravery, heroism and unbeatable determination of Blaster, contrasted with the lack of morale and hopelessness of the Autobots trapped on Cybertron hiding from the Decepticons.
We see in the middle of an ongoing civil war, two friends who do their best for the Autobot cause. In most kids comics the hero triumphs, he saves the day and his friends. But in this story, Blaster fails to save his friend Scrounge who dies a cruel, horrific and painful death, to be recycled into metal for the Decepticon war campaign.
The smelting pit is the final death sentence and resting place for robots who are not only considered inferior, but beneath consideration, particularly not from the zealous war mongering Decepticons. It is as close to genocide as you will see in a kids comics produced solely to sell toys, and the serious tone makes it something that would never have aired were the same story conceived as an episode of the animated series.
Well that’s it for this short list of Memorable Moments from Bob Budiansky’s Tranformers run for Marvel Comics. Stay tuned, I’ve got some more highlights saved for my next posts covering some of the cool battles, EPIC moments and the best forgotten stuff from Bob Budiansky’s Transformers US Marvel comic book stories.
It’s a scene recreated in stunning pin up art with all the emotion, horror and desperation of the origianal scene by Casey Coller and John Paul Bove