What Does God Need With A Jefferson Starship?

You know, queries about this come in every now and then. So—because this response from last year is pretty detailed, and I think will answer all your questions—I'm just gonna paste it in here. 🙂

...About my work on Transformers G1: Developmentally speaking it’s kind of a complicated story, so bear with me here while I set the scene.

In 1985 I was a pretty busy gal. The Door Into Shadow had just published. Deep Wizardry had gone to press for publication in Delacorte’s fall-‘85 schedule. My first computer game, Star Trek: The Kobayashi Alternative, launched (in the Rainbow Room on top of 30 Rock…) in the summer of '85. I was then scripting my first comics work for DC (the “Double Blind” two-parter and “The Last Word”). And after taking a brief breathing space from four or five years’ worth of animation work across a number of shows (scroll down here for details), I’d just turned in an episode of My Little Pony.

In memory all this work tends to get tangled together somewhat (which is probably no surprise). One thread that shows persistently through the tangle, though, is how much time I was spending in New York at a time when I was living in Philadelphia.

A surprising amount of that has to do with the research surrounding Deep Wizardry, which required specialized materials not readily available anywhere else. Because I had a contract for that book, in early 1984 I applied for (and was granted) access to the Frederick Lewis Allen Memorial Room at the main branch of the New York Public Library. As a result, for the guts of a year I was “up in town” at least every other week or so, sometimes for two or three days at a time—taking notes from the Woods Hole oceanographic resources there, drawing copies of them (like this one) when xerography wasn’t available or when otherwise necessary, and—when there was time—writing.

But on those stay-overs my evenings were my own, and fortunately there were some really nice people to meet up with, every so often. Back when 666 5th Avenue (now 660) was DC Comics’ home, a lot of the writing and editorial talent had a habit of heading down to street level and around the corner on Friday nights, to meet up and relax at the bar in a local steakhouse on the W. 52nd Street side (long gone now, alas). That’s almost certainly where I first met Len Wein—most likely introduced to him by my editor on the Trek comics at DC, Bob Greenberger—and we quickly got to be friends. Each of us was interested in the writing (and kinds of writing) the other was doing, so we had lots to chat about.

Now during this period I’d recently finished work on that My Little Pony script. A production company called Sunbow was then handling the screen side of the property, along with shows based on various other IPs. To this day I can’t remember who it was over there who said to me, “So listen, now that you’re done with that, we’ve got some slots unfilled on another show—would you be interested in doing a Transformers?” My answer was naturally “Sure, why not?”*

So shortly I was talking story, in a general way, with my new story editor over there, Steve Gerber. The thought of doing something a bit personal, and getting into some of the characters’ heads a bit, was as usual on my mind. The idea of getting Galvatron some psychiatric care had already crossed my mind at that point… though I had on first impulse pushed that (for the time being) onto the back burner due to possibly being a little too “on the nose.”

At some point pretty early on in this process, though, a different idea hit me. Len was plainly perfectly cut out for animation storytelling (as other comics writers have also been: but the fit had rarely seemed quite so perfect, to me at least). And he’d have a party with this, I thought. Why not invite him along for the ride and let him get a feel for how it’s done?

So I said to him (as Tom Swale had once said to me years back), "Hey, you wanna write a cartoon?" And to my great pleasure Len promptly said “Yes!” And having cleared this team-up with Steve Gerber, we dove in as co-writers.

Collaboration can sometimes be a rocky road, but I’ve always been lucky in mine, and that lucky streak held true with Len. I have rarely had a co-writer who right out of the starting gate was more willing to stretch hard to get things right, and one who was more effortlessly funny… even when the humor turned dark (as it repeatedly did in this episode). He unquestionably brought things to that script that I wouldn’t have thought to try, or would have been nervous about my ability to pull off, solo.

…So after a couple/few weeks we turned “Webworld” in, the checks cleared, and we both went on to other things... while remaining good friends all the while: and it was @petermorwood's and my great pleasure to have Len as a houseguest here. The two of them got along famously, another case of senses of humor meshing perfectly. ...But that episode keeps coming up as many people’s favorite… and I can’t say that I mind a bit. 😊 (If you want to look at it, the whole episode’s online: just follow the link.)

BTW, because people do ask “Why does Len’s name appear first on the credits screen?”, the answer’s simple: Because I insisted. He was the newbie here, after all. I thought it only right that the junior partner in this medium should be put in pride of place on that credit, his very first time out (and if you scroll right down to the bottom of his IMDb page, you'll find it there, the very first entry). ...Noting here that I've routinely done the same with Peter, for anyone who’s been watching. Collaborator of thirty-plus years he may have been, but he’s still always been newer at this than I am. 😏

In any case, I wear the joint credit with Len with great pride. It’s an honor to be associated with someone who went on to become—entirely separate from his already-stellar career in comics—one of the strongest and most prolific animation writers of the last few decades.

…So that’s how it happened. (And as for the story, which pops up here and there, of how Bob G. and I dragged Len out of that restaurant one night and made him buy his first computer [an early Macintosh]: that’s true too.) 😅

It's so good

For those who haven't watched it...go watch it....Tubi has the whole show for free and you don't even have to sign up if you don't want to, you can just go on their site and watch and enjoy it....

But for those who want a plot synopsis, it's literally a story where the Decepticons are getting more and more frustrated with the fact that Galvatron is whacked out of his gourd and frequently attacks them as often as he does the Autobots....and insist that Cyclonus take him to Space Therapy

But also... "prev", as we say around here:

#what the fuck #diane duane is on tumblr?! #diane duane whom i knew also wrote star trek books #?! #her?!!! #HERE?! #diane duane #diane duane?!

Yeah, here. Been here since 2008.

And have done some things besides Star Trek. Like these...

...and these...

...and assorted other stuff.

...The novels are here. You can also view the shorter fiction, the comics, and the other film and TV media separately.

...I try to stay busy. 😏

When I realized (partly from reader feedback) that I had been working from bad data on this book, I rewrote much of it.

This may be the best of the links that will assist you in assessing what I did:

i realized this was also lost in the fall of the CH website so

You are pressed to find a soul alive today that can testify to the experience of several hundred horses charging at your direction and you know they intend to charge past, over, and through you. The realization is alone enough to shake your will.

Hobelars were mounted on small gaited native pony-horses called hobbies; carrying no gear and wearing no armour and riding practically bareback, a feat made possible by the fast smooth pace of the hobby (whose gait would presumably resemble the Icelandic pony’s tölt or the Mongolian war pony’s joroo.) the Irish Hobby is now extinct, but the name is where we get the word “hobby” from - an activity done for pleasure. This sounds made-up, doesn’t it? You can read a long post by myself and contributors here, which includes this poem from someone describing their fighting style and how annoying it was:

And one amang, an lyrysch man, Uppone his hoby swyftly ran; Hyt was a sportfulle sygthe, How hys darttes he did schak ; And when him lyst to leve or tak, They had fulle gret dispite.

There are a few reasons why you haven’t heard of hobelars (god forbid people have hobbies). It is important to the imperial construction of the myths of the British Isles (and the French) that Celtic people be negligible and subjugated in any narrative of medieval warfare. They did not correspond to a social class outside of warfare: you can spin so MANY sexy aristocracy-reinforcing tales of chivalry around knights that we’re still doing so today. Sexy tormented superhero with his ARMOUR and his SWORD and his big HORSE - let’s roleplay this 5 million times, and for political comfort, rather than trampling the peasants he now rules, we shall enshrine and repeat the safe metaphorical image of the “dragon” for him to fight as well…

Guy Who Just Caught A Wild Hobby From A Bog And Doesn’t Wear Armour (and runs around bareback, throwing stuff and being incredibly fast and annoying, and vanishing when you tried to kill them back) is just… less sexy. They literally weren’t superheroes. There is discomfort as well - if we kept their imagery, we couldn’t give them fictions to fight; hobelars were not romantic, they had no fixed honour; they were always a scrambling skirmishing fighting unit for killing people. As an academic puts it:

The hobelar is very much the poor relation in the study of the English armies of the fourteenth century, eclipsed by both the man-at-arms and the archer. Our understanding of his origins and role has been wholly based on only two major studies of this troop type: J. E. Morris’ ‘Mounted Infantry Warfare’ in 1914 and J. Lydon's ‘The Hobelar: An Irish Contribution to Medieval Warfare’ in 1954. The lack of interest might be considered surprising, given that Morris saw him as the precursor to the mounted longbowman, while Lydon called him ‘the most effective fighting man of the age’, referring to the hobelar as ‘an entirely different type of mounted soldier’. Yet other historians have been happy to accept the conclusions of Morris and Lydon, considering the hobelar only in passing. Perhaps the reason that so little work has been done on him is that he is always considered in comparison to the man-at-arms – the elite warrior, in his shining harness, doyen of chivalry and a core element of the medieval political and social elite – and the longbowman – the almost super-heroic, Hundred Years’ War-winning, nationalistic symbol of medieval English, and Welsh, martial prowess. By contrast, there is little if any mention of the hobelar in the battle narratives of the middle ages; they have no great role to play in the successes of the English over the French. They do not form a political and social class within medieval society and there is no way, therefore, to discuss their impact outside of the military sphere. It is also almost certain that their Irish origins have counted against them too. Medieval Ireland has been considered militarily backwards by most historians of warfare, who seem to have inherited something of the dismissive tone of their English sources…

Right. 

You’ve read the posts above. You have dutifully pictured the mental image of being a pikeman, Just Some Guy with a big pointy stick, while thousands of pounds of steel-armoured horseflesh ridden by braying Tories comes at you. You have understood that this is inherently alarming, even if you understand the military theories involved, and are prepared to make horse-kebabs.

Now picture being that pikeman when hobelars turn up. First off, the hobbies are WEIRD. They’re fast and tiny, and they move Wrong:

Rather than lining up to be kebabs, as you expect, they feint - dance up to you like weirdos and turn away. They show off how - unencumbered and in good control of their hobbies - they can pretend to do the scary charge thing, breaking your will, but not get kebabed. They are not wearing armour; they’re not using saddles or stirrups, but some of them appear to be archers (?!) sometimes the hobelars get off and wind you up a bit and then jump back on their stupid hobbies. Psychologically they seem more like YOU, but then there’s the horses. They throw spears, or arrow-spears called “darts.” They laugh at you. They have amazing control of their hobbies, who turn away from pikeheads on a dime. The sight of hobbies skirmishing was described (above) as “a sportful sight” - presumably if they weren’t doing it at you, when it would be SO annoying.

There is zero expectation that Celtic mounted skirmishers will break a wall of pikemen. The hobelars have been sent to annoy you. What if this is part of their function, a natural activity in their wheelhouse, and they have perfected it. What if it’s working. What if, by the time the big shiny horses with their big shiny nobles come, you’re already a bit shaken…

Not saying this scene ever happened in history, but you can see from this a bit of how these histories are constructed: here is a unit that was effective and influential in its time and gave its name to “hobbies.” Here are the places where it would seem logical to use them. We have lost much of what would have been known about how they fought at all. The primary source for the quote of the “iyrysch man upon his hoby” is preserved in one single corrupted document in a corner of the internet that took me a morning to find. We will never forget knights, but with a strategically placed EMP, we would probably lose our ability to remember and connect over hobelars (why would anyone care.)

Edit: the title for this comic is “Puzzle Rat” this one’s a few days late due to having a lot of doctors appointments sorry it’s  just 9 pages, and about some rats… it’s more symbolic than anything really

but it's an entirely new level of tragic when somebody you've actually spoken to gets turned into a bot account. it's like peeking at a zombie apocalypse through the window and realizing one of the shambling corpses was your friend.

and then the zombie catches sight of you, lurches up to your window, and shouts through the glass that they accidentally reported your account to tumblr and you'll be deactivated unless you click this link.

if you get something like this ↑ they're gonna follow up by instructing you to contact tumblr support on discord and give you contact info; or they're gonna link a website that looks sort of like tumblr support and say you have to email them; or any variety of "you must now contact tumblr, here is how you contact tumblr."

whatever they send you, it Does Not lead to tumblr. it leads to the master zombie that bit them and inducted them into the ranks of the undead, and will bite you the second they have your email and password. i might be confusing zombies and vampires. anyway,

it's easier to fall for these messages because the blog doesn't LOOK like a bot blog, because it ISN'T a bot blog. it's a normal person's blog that got accessed by a bot, meaning the blog's content CLEARLY looks like a real active user when you click on it. and yes—it might even be a blog you already know. sometimes bots like this go down a blog's DMs or reblogs and message people they've previously interacted with.

2) any vegetable is better than no vegetable