Curious and adaptive creatures, pipe dragons can often be found in suburban and even urban neighborhoods, finding in humans and their habitats ready sources of both scavenged food and entertainment for their inquisitive little minds.

Despite their bright coloration and plumage, pipe dragons are elusive, undoubtedly spending more time watching humans than humans watch them. It’s estimated that pipe dragon populations are significantly under reported, especially in areas of human habitation; the quick and skittish creatures are often mistaken for birds when they disappear in a flurry into brush or trees.

On tone policing and some other stuff

Imagine if, your entire life, someone threw a rock at your forehead every single day. Some days it might be a little pebble, that barely stings. Some days it’s a stone that slices you open. You don’t know why they do it, but every day, you know you’re going to be hurt by this person.

And then one day you try to have a conversation with that person about how that behavior hurts you. You might not be able to help getting upset or angry, right? Especially if the rock-thrower spends the whole time trying to explain why you deserve to be hit in the head with a stone every single day, and especially if you know those reasons are false, or biased, or based on outdated or misunderstood information, or predicated on personal value judgments that aren’t universal.

Don’t you think you might start yelling?

And then imagine that the rock-thrower says to you, “I won’t talk to you if you’re just going to attack me like this,” and turns away. The conversation is over. The rock-thrower, this person who’s spent years hurting you, every single day, has just told you that their pain is more important than yours. They’re acting like they have an intrinsic right not to feel hurt and upset, at the very same time they’re denying you that right.

-

That’s how tone policing is used to shut down discourse on painful, difficult subjects— everything from racism and sexism and heterosexism to “insignificant” things like why it’s so damn important to tag and warn for potentially triggering content in fiction and discussions.

I know, I know, it’s not a perfect metaphor. For one thing, the rock thrower in my analogy is making a deliberate choice to pick up a stone and hurt another person with it. When you’re talking about something like institutionalized, internalized bigotry, that’s often not the case. People can be moved by racist (etc, etc) systems without being racist (etc etc) themselves.

But I like to think that the main point— which, for the record, is that saying “I don’t like your tone” as a way to shut down a conversation is a fundamentally privileged act— still stands. Derailing a conversation on painful topics by saying “We can only talk about this if I feel comfortable and safe” is not conducive to a productive discourse, especially not when you’re the one in the privileged position.

Respect the right of people around you to be angry and hurt. Respect especially that in some cases they are angry about being hurt in little ways all the time. Every day. Maybe even by you, whether or not you’re doing it on purpose. And even if they’re not being hurt every single day of their entire lives, even if they’re not being hurt in the “big” ways like being a POC in a white world or a woman in a man’s world, etc etc, people who are hurt by something are nevertheless going to be upset about it. And that’s okay.

Respect that. Respect that. It’s imperative.

-

That said, let me address the other side of this issue, because I’m sure it’ll come up. It is one thing to be angry— it is another thing in that anger to attack the person who’s upsetting you. Picking up a stone and belting it at the rock-thrower’s head probably isn’t going to help the discourse no matter how tempting it is or justified it may feel.

Taking an eye for an eye certainly feels just, but all it’s going to do is blind people on both sides.

So where do you draw the line? How angry is too angry? I’ve seen it said that an aggressive and hostile tone can distract from the heart of the matter at hand, and honestly, that can be true. Trying to have a discussion with someone who’s incandescent with fury is challenging and can often seem unproductive.

But it does not make the angry person wrong. That, I think, is the key point— and the key motivation behind tone policing as an oppressive tactic. It is not fundamentally wrong to be angry or hurt about something. It’s not wrong to yell when you’re upset. It’s not wrong to be angry at someone in specific for acting in a way that’s harmful, nor to express that anger (or any other associated emotion, like fear or disappointment or sadness).

But that’s how tone policing works, by demonizing the emotion and its expression instead of the behavior that’s causing it. It invalidates the anger of the attacked/oppressed party. It holds one side of the discourse to a standard of behavior that the other side flaunts— is privileged enough to be able to flaunt. Tone policing, when it’s used to silence people, is basically an ad hominem attack; it’s like saying “You can’t expect to have a rational discussion with those kinds of people, so obviously nothing they have to say is worthwhile to hear.”

And that’s just plain not true. It’s perfectly possible to be furious and still lay out the points you want to make with clarity and precision. Perhaps not everyone does, true, but who doesn’t say things in anger that later they wish they could have said differently?

Let me say again that it is never wrong to feel, nor to give voice to how you feel.

-

So if it’s not wrong to be angry or to express that, then where’s the line? When you’re trying to have a discourse and both sides are screaming at each other, at what point is it reasonble to say “This discussion is over until you calm down”?

I would say that acting on those feelings is that point. Attacking back when you have been attacked. Making generalizations about the people who generalize about you. Making moral pronouncements based on personal opinion.

Deliberately and specifically attacking someone because they have made you angry makes you no better than they are, at least in that moment.

I’d like to hope that that’s something both sides of any important discourse can agree on. I’d like to think it a fair tenet of behavior to hold people to. Be angry, express that anger, use an angry tone, but don’t attack the other side. For any reason. No matter how hurt you are by what they’re doing, how they’re speaking, what they’re saying, do not try and hurt them back.

-

I’m not going to close this with any kind of exhoration to be better or anything, because honestly I know it’s the internet and that trying to lecture people into not being assholes is next to impossible. So I guess instead I’m just going to say that this is how I feel. This is the standard I’m going to try to live (and argue on the internet) by. Be the change that you want to see, they say, and so I will.

And I’m going to ask you to join me.

Will you?

ghostanswers:

iluvstarscream:

Beast Hunters is premiering on March 22nd. Assuming they air the 13 episodes without break, that means precious Screamy will not live past June 14th.

Can not handle this.

Starts grieving.

Wait why are you sure they’ll kill him? I mean, besides the obvious that they tend to ice old characters randomly to make way for new ones.

Unfortunately the numbers are kind of against him. Every cartoon that’s featured SS as a character has axed him before the end. Sometimes more than once— TFA I’m looking at you here. (BW is an exception to this, but only because he was already dead/an immortal spark for his appearance in BW; simultaneously, BW is not an exception if you consider Terrorsaur the ‘Starscream’ of the show, which I think he was definitely supposed to be.) Bayverse killed him too. In fact, the only long-running series that SS has been in that hasn’t killed him off (yet?) is IDW’s G1-reboot comics/RiD.

Of course, that still doesn’t make it a foregone conclusion that he’ll die. If the “next iteration” of TFP that we’re supposed to be getting is a direct continuation— the BM to TFP’s BW, if you will— then Starscream might survive through one to the other, if only because I think Hasbro’s mostly realized that Starscream is one of their breadwinner characters.

By that same token, though, his ability to die and still be a character has been an element of his characterization since the moment he came back as a ghost in G1. So we could still see him die in TFP, without losing him as a character either in TFP or in the putative “next iteration” of the show due in 2014. We could see him die and come back as a mindless dark energon zombie. We could see him die but have an immortal spark, and so survive on somehow because of that. We could see him “die” but somehow survive because of dark energon, like Megatron (who’s animated by the dark stuff but still retains his mind). We could see him die but have a clone take his place (after all, the reverse of this— clones dying that we’re supposed to believe are SS— already has happened. I wouldn’t put it past TFP to have the “real” Starscream die and a clone— either one that somehow managed to survive the carnage of that ep or one that someone makes at some other point— take his place in the narrative).

Whew, parentheticals. Anyway!

I won’t lie, I honestly do expect Starscream— and most of the Decepticons— to bite the bucket before the end of Beast Hunters. Part of it is everything I said above about Starscream being a character you can safely kill because he can always be brought back again later. The other part is DotM and the fact that TFP shares a lot of its narrative and moral sensibilities with Bayverse. This is at least in part because the writers of TF2007 and RotF are executive producers on TFP, but probably also in part to branding and Hasbro’s absolute insistence that all their narratively unrelated products resemble each other. (Because kids are too stupid and brainless to have brand loyalty unless you jump through hoops to connect the disparate canons, don’tchaknow.)

Don’t believe me? TFA was made to include elements of the movie mythos, like the Allspark; some of the Cybertronian-mode aesthetics, Megatron’s in particular, recalled Bayverse designs as well. The artists on IDW’s RiD were instructed by Hasbro to give all the characters Fall of Cybertron-compliant character designs. TFP’s visual aesthetic in terms of the character designs is obviously a blend of Bayverse’s complexity and TFA’s hypersimplicity. TFP and Bayverse’s takes on Optimus Prime are very similar, including the insistence on privileging humans and Earth over TFs and Cybertron and OP’s conviction that his right to make judgments on the battlefield (executing Deceptions in Bayverse, destroying the Omega Lock in TFP) is intrinsic and above reproach.

Remember that Dark of the Moon made a very deliberate point of killing off all of the named, significant Decepticons before the end of the movie, as well as every other antagonist of significance. Hasbro looked at that movie and thought that that was a satisfying and positive ending.

We know that TFP is culminating with BH. We also know that the last three “episodes” of BH are going to be a TV movie. We know that Hasbro likes to tie things up “neatly” (most of the ‘Cons getting captured hauled off to prison in TFA) and with a bang (all of them dying in DotM). We also know that in TFP Cybertron is dead, and that Optimus is willing to massacre Decepticons and unwilling to take prisoners.

I don’t know about you guys, but it wouldn’t surprise me in the slightest if TFP ends with all of the Decepticons dead. Hasbro’s made it clear that the unequivocal and total defeat of the Decepticons is their happy ending de rigeur, especially in their canons intended for kid consumption (which IDW is not, if you’re thinking of bringing that up as an exception). They’ve also made it clear that they don’t see anything troubling or problematic in annihilating Decepticons totally to acheive that.

Honestly, it’ll be a damn surprise if any of the ‘Cons survive the end of TFP.

But hey, look on the bright side. Even though Starscream almost certainly will die, his chance of making it to the next show anyway is pretty damn good. Starscream is immortal. Even if the “next iteration” of TFP— even if 2014’s new TF cartoon— starts over from the beginning, he’ll be in it.

My chances of seeing KO alive again after TFP, especially as a featured character, are slim to none.

(via ghostanswers)

Me and my roomies gave ourselves a holiday gift of more puggleformers this year, but the rest of our puggles found the package before we could and comics resulted.

Translations for Dirge’s mumbling:
Page 1, panel 2: ‘This is MINE now!’
Page 2, panel 1: ‘Mine mine mine!’
Page 4, panel 3: ‘This is mine, this is mine!’
(He’s kind of repetitious, we know.)

Comic is also available on dA here and the card at the end is here!

Puggleformers are, as always, by Cally Karishokka!

A response to a response to James Roberts

obfuscobble:

ghostanswers:

The quotes in question [detailed post]

TLDR; JR uses gender and social interaction / human relationships where convenient, and quickly discards them and invokes alien culture where it would be “a bad PR move” = women characters, and male characters in love. Whether or not it’s Hasbro’s or JR’s “fault”, the end result is the same: alienated minorities.

nellasaur:I’m too braindead to coherently discuss why I like this, but suffice it to say, I like this.

katyamola:this is a great little writeup, and describes precisely a few of the biggest issues in transformers for me. (an almost entirely male race devoid of “love” or anything of the sort, but having the full spectrum of human emotion otherwise) and also the issue of arcee in the comics, which is not really uncomfortable so much as insulting how they went about it

UNPOPULAR MINORITY OPINION

I’m pretty sure that what Roberts means by “no human equivalent” is not “eww gays”  but rather “robots don’t have sex at all, but these two robots have the same level of intimate devotion that human lovers, spouses, and life partners would.”  I’m pretty sure he’s not trying to be dismissive of homosexual people or women, just trying to remove robots from both the constraints of human gender and sex.  What could speak more to the universality of the human expression of love than an alien race devoid of the other human trappings of physical love who still experience the emotion in their souls and lives?  It’s romantic at least.

I think Roberts is not trying to disenfranchise the minority fans, but rather to nip in bud the “where do baby robots come from?” question before it comes.  Remember, Transformers as a franchise, including the comics, is still primarily aimed at children.  It makes sense for the official position to be something like “baby robots come from the magical pool of Primus,” instead of “mmmm yeah spikes and valves,” middle ground of “sparkbonding” notwithstanding.  We should be very grateful that Roberts has focused so heavily on the emotional lives of the Transformers instead of the usual genre of robots hitting each other.  Roberts has given us robots who not only feel pain but, for the first canon time in TF comics, feel love deeply.  I like that.

If stuff like Furman’s Arcee returns, THEN I’ll lead the angry charge on behalf of all disenfranchised and offended trans*folk.  But I’m pretty sure Roberts is much smarter and more sensible and sensitive than that. SUMMARY: I don’t think Roberts is implying anything sexist or homophobic, and I am very happy with both his response to the fan question and the emotional tone of his comics.

I dunno man I think it’s a little disingenious to handwave this away as a robot reproduction thing, especially since we’re talking about IDW here and not TFP or any of the other cartoon canons. For one thing, IDW’s G1-based comics are marketed towards an adult readership; I think the mild swearing (I’ve seen at least hell and damn in IDW recently, unless my memory’s seriously glitching) and very adult themes makes that clear. For another, IDW in general and MTMTE in particular has addressed the “how is babby robot formed”— cold-casting and forging.

I don’t think Roberts was trying to shut down or head off discussion of whether boy robots and girl robots make baby robots. I think what he was trying to do was avoid coming out and saying “Chromedome and Rewind are in love”.

So yeah, I also don’t think it’s fair to laud Roberts for giving us robots who love because he just deliberately went out of his way to say “Chromedome and Rewind have a close and emotionally intimate relationship but it’s not love.” What else did you think “there is no precise human equivalent” means?

It means IT’S NOT LOVE. Officially, it’s not love.

Is he pandering to Hasbro’s distinct no-homo policies? Probably. Am I attacking him personally for not validating my desire to see canonly queer robots? No! Not at all. The man was giving an interview in a professional capacity. He’s got to protect his job. I understand that. (I might not respect that but I understand it.)

I am just so very tired of being queerbaited, and ultimately that’s what this was. Roberts’ comments about Chromedome and Rewind “each regard[ing] the other as the most important person in their life” is queerbaiting. I just wish that once, fucking ONCE, someone in Hasbro would step up and say “Yes. Most of our robots are male. Some of them have deep, emotionally intimate relationships with each other. They love each other. And that’s okay.”

No more glitches in the Allspark, no more Breakdown finding Airachnid “intriguing”, no more “well they’re aliens so we can put a name to their deep emotional bond but it’s definitely not love so no homo!!” No more.

Yes, I want homo. I’ll come out and say it. I want Hasbro to cop to their robots being in love. Why? I’ll tell you here and now it’s not because I’m some queer-fetishing slash fan and I want my narrative kink buttons pushed.

No, it’s because I’m queer and I would really really love to stop seeing Hasbro dancing around the fact that they’re about one step away from portraying queer relationships in their fiction.

Spoilers, Hasbro. There’s nothing wrong with being gay. Merciless Primus.

/madfeels

theminttu:

Ohhh nooo KO did somebody scratch your paint


He comes to with blood on his fingers, and for a moment he can’t remember how it got there.
It’s not just on his fingers, either.  It’s all over him, splashed across his ventral plating and up his chassis in spatters.  He can feel it, the fading tingle of discharged energon; he can see the glow even in the dim light.  It drips from his fingertips, viscous.
It hasn’t dried yet.
This is blood only recently spilled.
His face hurts, and he probes at it gently with his other hand, with fingers that are closer to clean.  He’s bleeding too, he realizes, energon welling from three parallel scrapes across his faceplate.  They aren’t the only hurts, either.  Spilled energon stings in his scratched plating.  His mouth aches particularly— the flexible living metal there is split.  
He’s been in a fight, that much is obvious.
And he’s in much better condition than the body on the floor at his feet.
In the low light, obfuscated by the glow of energon, it’s not immediately apparent that the fallen mech has blue and silver plating.  It takes him a moment to discern the sprawled limbs from the rent abdomen from the thrown-back head, but as soon as he finds the bright red face he jolts back a step.
And then another, and another.
It comes back to him in a rush, a flood, a spray like energon .  He remembers…
…the door opening, a bulky shape stepping through.
He remembers…
…the solemn expression on the red face and the dim yellow optic, tracking across the room, seeking him.
He remembers…
…running to Breakdown with a cry, disbelieving, taking the big hands in his own just to feel their solidity.
He remembers…
…spreading his hand across his partner’s chest, over the plating that protected his spark chamber…
No.  No, he doesn’t want to remember this.  He rocks back another step, but his optics are riveted to the fallen form on the floor, energon still draining from it sluggishly.  He doesn’t want to, it hurts more than his aching face, but he remembers…
…feeling nothing there, no EM field, no life-signal, no pulsing spark responding to the joy swelling in his own.
He thinks maybe it tried to talk to him.  The timbre of voice had been right, but the inflection and the cadence wrong.  It had sounded like Breakdown, but it hadn’t talked like him.  On the other side of a comm link, that would have been enough to tip him off, but here, in person, he didn’t even need to hear it.
He’d known from the instant he touched it that there was something wrong with this ambulating monstrosity masquerading as his partner returned from the dead.
Yes, it had tried to talk to him, asking what was wrong, yelling hoarsely for him to stop, but he remembers…
…the hot splash of fresh energon, spurting from the impostor’s belly as he ripped it open with his claws.
Whatever it was that had been in there, animating the abomination that wasn’t his Breakdown, it hadn’t wanted to die.  It had swore, the human expletives heavy in its mouth and in his ears, and it had fought him.
And it hadn’t stood a chance.  Breakdown had always been a bigger and stronger mech than him, but he was a doctor and a Deception and he knew how to make mechs hurt, and Breakdown’s body he’d known best of all.  Touch here to make him cry out in pleasure, there to make his engine turn over with a purr, and here, claws driving in and twisting, to put an end to this charade.  He’d done it without the hesitation that he realizes now the impostor must have been counting on.  There had been surprise on the face that had once been Breakdown’s, when he’d pulled out the primary fuel pump that kept any Cybertronian body operational.
He staggers back one more step, then turns his back on the body.  
It wasn’t Breakdown.
It wasn’t Breakdown.
But he still remembers the whine in its throat as it had died, and the plea in its single eye, and he’s shaking as he stumbles through the medbay door and into the arms of frantic, worried Vehicons.

theminttu:

Ohhh nooo KO did somebody scratch your paint

He comes to with blood on his fingers, and for a moment he can’t remember how it got there.

It’s not just on his fingers, either. It’s all over him, splashed across his ventral plating and up his chassis in spatters. He can feel it, the fading tingle of discharged energon; he can see the glow even in the dim light. It drips from his fingertips, viscous.

It hasn’t dried yet.

This is blood only recently spilled.

His face hurts, and he probes at it gently with his other hand, with fingers that are closer to clean. He’s bleeding too, he realizes, energon welling from three parallel scrapes across his faceplate. They aren’t the only hurts, either. Spilled energon stings in his scratched plating. His mouth aches particularly— the flexible living metal there is split.

He’s been in a fight, that much is obvious.

And he’s in much better condition than the body on the floor at his feet.

In the low light, obfuscated by the glow of energon, it’s not immediately apparent that the fallen mech has blue and silver plating. It takes him a moment to discern the sprawled limbs from the rent abdomen from the thrown-back head, but as soon as he finds the bright red face he jolts back a step.

And then another, and another.

It comes back to him in a rush, a flood, a spray like energon . He remembers…

…the door opening, a bulky shape stepping through.

He remembers…

…the solemn expression on the red face and the dim yellow optic, tracking across the room, seeking him.

He remembers…

…running to Breakdown with a cry, disbelieving, taking the big hands in his own just to feel their solidity.

He remembers…

…spreading his hand across his partner’s chest, over the plating that protected his spark chamber…

No. No, he doesn’t want to remember this. He rocks back another step, but his optics are riveted to the fallen form on the floor, energon still draining from it sluggishly. He doesn’t want to, it hurts more than his aching face, but he remembers…

…feeling nothing there, no EM field, no life-signal, no pulsing spark responding to the joy swelling in his own.

He thinks maybe it tried to talk to him. The timbre of voice had been right, but the inflection and the cadence wrong. It had sounded like Breakdown, but it hadn’t talked like him. On the other side of a comm link, that would have been enough to tip him off, but here, in person, he didn’t even need to hear it.

He’d known from the instant he touched it that there was something wrong with this ambulating monstrosity masquerading as his partner returned from the dead.

Yes, it had tried to talk to him, asking what was wrong, yelling hoarsely for him to stop, but he remembers…

…the hot splash of fresh energon, spurting from the impostor’s belly as he ripped it open with his claws.

Whatever it was that had been in there, animating the abomination that wasn’t his Breakdown, it hadn’t wanted to die. It had swore, the human expletives heavy in its mouth and in his ears, and it had fought him.

And it hadn’t stood a chance. Breakdown had always been a bigger and stronger mech than him, but he was a doctor and a Deception and he knew how to make mechs hurt, and Breakdown’s body he’d known best of all. Touch here to make him cry out in pleasure, there to make his engine turn over with a purr, and here, claws driving in and twisting, to put an end to this charade. He’d done it without the hesitation that he realizes now the impostor must have been counting on. There had been surprise on the face that had once been Breakdown’s, when he’d pulled out the primary fuel pump that kept any Cybertronian body operational.

He staggers back one more step, then turns his back on the body.

It wasn’t Breakdown.

It wasn’t Breakdown.

But he still remembers the whine in its throat as it had died, and the plea in its single eye, and he’s shaking as he stumbles through the medbay door and into the arms of frantic, worried Vehicons.

(via fannishcodex)

obfuscobble:

The Two Ways Science Fiction Is Slowly Destroying Itself

lizwuzthere:

drawology:

I did not realize.  This article makes a great point, check it out.

I think what it comes down to is the media machine interfering too much in the artistic process. When was the last time you saw an excellent original idea be made into a movie or tv show. Almost every one of the movies listed in the article is an adaption/continuation or is  inspired by either an earlier movie or some other form of media (a board game, battleship? Seriously???)

The media machine just takes what it knows people like and CRAMS it all together and shoves it into the box office so they can rake in the money. And people have been dumbed down enough to not even care they’re being fed regurgitated garbage. Sure sometimes we’ll find a gem amongst all the bile, but that doesn’t change the fact that most of it is revolting.

Truthfully, what really set me off on this whole spiel is that I’m terrified there will never be another Star Trek. (and by that I mean the ground-breaking, inspiring show that it was. Not literally. The last thing we need is any Star Trek remakes.) There’s no room for innovation in an industry that only cares about the bottom line. Original ideas are frequently passed over for another remake or sequel or popular comic adaption. It’s really disheartening for a new creator.

………..BUT DON’T GET ALL DOWN ABOUT IT.

BECAUSE WE HAVE THE INTERNET!


This new form of instant communication has enabled us to send our creations and even collaborate on these sort of works on our own. We don’t need them to get our work seen by millions of people anymore. How liberating is that?!!

As long as we keep creating and sharing and finding new ways to improve our writing and creating we can come up with those innovations that might someday even penetrate that thick machine the media uses to spew re-hashed franchises at us. Of course those innovations will be taken and chewed up and spat at us so many times we’ll get sick of them too… but that’s when we come up with new ones.

As long as we’re all still on here, as long as we’re all still creating and working together on this web of computers across the world there is hope. But innovation is the key to that, so be sure to keep those gears in your brain tumbling, always thinking of new things to try in your art. Maybe you reading this will come up with the next big thing.

We can do better. So go out and do it!

(gasp!  Liz is back with Analysis *bounces happily*)

Interesting that this article only talks about science fiction movies and TV and not sci-fi literature or comics at all. I wonder what the trends are in what’s being published? There’s of course going to be a certain about of convergence, because people will publish what’s popular just as surely as they’ll film it, but how much overlap is there between sci-fi in books and sci-fi on screens?

I have to admit I’m pretty behind on current sci-fi in print, so I really can’t say with any authority. (I’ve been spending a lot of time lately re-reading speculative dinosaur fiction from the 80s. Ain’t nobody writes stuff like that anymore, much to my eternal unhappiness.)

Honestly, I think it’s pretty misleading to cite the current box office trends as the entire sub-genre of sci-fi destroying itself. What we’re seeing is not even the death throes of sci-fi on the big and little screens! Rather, it seems to me just an unfortunate concurrence of trending (i.e., post-apocalyptic and zombie fiction being popular right now) and the greater failure of Hollywood’s money machine to support projects that aren’t guaranteed to turn a profit.

Yes, we’re seeing a lot of derivative works lately when it comes to sci-fi in the movies and on TV. All the big budget SFX masterpieces blockbusters look and sound like each other these days. Everything’s a sequel or a prequel or an adaptation. More time, money, and care seems to be spent on the explosions than on the script. It sucks. It sucks to be a sci-fi fan and be fed the same remixed garbage over and over. It especially sucks to be a sci-fi fan and have to engage movies that are pretty clearly aimed at the lowest common denominator.

But I would argue that this is not a sci-fi problem specifically. Everything Hollywood is churning out these days is the same remixed or remade garbage. They just released a 21 Jump Street movie this year, for Primus’ sake! Fantasy’s biggest talking point this year and last is HBO’s Game of Thrones adaptation, but what about the two fairy tale-inspired shows on network TV (Once Upon a Time and Grimm)? And dare I mention the recent slew of direct Sherlock Holmes adaptations, like the two blockbuster movies, Tumblr’s favorite TV show, or CBS’s stab at Sherlock Holmes money empire?

Guys, I don’t watch a lot of TV. I don’t find out about most movies until they hit the dollar theater and I can afford to see them. And I still know about all this stuff. Derivative genre fiction affects almost everything the media is attempting to force-feed us right now, not just one particular sub-genre.

It’s true that sci-fi seems to be hit by this particularly hard, but you know why that is? Sci-fi is expensive. Visualizing sci-fi universes on the big screen (or even the little screen), especially vast and sweeping space opera-type sci-fi, takes a LOT of money. Which means the Hollywood money machine only wants to take that kind of financial risk when they know there’s going to be a return. Why make an original movie about space diplomacy when you can slap a Star Trek filter on it and guarantee yourself an audience? Why greenlight an insightful exploration of identity formation in a cyber-technological world when Michael Bay will make you billions of dollars with the next Transformers movie?

But that doesn’t mean there’s not still people out there innovating, which I think is why I brought up the world of written sci-fi earlier. I think it’s incredibly misleading to wave your hands and wail that SCI-FI IS KILLING ITSELF when you have things like, IDK, Dresden Codak out there, or Homestuck*. Both of those are webcomics(ish, in Homestuck’s case)— that is, independently produced and entirely creator-driven, and both of them are telling interesting stories. Questionable Content is another one. There are countless more out there, too, and plenty of innovative, creative stuff that’s free to find and read on the Internet.

And that’s not even getting me started on what’s still being produced through more mainstream print sources! Again, I admit I haven’t been reading a lot of current sci-fi, but what about Kimmie 66? Is that too old to mention here? Am I forbidden from citing More Than Meets the Eye or Robots in Disguise just because they’re Transformers comics? How about a dystopian future where the Something That Happened was hundreds of years in the past, and humanity soldiered on?

It’s sad but true that we’re not seeing a lot of innovation in sci-fi on the screen and in the theaters. Unlike other genres, where independent creators can sometimes finance their own projects and produce powerful movies at low cost, it’s hard to make a low-budget indie sci-fi film. We don’t see a lot of those. Hell, District 9, which touted in part for its modest production budget (and in larger part because it’s an excellent movie), still cost $30 million to make. And low-budget indie sci-fi on TV? Forget about it. Indie TV isn’t something that exists outside of the Internet.

But there is a LOT MORE to the world of science-fiction than just sequels on the big screen and adaptations on TV. To claim that the entire sub-genre is killing itself just because the entire movie/TV industry is going through a bad period is, pretty frankly, ridiculous.

That said, I still wholeheartedly second Liz’s exhoration above to go out and create! Go go go and write the things you want to read, draw the comics you would buy, commiserate and collaborate and build and share! Because even if things are okay for sci-fi now (and I think they are, personally), they sure won’t stay that way if we all sit passively back and let the mainstream media feed us what they think we want to consume.

Now if you’ll excuse me, I have some novels about dinosaurs to write.

*That’s right, Homestuck. If you try to tell me Homestuck isn’t sci-fi, I’ll whack you. What’s more than that, it’s both post-apocalyptic sci-fi and time travel sci-fi and it’s still one of the most innovative and complex narratives I’ve stumbled across in a while. It’s definitely not everyone’s cup of tea, and it’s not without its flaws and drawbacks, but if you try to tell me that Homestuck isn’t a potential future of science fiction story telling— or story telling in general, honestly— then you’re a short-sighted fool.

23 notes

Infinite Eradicons Theory

mamonna:

I was wondering if eradicons (or, like we call them in ru-fandom, eroticons) are full-fledged transformers or closer to drones. And I decided they are neither. 

I think there’re three categories of beings among cybertronians: 

  1. True cybertronians. These are transformers we all know, and primary difference is that they have spark. 
  2. Tributary cybertronians. And these are where eradicons belong. They were made by transformers to implement any sorts of works, and main difference from 1.p. is that they don’t have spark, and from 3.p. is that their mind works just as well as 1.p. 
  3. Drones. Ad-hoc AI of all kinds.

Why 2.p. is not the same as 3.p.? Because tributary cybertronians think and act the same way as true ones, they have emotions and it’s important for them to maintain experience. They are not strict programmed like drones, they are self aware and have individuality. But, since they don’t have spark they unable to reproduce in original way (though that way is almost unused at present). Other advantages that spark give are my pure fiction: as I think, some way it take part at energon circulation - more energy extracted for example, higher endurance; provides self-repair, higher self-sufficiency. And, when energy ran out, spark tins and transformer can be re-activated long time since that. Unlike tributary tf.

On other hand, their minds can be back-uped without much effort. And here’s where we get infinite eradicons: if one is damaged hard enough, it’s easier to restore him in new body from back-up. And here’s why they die so easy - decepticons use light materials to produce their body frames. Aaaand that also why they look alike. 

That’s the idea. 

Feel free to suggest any thought of your!

I really like your concept here of Eradicons being able to back up their minds so they can be reborn over and over again in new bodies. That’s fascinating to think about, how even though the Eradicons are “lesser” (I’m making an assumption here that the true Cybertronians would look down a bit on the unsparked tributary ones, but I don’t think it’s that much of an assumption?) they’re functionally immortal, whereas their ‘sparked’ superiors are pretty much done once their sparks are snuffed. As long as you have a valid back-up copy of any given Eradicon’s mind, it can theoretically live forever… I can’t imagine that’s a very comforting thought to a “superior” sparked Decepticon, especially, say, one who’s just lost his long-time partner, or perhaps his split-spark twin.

And the whole thing leads to some interesting questions of identity, I’d think. Like if you have an outdated or corrupt-but-functional backup file, do you still restore the Eradicon? Is it the same individual as before its most recent death? Are the Eradicons protective of their individual identities, or do they roll with the punches, so to speak, if they don’t come back quite the same way they were when they died? I imagine they have a very fatalistic sort of subculture when it comes to death, especially as compared to the sparked Decepticons they fight under… What do the tributary Cybertronians think of the sparked ones, who consider themselves superior but only get one life to live?

I think there’s a lot of room in this concept to explore some neat ideas and build a really dynamic set of clashing cultures between the sparked and unsparked Cybertronians.

As for my own ideas of Vehicon/Eradicon provenance, some of what Mamonna’s presented here is pretty convergent with my own headcanon regarding Vehicons/Eradicons. I’ve long liked the idea that they’re not sparked, although in my headcanon the Vehicons/Eradicons are considered drones. Their AI is incredibly advanced and allows for an astonishing amount of autonomy— and personality— to develop, but they’re still pre-programmed to react to certain commands and obey their superiors. There’s a lot of room to explore issues of identity formation here, too, although it’s a somewhat different sandbox, with the primary conflict being between the freedom of the sparked Cybertronians and their subjugated brethren, who could be just as free as the “true” Cybertronians if anyone would bother to build them that way. But it’s more convenient for both factions of sparked Cybertronians to treat them as particularly clever automatons, and so the status quo is enforced…

…Man. Now I wanted to write Vehicon/Eradicon-centric fanfiction.

(Source: mamonna1)

Man, I forgot how many tyrannosaurs awkwardly hitting on each other there were in these books.

Quintaglios, why you so weird?

Okay, okay, I know the answer to this. It’s territoriality. Still, it’s strange to read about an ‘alien’ race where the members can’t stand to be in close physical proximity to each other except in special circumstances. It definitely works to emphasize their inhumanity, but it also makes them seem terribly socially awkward.

Then again, I suppose they are. That’s kind of the ultimate point of the whole trilogy— that the Quintaglio race has to overcome their social awkwardness as much as their low technology level to be able to save themselves from disaster.

(Wow this post got really long. Behind the cut are spoilers for Robert J. Sawyer’s Quintaglio Ascension trilogy, as well as some talk about narrative structuring and the mechanics of writing.)

Read More

catrobotorama:

damaged-robot:


“Starscream’s fangirls are starting to make me hate the character I used to love!”

Starscream is getting goofier every episode and people seem to love it because he looks “cute” and “sexy”.
No sir, I don´t like it. I want a character, not a fanservice. 

I think you just put your finger on what’s been bothering me lately. I have always (since G1) had a soft spot for Starscream.  I like the narcissism, combined with cowardice, and the indomitable spirit (no matter what bad happens, he always bounces back) and the clever scheming, but yeah, it seems lately they’ve….gone off the rails into crackland.
The same thing happened—more obviously—in Bayverse. While writing ROTF, Orci and Kurtzman consulted fanboards asking for ‘good SS lines’ from G1.  As if all we want is the same character over and over again. As a result, everything that made 07 movie Starscream awesome….kinda went poof. I see the same thing happening here, that lulz are taking priority over characterization, and OH WHAT A SURPRISE: Orci/Kurtzman.

They’re doing the same thing with KO and it’s really starting to make my stomach churn.  
Actually, this is probably the biggest ‘in-universe’— so to speak— problem that I have with TFP right now, honestly: the Decepticons aren’t scary.  I don’t take them seriously as a threat to the Autobots.
I know, I know, they have the Autobots outnumbered a bazillion and half to one, that’s true.  Between the endless Vehicon/Eradicon legions and the Insecticon armada, on the surface it certainly looks like the Autobots are screwed seven ways to Sunday.  But the show takes deliberate pains to make sure that the Autobots ALWAYS WIN.  It doesn’t matter how uneven the odds are, I know the outcome of any fight in this show before it starts.  The Autobots are going to win.  It may not be a total victory, they may lose a relic or someone may get injured, but the ‘Bots are still going to win.  
In fact, I would argue that the Autobots haven’t suffered a seriously impactful loss to the Decepticons in this entire season.  Probably the biggest “victory” the ‘Cons have managed to secure is the Forge of Solus in “Operation: Bumblebee”— which none of them can use, and was obtained at the cost of the very functional shield generator.  Even Soundwave’s successful recovery of the resonance blaster in “Triage” barely counts as a victory, because it’s balanced against the fact that the Autobots now have access to the entire Iacon database thanks to Raf’s virus.
Beyond the question of which side has the most relics, though, is the fact that I can’t understand why we’re supposed to take the Decepticons seriously as a threat.  They sure aren’t being written like one any more.  I mean, at this point there are four officers left in their army— Megatron, Dreadwing, Knock Out, and Soundwave— and I’d argue that not a one of them is allowed to be a serious obstacle to the eventual victory of the Autobots.  

Let’s take a look at them, shall we?  I’ll show you what I mean.

Soundwave is a exceedingly competent close-quarters fighter and loyal to Megatron, but he’s written so inconsistently otherwise that I don’t know what else to expect from him.  He couldn’t (or wouldn’t?) decode the Iacon archives as of the Orion Pax triology, but suddenly he can now?  He’s a hacker (as seen waaaay back in the original miniseries) but he can’t detect when his Deployer, himself, and his ship have been hacked by a human child?  He’s a communications officer but he can’t tell when the Nemesis is downloading major info straight into the enemy’s computers?  Now, a determined fan could probably come up with justifications that explain all this stuff away in-universe, but it doesn’t change the fact that Soundwave’s abilities and skills are inconsistently presented in-show, which makes it hard for me at the viewer to take him seriously as a threat except in direct hand-to-hand combat.

What about Dreadwing?  Dreadwing is, so far, loyal to Megatron and seems to be a pretty powerful fighter.  Dreadwing also has Honor and, regarding his allegiance, foreshadowing the size of an ANVIL hanging over his head that he’s going to defect to the Autobots.  We know nothing about him except what the show is ramming down our throats, and all of that is wildly inconsistent.  He’s loyal to Megatron— but he’s betrayed Megatron’s orders more than once (and gotten away with it, even been praised).  In “Triangulation” he gets on Starscream’s case for his defection and the fact that he’s worked with Autobots, right before he turns around and fights at Optimus’ side.  Either Dreadwing is terribly written or he’s a massive hypocrite who thinks his judgement is above reproach, and neither of those make him a very effective member of the Decepticons in my eyes.  Remember, he’s aided Optimus/the Autobots twice already since he showed up in “Loose Cannons” (both in his intro episode and i “Triangulation”).  It doesn’t matter what his in-character reasons for doing that are; the pattern’s been set, and as an audience member I’m going to expect Dreadwing’s actions to continue to be a plot element that lets the Autobots win at the end of the episode.

The heavy-handed insinuations from both OP himself and Fowler that Dreadwing is ‘better’ than the other ‘Cons and the most likely ‘Con to switch sides certainly don’t help me to take him seriously as an antagonistic force.

As for Knock Out, he’s campy comic relief, and has been since “Operation: Bumblebee”.  He’s taken over the role that Starscream played in the army before he defected— he’s the flailing cowardly one who’s not a very good fighter.  On top of that, as of “Triage” Knock Out seems to be starting to resent the way Megatron treats him, although whether it’s a general resentment he’s feeling or a more specific grudge against Soundwave remains to be seen.  While I think this is all very interesting in terms of Knock Out’s individual characterization, it means he’s another mech that I wouldn’t count as a serious threat to the Autobots.

And that brings us to Megatron.  Megatron’s behavior throughout this entire series, I would argue, has been pretty erratic.  As early as the premiere miniseries, we’ve seen him do things that don’t make any logical sense, like opting to blow up an entire mine full of processed and raw energon during an energon crisis, for the sole purpose of taking out the Autobots.  As we progress through Season 1, his erratic behavior is supposed to be attributed to the crazy-making influence of the dark energon he’s infected himself with, which frankly I think is awesome.  But then we get to season 2, and what do we get?  A Megatron who’s still acting like he’s under the influence of the dark stuff, with no indication or acknowledgement that he is.  He’s abusing his troops, yelling and screaming, and making poor choices (like infecting Nemesis with dark energon when he KNOWS it animates inanimate objects).  His ire is quick and unpredictable.  He makes a hypocrite of himself (like when he lets Dreadwing get away with insubordination and treason with only a slap on the wrist— or even appreciation, as in “Crossfire”!— when the same behavior from, say, Starscream would have led to a brutal beating).  

The way he’s written in the show makes it very hard for me to take Megatron seriously as an archvillain.  Sure, he’s scary, he’s violent, and he’s physically powerful, but what does that make him?  A psychopath with impressive weapons.  In less than two seasons we’ve seen him lose two of his officers to defection (Starscream and Airachnid).  He’s allowing his second in command to get away with insubordination and he’s deliberately belittling and tearing down his only doctor/scientist.  Frankly, I don’t know why any of the Decepticons are still following him.  He’s not a compelling leader of mechs, and he’s certainly not the passionate freedom fighter he used to be back on Cybertron.  He’s a madman who breeds infighting and discontent, and I don’t know how he’s managing to hold his army together beyond ‘if you’re not a part of my army I will terminate you with extreme prejudice’-style fear mongering.

Now, if the show was doing this on purpose?  That would be cool.  I would love it if TFP were to take a page out of IDW’s playbook and transition from a war narrative to a post-war narrative.  Give the Autobots and the Decepticons something more compelling to fight than each other (be it a concrete threat or even something like, IDK, the extinction of Cybertronians as a species and culture).  Let the Decepticons reject Megatron’s insanity and commit themselves to a future worth living for, instead of a Pyrrhic victory worth dying for.  How’s that for a compelling, complex narrative that does new and edgy things with the characters?

Hell, for a while there I really thought that was the way TFP was going to go.  Maybe not quite as far as the entire Decepticon Army rejecting Megatron, but the show made a point of setting up multiple antagonistic forces.  Between Unicron, MECH, Starscream, and Airachnid, it was getting kind of hard for a while there to remember the show was actually about Autobots fighting Decepticons, and not about Autobots and Decepticons fighting everything else trying to take them out.

But just as the show has made a point of setting up all these other antagonists, so they have made a point of nullifying them, generally in the most pat way possible.  Starscream, as the secret above and more specifically the responses to it that I’m reblogging have pointed out, has been systematically dragged down and played off as pathetic, desperate, and incompetent; his acquisition of the Apex armor in “Triangulation” was frankly nothing more than a convenient narrative fluke (that is, bad writing from the team behind TFP).  Airachnid was built up in “Crossfire” to be, in direct contrast to Starscream, almost terrifyingly competent and backed by one hell of an army to boot.  Three episodes later, in “Armada”, we see her threat neatly neutralized, Airachnid herself packed away in a stasis pod.  All that buildup, for next to no narrative payoff.  In the S1 we season finale we see the Unicron threat introduced, confronted, and neatly dealt with, all in the span of four episodes.  

At this point, frankly, the only antagonistic force in the show that hasn’t been systematically stripped of all consistency and credibility by poor writing or strange storytelling choices is MECH.  We’ve seen MECH suffer setbacks, like the loss of Nemesis Prime and all the times they’ve had to ditch compromised locations and relocate, yet they’re still presented as an exceedingly competent organization.  Right now, they seem like more of a threat to the Autobots than the Decepticons, and given that I don’t think it’s deliberate, that’s kind of sad.

Ultimately, all of this is really just a symptom of what I think if TFP’s single biggest problem: really atrocious writing.  Now, I don’t mean the character writing or the dialogue, which have been pretty consistently good through both seasons. No, what I mean is the narrative structuring, both within individual episodes and in terms of the long-term overarching plotlines.  And I know I’ve complained about this before, at length, on Tumblr and elsewhere, so I’m going to keep it brief now since this screed is already long enough: the TFP writing team can’t write an internally consistent, satisfying story.  Their chops just don’t seem to be up to snuff when it comes to tying together these disparate episodes, characters, and plotlines into a story that makes any logical sense.

I have no idea what’s coming next in TFP.  I have no idea where they’re going with any of their plotting, what— if any— endgame they have in mind.  And frankly, I no longer trust them to do anything but baffle and dismay me.  

But I’m still going to keep watching, because despite all this I still enjoy this show and want to see what happens to my favorite characters.  So, uh, good job, TFP writing team?  Your bizarre and unpredictable story-telling has me addicted (if only because I literally can’t guess what you’re going to do next).

catrobotorama:

damaged-robot:

“Starscream’s fangirls are starting to make me hate the character I used to love!”

Starscream is getting goofier every episode and people seem to love it because he looks “cute” and “sexy”.

No sir, I don´t like it. I want a character, not a fanservice. 

I think you just put your finger on what’s been bothering me lately. I have always (since G1) had a soft spot for Starscream.  I like the narcissism, combined with cowardice, and the indomitable spirit (no matter what bad happens, he always bounces back) and the clever scheming, but yeah, it seems lately they’ve….gone off the rails into crackland.

The same thing happened—more obviously—in Bayverse. While writing ROTF, Orci and Kurtzman consulted fanboards asking for ‘good SS lines’ from G1.  As if all we want is the same character over and over again. As a result, everything that made 07 movie Starscream awesome….kinda went poof. I see the same thing happening here, that lulz are taking priority over characterization, and OH WHAT A SURPRISE: Orci/Kurtzman.

They’re doing the same thing with KO and it’s really starting to make my stomach churn.

Actually, this is probably the biggest ‘in-universe’— so to speak— problem that I have with TFP right now, honestly: the Decepticons aren’t scary. I don’t take them seriously as a threat to the Autobots.

I know, I know, they have the Autobots outnumbered a bazillion and half to one, that’s true. Between the endless Vehicon/Eradicon legions and the Insecticon armada, on the surface it certainly looks like the Autobots are screwed seven ways to Sunday. But the show takes deliberate pains to make sure that the Autobots ALWAYS WIN. It doesn’t matter how uneven the odds are, I know the outcome of any fight in this show before it starts. The Autobots are going to win. It may not be a total victory, they may lose a relic or someone may get injured, but the ‘Bots are still going to win.

In fact, I would argue that the Autobots haven’t suffered a seriously impactful loss to the Decepticons in this entire season. Probably the biggest “victory” the ‘Cons have managed to secure is the Forge of Solus in “Operation: Bumblebee”— which none of them can use, and was obtained at the cost of the very functional shield generator. Even Soundwave’s successful recovery of the resonance blaster in “Triage” barely counts as a victory, because it’s balanced against the fact that the Autobots now have access to the entire Iacon database thanks to Raf’s virus.

Beyond the question of which side has the most relics, though, is the fact that I can’t understand why we’re supposed to take the Decepticons seriously as a threat. They sure aren’t being written like one any more. I mean, at this point there are four officers left in their army— Megatron, Dreadwing, Knock Out, and Soundwave— and I’d argue that not a one of them is allowed to be a serious obstacle to the eventual victory of the Autobots.

Let’s take a look at them, shall we? I’ll show you what I mean.

Soundwave is a exceedingly competent close-quarters fighter and loyal to Megatron, but he’s written so inconsistently otherwise that I don’t know what else to expect from him. He couldn’t (or wouldn’t?) decode the Iacon archives as of the Orion Pax triology, but suddenly he can now? He’s a hacker (as seen waaaay back in the original miniseries) but he can’t detect when his Deployer, himself, and his ship have been hacked by a human child? He’s a communications officer but he can’t tell when the Nemesis is downloading major info straight into the enemy’s computers? Now, a determined fan could probably come up with justifications that explain all this stuff away in-universe, but it doesn’t change the fact that Soundwave’s abilities and skills are inconsistently presented in-show, which makes it hard for me at the viewer to take him seriously as a threat except in direct hand-to-hand combat.

What about Dreadwing? Dreadwing is, so far, loyal to Megatron and seems to be a pretty powerful fighter. Dreadwing also has Honor and, regarding his allegiance, foreshadowing the size of an ANVIL hanging over his head that he’s going to defect to the Autobots. We know nothing about him except what the show is ramming down our throats, and all of that is wildly inconsistent. He’s loyal to Megatron— but he’s betrayed Megatron’s orders more than once (and gotten away with it, even been praised). In “Triangulation” he gets on Starscream’s case for his defection and the fact that he’s worked with Autobots, right before he turns around and fights at Optimus’ side. Either Dreadwing is terribly written or he’s a massive hypocrite who thinks his judgement is above reproach, and neither of those make him a very effective member of the Decepticons in my eyes. Remember, he’s aided Optimus/the Autobots twice already since he showed up in “Loose Cannons” (both in his intro episode and i “Triangulation”). It doesn’t matter what his in-character reasons for doing that are; the pattern’s been set, and as an audience member I’m going to expect Dreadwing’s actions to continue to be a plot element that lets the Autobots win at the end of the episode.

The heavy-handed insinuations from both OP himself and Fowler that Dreadwing is ‘better’ than the other ‘Cons and the most likely ‘Con to switch sides certainly don’t help me to take him seriously as an antagonistic force.

As for Knock Out, he’s campy comic relief, and has been since “Operation: Bumblebee”. He’s taken over the role that Starscream played in the army before he defected— he’s the flailing cowardly one who’s not a very good fighter. On top of that, as of “Triage” Knock Out seems to be starting to resent the way Megatron treats him, although whether it’s a general resentment he’s feeling or a more specific grudge against Soundwave remains to be seen. While I think this is all very interesting in terms of Knock Out’s individual characterization, it means he’s another mech that I wouldn’t count as a serious threat to the Autobots.

And that brings us to Megatron. Megatron’s behavior throughout this entire series, I would argue, has been pretty erratic. As early as the premiere miniseries, we’ve seen him do things that don’t make any logical sense, like opting to blow up an entire mine full of processed and raw energon during an energon crisis, for the sole purpose of taking out the Autobots. As we progress through Season 1, his erratic behavior is supposed to be attributed to the crazy-making influence of the dark energon he’s infected himself with, which frankly I think is awesome. But then we get to season 2, and what do we get? A Megatron who’s still acting like he’s under the influence of the dark stuff, with no indication or acknowledgement that he is. He’s abusing his troops, yelling and screaming, and making poor choices (like infecting Nemesis with dark energon when he KNOWS it animates inanimate objects). His ire is quick and unpredictable. He makes a hypocrite of himself (like when he lets Dreadwing get away with insubordination and treason with only a slap on the wrist— or even appreciation, as in “Crossfire”!— when the same behavior from, say, Starscream would have led to a brutal beating).

The way he’s written in the show makes it very hard for me to take Megatron seriously as an archvillain. Sure, he’s scary, he’s violent, and he’s physically powerful, but what does that make him? A psychopath with impressive weapons. In less than two seasons we’ve seen him lose two of his officers to defection (Starscream and Airachnid). He’s allowing his second in command to get away with insubordination and he’s deliberately belittling and tearing down his only doctor/scientist. Frankly, I don’t know why any of the Decepticons are still following him. He’s not a compelling leader of mechs, and he’s certainly not the passionate freedom fighter he used to be back on Cybertron. He’s a madman who breeds infighting and discontent, and I don’t know how he’s managing to hold his army together beyond ‘if you’re not a part of my army I will terminate you with extreme prejudice’-style fear mongering.

Now, if the show was doing this on purpose? That would be cool. I would love it if TFP were to take a page out of IDW’s playbook and transition from a war narrative to a post-war narrative. Give the Autobots and the Decepticons something more compelling to fight than each other (be it a concrete threat or even something like, IDK, the extinction of Cybertronians as a species and culture). Let the Decepticons reject Megatron’s insanity and commit themselves to a future worth living for, instead of a Pyrrhic victory worth dying for. How’s that for a compelling, complex narrative that does new and edgy things with the characters?

Hell, for a while there I really thought that was the way TFP was going to go. Maybe not quite as far as the entire Decepticon Army rejecting Megatron, but the show made a point of setting up multiple antagonistic forces. Between Unicron, MECH, Starscream, and Airachnid, it was getting kind of hard for a while there to remember the show was actually about Autobots fighting Decepticons, and not about Autobots and Decepticons fighting everything else trying to take them out.

But just as the show has made a point of setting up all these other antagonists, so they have made a point of nullifying them, generally in the most pat way possible. Starscream, as the secret above and more specifically the responses to it that I’m reblogging have pointed out, has been systematically dragged down and played off as pathetic, desperate, and incompetent; his acquisition of the Apex armor in “Triangulation” was frankly nothing more than a convenient narrative fluke (that is, bad writing from the team behind TFP). Airachnid was built up in “Crossfire” to be, in direct contrast to Starscream, almost terrifyingly competent and backed by one hell of an army to boot. Three episodes later, in “Armada”, we see her threat neatly neutralized, Airachnid herself packed away in a stasis pod. All that buildup, for next to no narrative payoff. In the S1 we season finale we see the Unicron threat introduced, confronted, and neatly dealt with, all in the span of four episodes.

At this point, frankly, the only antagonistic force in the show that hasn’t been systematically stripped of all consistency and credibility by poor writing or strange storytelling choices is MECH. We’ve seen MECH suffer setbacks, like the loss of Nemesis Prime and all the times they’ve had to ditch compromised locations and relocate, yet they’re still presented as an exceedingly competent organization. Right now, they seem like more of a threat to the Autobots than the Decepticons, and given that I don’t think it’s deliberate, that’s kind of sad.

Ultimately, all of this is really just a symptom of what I think if TFP’s single biggest problem: really atrocious writing. Now, I don’t mean the character writing or the dialogue, which have been pretty consistently good through both seasons. No, what I mean is the narrative structuring, both within individual episodes and in terms of the long-term overarching plotlines. And I know I’ve complained about this before, at length, on Tumblr and elsewhere, so I’m going to keep it brief now since this screed is already long enough: the TFP writing team can’t write an internally consistent, satisfying story. Their chops just don’t seem to be up to snuff when it comes to tying together these disparate episodes, characters, and plotlines into a story that makes any logical sense.

I have no idea what’s coming next in TFP. I have no idea where they’re going with any of their plotting, what— if any— endgame they have in mind. And frankly, I no longer trust them to do anything but baffle and dismay me.

But I’m still going to keep watching, because despite all this I still enjoy this show and want to see what happens to my favorite characters. So, uh, good job, TFP writing team? Your bizarre and unpredictable story-telling has me addicted (if only because I literally can’t guess what you’re going to do next).

(Source: dirty-tf-secrets, via sentimental-mercenary)


“It makes me pretty uncomfortable when people act like they’re improving something by re-assigning character genders in their fanfics or headcanons. Since they’re all giant robots without human genders anyway, shouldn’t their personal identification choices be good enough?”


If we were talking about real people in the real world having their real gender identities challenged, then yes, I could totally see where this secret is coming from.  I know it makes me uncomfortable to have to deal with gender policing or the “But what is hir genderreally, like, actually, like, y’know, what was s/he born as…?” runaround.  If there was someone out there regendering the people I love and insisting things had been improved, I’d be pretty pissed!
But see, here’s the thing.  Transformers is a fictitious franchise that has some serious and sometimes gross problems with the way they deal with gender representation.  To this day the franchise is fundamentally misogynist, and I don’t think we can honestly expect that to change any time soon.
So you know what that means?  That means pretty much the only way for fans like me, to whom progressive gender representation is really important, the only way I can address and challenge the misogyny inherit in the franchise I love is to do in through fandom.  And one of the ways to do that is to choose to present some of the overwhelmingly male characters in the franchise as female.
It goes without saying that I wouldn’t arbitrarily regender real people.  Hell, I’d probably hesitate to do it in any fandom but Transformers.  But the thing about Transformers is, as the secret says, that “they’re all giant robots without real genders”.  We don’t know how or why any individual Cybertronian chooses to identify as one gender or another on Earth.  Hell, have we had any TF canon acknowledge that the human gender binary construct as fluid and arbitrary when applied to giant transforming space robots?  AFAIK, no.
What I’m getting at is that because we don’t see canon acknowledge the issue of human sex/gender identification and how that applies to the characters, we have no way of knowing that their gender identification on Earth means anything to them personally.  Framing the regendering of TF characters as going against their personal choices is disingenuous, because as far as we know, there is no personal choice involved.  If anything, canon, when it makes a commitment at all, is more likely to fall out on the side of sex/gender being intrinsic like it is in humans— IDW comes to mind, if only because of Furman’s horrific misogyny regarding Arcee and her origin story.  Writing in a canon like IDW, I would personally be a lot more hesitant to arbitrarily regender characters.
But for canons like TFP, where we have no idea how or why most of the Cybertronians identify as male but a few of them identify as female, I see no reason not to use the way the TFs identify as a way to challenge some of the misogyny so rampant in this fandom.  Regendering some of these predominantly male characters into females does have the potential to improve something— maybe not a given fanwork or a specific character or Transformers as a whole, no.   I don’t think I could be so egotistical as to think my portrayal of any given character is an improvement on the original.
But if I write a fic presenting a traditionally male character as female and it makes a reader stop and really think about gender identity or gender performance in a way that they haven’t before?   Then yeah, I’m damn well going to count that as “improving something”, and I’m not going to feel shamed for regendering characters to make that happen.

“It makes me pretty uncomfortable when people act like they’re improving something by re-assigning character genders in their fanfics or headcanons. Since they’re all giant robots without human genders anyway, shouldn’t their personal identification choices be good enough?”

If we were talking about real people in the real world having their real gender identities challenged, then yes, I could totally see where this secret is coming from. I know it makes me uncomfortable to have to deal with gender policing or the “But what is hir genderreally, like, actually, like, y’know, what was s/he born as…?” runaround. If there was someone out there regendering the people I love and insisting things had been improved, I’d be pretty pissed!

But see, here’s the thing. Transformers is a fictitious franchise that has some serious and sometimes gross problems with the way they deal with gender representation. To this day the franchise is fundamentally misogynist, and I don’t think we can honestly expect that to change any time soon.

So you know what that means? That means pretty much the only way for fans like me, to whom progressive gender representation is really important, the only way I can address and challenge the misogyny inherit in the franchise I love is to do in through fandom. And one of the ways to do that is to choose to present some of the overwhelmingly male characters in the franchise as female.

It goes without saying that I wouldn’t arbitrarily regender real people. Hell, I’d probably hesitate to do it in any fandom but Transformers. But the thing about Transformers is, as the secret says, that “they’re all giant robots without real genders”. We don’t know how or why any individual Cybertronian chooses to identify as one gender or another on Earth. Hell, have we had any TF canon acknowledge that the human gender binary construct as fluid and arbitrary when applied to giant transforming space robots? AFAIK, no.

What I’m getting at is that because we don’t see canon acknowledge the issue of human sex/gender identification and how that applies to the characters, we have no way of knowing that their gender identification on Earth means anything to them personally. Framing the regendering of TF characters as going against their personal choices is disingenuous, because as far as we know, there is no personal choice involved. If anything, canon, when it makes a commitment at all, is more likely to fall out on the side of sex/gender being intrinsic like it is in humans— IDW comes to mind, if only because of Furman’s horrific misogyny regarding Arcee and her origin story. Writing in a canon like IDW, I would personally be a lot more hesitant to arbitrarily regender characters.

But for canons like TFP, where we have no idea how or why most of the Cybertronians identify as male but a few of them identify as female, I see no reason not to use the way the TFs identify as a way to challenge some of the misogyny so rampant in this fandom. Regendering some of these predominantly male characters into females does have the potential to improve something— maybe not a given fanwork or a specific character or Transformers as a whole, no. I don’t think I could be so egotistical as to think my portrayal of any given character is an improvement on the original.

But if I write a fic presenting a traditionally male character as female and it makes a reader stop and really think about gender identity or gender performance in a way that they haven’t before? Then yeah, I’m damn well going to count that as “improving something”, and I’m not going to feel shamed for regendering characters to make that happen.

(Source: dirty-tf-secrets)

Puggleformer Road Trip!

As you may or may not know, this year I attended my very first Botcon with my roommate Saeru and my girlfriend Dirge! We sold a lot of painstakingly handcrafted merchandise, saw some cool things, met and hung out with some awesome people— and last but not least, indulged our collective inner Dirges and BOUGHT STUFF.

And hands-down the most precious of all the things we brought home from the con with us was a clutch of Puggleformers!

While the rest of our acquisitions were carefully packed away in the back of Sae’s van for transport, the Puggleformers refused to be shut away from the adventure of going home. So they all piled into the front seat with me— or should I say, on me?— for the trip back to STL.

Read More →

WHAM, chapter 10 of “Mercenary Medicine” is live!

Fandom: Transformers: Prime
Rating: PG-13 
Summary: Knock Out is a freelance medic— he works alone and he likes it that way. But when he finds a corpse that isn’t as dead as it ought to be at the bottom of a pile of bodies, it puts his entire careful operation at risk.
Notes: Set way before what we see in the show and nowhere near Earth. Contains copious amounts of worldbuilding and headcanon. Thank you to Elemental for beta-reading this for me, and special thanks to SixthClone for keeping my Breakdown in character. I literally couldn’t write him without her, and her help has been invaluable.

**

Chapter 10 on Dreamwidth
Chapter 10 on FFN

**

The annoyed look Blackout shot Knock Out very clearly read ‘I don’t need you to tell me that’, but it only lasted until the tyton stepped up to the slab. Connecting in through the panzere’s cranial port, his shutters drew low over his optics; the quiet, contemplative expression of concentration that settled over his features made his otherwise craggy face almost handsome. Not for the first time, Knock Out found his thoughts drifting towards what a statement the bigger mech could be making with his plating, his finish. Oh, if Blackout only tweaked a few things—but Knock Out had more than a suspicion that this utilitarian monster would be hostile to such a suggestion, especially if it came from him.

**

So you may have noticed I haven’t been around Tumblr all that much the past few weeks. I’ve been a busy little Seeker, working hard to stock hats and ear cuffs and wings for Anime St. Louis (which was last weekend and went well) and Botcon (which is this weekend). It’s killed both my Tumblr time and my writing time, which is why this chapter took so long to come out and why the next one will be a while coming too.

On the plus side, I did well enough at ASTL that I GET TO GO TO BOTCON! Woohoo! Come and find me in the Dealer’s Room if you’re going too!

mamonna:

nerdaliztix:

mamonna:

crono8:

Spoilers from the TFP ‘Armada’ preview. OMFG

+

Ouch ouch.

Wow, I don’t remember when I was this excited about the new ep.

Can somebody please explain why the guy who supposed to be “good” is seating on the poor percher and beat him to death? 

Someone in authors crew is really hates Starscream. I can handle many things in this show, but watching Starscream’s downfall is like having angry hedgehog in my ass.

SO… BECAUSE HE’S ALIGNED AS GOOD HE CAN’T DO THINKS BRUTAL DESPITE ALREADY HAVING DONE SO WHEN IT’S STARSCREAM AND STARSCREAM JUST THREATENED TO KILL HIM, USED A THREAT INVOLVING THE CONCEPT OF KILLING HIS FRIEND THEN BROUGHT UP HOW HE KILLED HIS OTHER FRIEND??

Why are you screaming?

From what you’ve written I can’t tell why the heck autobots are defined as “good guys”. Where the difference? The morality? Let’s beat the freak while he’s defenseless? Not just beat him once - let’s sit on him and teach that motherfucker the proper lesson!

I do not defend Starscream - he got what he got. But as for autobots - “be good” and “do whatever I want because I’m good” are different things. 

Even more: decepticons are far better then. At least they have not sunk in their hypocrisy.

This is one of my biggest problems in TFP currently, and frankly with the TF franchise as a whole. I am so sick of the fundamental hypocrisy we’re seeing in the way the Autobots are being handled. The tendency of the Autobots to act amorally or with violent brutality and yet still be treated by in-canon and metatexually as good and noble without qualification scares me.

I’m not saying that the Autobots can’t be morally ambiguous or do bad and violent things, but the text in question needs to own it if that’s the case. What I’ve been noticing in certain TF canons— particularly TFP and Bayverse— is a really disturbing trend of the innate and unquestionable goodness of the Autobots excusing everything that they do, no matter how violent, brutal, unnecessary, or counter to their stated morals it is. Freedom is the right of all sentient beings— except Decepticons, of course, especially if your name is Megatron. Then your only right is a swift execution at the hands of Optimus Prime and his butchers.

Now, I’ll grant that Bayverse has been particularly egregious about this, but TFP is guilty too. I’m not a fan of OP’s about-face in “Crossfire” (he was about to execute Megatron with hardly a hesitation despite talking about second chances earlier in that very episode) and I’m not a fan of Arcee’s bland chastisement after she attacked a helpless pirsoner in “Partners” back in S1 either. In fact, in TFP the way the Autobots are portrayed metatextually is only a symptom of a bigger moral whitewashing in the show. TFP’s been giving us characters and storylines seated firmly in the moral grey between good and bad— and then insisting on presenting whitewashed and morally simplistic moral lessons in direct contrast to what’s going on in the show, and they’ve been doing it since last season.

Now, TFP’s writers could prove me very wrong and treat Bulkhead’s inappropriate behavior here— and it is inappropriate, even if Starscream threatened and attacked him— as abhorrent. I would love to eat these words after the ep comes out on Saturday.

But I’m not counting on it.

By the way, you know which TF canon is handling the moral ambiguity of the Autobots really well? IDW’s current title Robots in Disguise. Prowl is doing TERRIBLE THINGS in the name of the greater good in RiD— and the other Autobots, when they’re aware of what he’s doing, are shown to be distinctly uncomfortable with the lengths to which he’s willing to go. The overall text of the story makes it clear that Prowl’s crossing lines, and there’s a distinct possibility that the ends will not justify the means in his case.

That’s how you write violent, brutal, and morally ambiguous Autobots.

(via mamonna1)

If you could have me write any fic in the world, what would you have me write?

elementalsight:

roachpatrol:

angerliz:

cloudsinmyeyes:

bored now.

uh i haven’t written much fic but y’all seem into my meta and since this is just hypothetical…

Huh. I’m pretty interested in this!

Dude, I am totally curious here! 

Oh hit me, this is an interesting meme.

(Source: greenconverses)

1,908 notes