User:TheLastGherkin/Sandbox:Pitch
"Transformers Animated Pitch Document" is the title given to a sixty page PDF file collating behind-the-scenes files and images from the development of Transformers Animated. Released by fansite The Allspark on September 19, 2016, the document contains scanned pages from Animated's production bible, as well as sundry other pieces of concept art.
Owing to... circumstances, the document is no longer online for viewing at its original location, but TFWiki.net has provided an archived copy below.
Show bible
[edit]The first thirty-two pages of the document consist of a revision of the Animated show bible, dated to March 27, 2006, and written by Marty Isenberg. Isenberg sets the scene of 22th Century Detroit – or "De-Droid" – as a hot spot of technological advancement; one that is ripe for exploitation by all manner of super-villains, ranging from low-level human hackers to space-faring Decepticons. This preface positions the Autobots as the heroes to save the day – almost certainly a consequence of one of Animated's working titles, "Transformers: Heroes".
The bible goes on to pitch "TFA" as a modern reinvention of Transformers in the vein of contemporary hits like [[wikipedia:{{#if:|:}}Ben 10 (2005 TV series)|{{#if:Ben 10|Ben 10|Ben 10 (2005 TV series)}}]] and [[wikipedia:{{#if:|:}}Teen Titans (TV series)|{{#if:Teen Titans|Teen Titans|Teen Titans (TV series)}}]], making the most of its titular animated format to dial up character expressiveness, imaginative locations and action, and visual humour ("without going [[wikipedia:{{#if:|:}}squash and stretch|{{#if:||squash and stretch}}]] – we're not THAT kind of animated").
Subsequent pages go on to describe the basic premise of "Transform and Roll Out": Optimus Prime and his ragtag crew of misfit Autobots uncover "the Cube" in an unremarkable sector of Cybertronian space, finding themselves pursued across the galaxy by Megatron and his Decepticon army, who would use the Cube for conquest. The ensuing battle results in the destruction of the Decepticon ship and the salvation of the Cube, but the Autobot ship plummets to "a remote backwater planet known as Earth."
The Autobots blend in by assuming emergency vehicle disguises, but it's not long until they're using their robot modes' special skills to aid the humans in preventing an industrial disaster. Now regarded as the city's own superheroes and celebrities, their vehicle modes become like their secret identities – literally becoming robots in disguise. They're guided through their exploration of the joys of Earth life by eight-year-old Sari Sumdac, daughter of robotics magnate Isaac Sumdac, whose unique connection to the Cube has granted her "the Key", an item filled with the power to recharge and heal Cybertronian lifeforms.
The Key and the Cube are both of great interest to the Decepticons, who are regrouping in the shadows and preparing to return with a vengeance. Sure, the Autobots have it easy with Detroit's human supervillains, but Optimus knows that he must transform his crew of unseasoned rookies into real heroes to protect their new home from the threat that followed them here. The fate of two worlds hangs in the balance!
WHY IS THIS TRANSFORMERS SERIES DIFFERENT FROM ALL OTHER TRANSFORMERS SERIES?
[edit]This part of the bible is divided into sections with subheadings of their own. It is prefaced by the high concept of the series: Transformers Animated is intended to be more of a superhero show, with a diverse rogue's gallery of villains teamed against powered-up Autobot heroes. "Approximately a third to half" of episodes would revolve around the Decepticons and Megatron's shadowy agenda; the 'Cons would be introduced one at a time as fully credible threats to build the suspense of the Autobots someday facing a full army of them. The pitch promises exciting A-stories in futuristic locales, set against B-stories focussing on the characters' interpersonal relationships, with a healthy dose of "fish out of water" running gags. "And, of course, lots of cool robots turning into trucks and planes and stuff."
The first section, "PERSONALITIES", explains that a small core cast will allow character exploration and development when compared to Transformers series of the past. Not that they'll necessarily limit the number of guest characters, both in the present day of the series and in flashbacks ("ala[sic] [[wikipedia:{{#if:|:}}Lost (TV series)|{{#if:LOST|LOST|Lost (TV series)}}]]", because this was written in 2006). Between the expressive style of animation and fallible characterisations, the Autobots are to be relatable people first and foremost rather than cool toy robots "fighting each other... for screen time."
The next section "POWERS, NOT GUNS", briefly focusses on the misfit nature of the Autobots in Detroit, comparing their reactions to the idea of Superman, with all his abilities, coming to Earth fully grown. Giving unique powers to each Transformer would also differentiate them from one another, both visually and personality-wise. "And let's face it, Robots With Superpowers are just plain cool!"
"COOL FUTURISTIC SETTING" focusses on 22nd Detroit. The advanced technology of the time means that the Autobots should look just as cool to kids in vehicle mode as they are in robot mode, given they can turn into "butt-kicking 22nd Century Vehicles!" This section also implicitly relates Sumdac's consumer robots to the traditional Detroit motor trade ("gleaming showrooms [...], trade-ins, used bot lots, bot-jacking, bot repair services"), with the promise that, like all consumer products, their malfunctions can lead to comedy and danger.
The subsequent passage relates Animated's core ethos of presenting the Decepticons as a looming background threat, with the Autobots instead facing a brand new rogues gallery – "human, machine, mutated hybrid, alien and otherwise". After all, "Megatron seems like a pretty lame-o villain if he gets his butt handed to him every single week." Emphasis is placed on this being a super team show first and foremost, with the Decepticons kept off screen so as to built up the mystique... because when they do turn up, they're going to be tough to beat, and the Autobots are in trouble. All this is presented under the amazing heading "NO MORE "ROBO GANG WAR" EVERY WEEK".
In the final section, "SIMPLIFY, SIMPLIFY, SIMPLIFY", Isenberg professes his preference for self-contained episodes rather than story arcs, so that no viewers are lost simply because they've missed an episode. The show is planned as being set in the "now", with flashbacks and history only being referred to when vital to the story.
THE AUTOBOTS
[edit]THE DECEPTICONS
[edit]CONSTRUCTICONS
[edit]ROGUE'S GALLERY VILLAINS
[edit]SETTINGS
[edit]EPISODE SPRINGBOARDS
[edit]Concept art
[edit]The remaining twenty-seven pages of the document are made up of assorted concept art materials in no particular order (one of which is included twice). Art is provided by Eric Canete, Derrick J. Wyatt, and at least one other, uncredited artist.
Canete's sketches are dated to September 2005, and include full body pictures of "Hot Shot" (Bumblebee), an axe-wielding Optimus Prime (both stood at ease and mid-jump), a battle-ready (and decidedly androgynous) Prowl, and a classical statue-inspired Red Alert; an additional exploration of Red Alert depicts her with hair made of prehensile cables, which can wield tools and objects and can become "[[wikipedia:{{#if:|:}}Medusa|{{#if:medusa|medusa|Medusa}}]]-like" when angered. Also provided are two drawings of Jetstorm and Jetfire – at this early stage in production, the twins would have comparable robot modes, but one would transform into a jet and the other a helicopter. Interestingly, though much of their designs would change throughout development, the idea of one having googles and the other a visor dates as early as this art.
The remainder of Canete's contributions focus on prospective character dynamics: Optimus and Red Alert plot out something on a computer table, overseen by a straight-laced and militaristic Bulkhead; Jetfire and Jetstorm struggling to contain their laughter, as Prowl faux-innocently walks away from a sore Bulkhead with a "Kick me!" sign on his back; a taller Hot Shot getting up in the personal space of an unimpressed Prowl; and finally, Red Alert making use of magnetic abilities to treat the inner workings of Hot Shot's hand.
A handful of sketches are provided of the characters before Wyatt's aesthetic was chosen as the final direction of the show's art style, all of which is by an uncredited artist or artists. These consist of busts of Hot Shot (with a [[wikipedia:{{#if:|:}}Flash (DC Comics character)|{{#if:Flash|Flash|Flash (DC Comics character)}}]]-inspired head), Optimus Prime (whose battle mask becomes a scarf), and a red cross-adorned Red Alert; three more full body drawings of Optimus appear, with much variance in terms of design.
Wyatt's art makes up the rest of the document; two drawings from earlier in development feature (male) Prowl in a black-and-white colour scheme, with one focussing on his potential character model and expressions (previously seen on Wyatt's blog) and the other including him in an action pose with Optimus and Bulkhead. Concept boards are included evidently dating from much later in development, demonstrating to Hasbro how the characters' designs could be translated into toy form. For the Deluxe Class concepts, a gimmick called "Signature Transformation" is called out – "Optimus Prime (Cybertronian Mode)" is said to swing his axe as he transforms, while Prowl's elbows are springloaded for shuriken-throwing action, and Bumblebee can have his "BeeStingers" manually deployed (which are, incidentally, shaped to resemble [[wikipedia:{{#if:|:}}spark plug|{{#if:||spark plug}}]]s at this stage). The concept boards for the Voyager Class toys of Optimus and Bulkhead reveal that they were intended to come with "action figures" of Nanosec and Sari respectively.