In the AU where unicron is optimus father what would happen if the kids were harmed or in a dangerous situation thanks to unicron resulting in the response of the optimus and the rest of the autobots
More pain for my lovely boy. This is going to be complete angst so to make sure Prime gets some comfort eventually, I am going to make an additional two parts for this in different posts.
A Father's Wrath
After months of watching Optimus be ignored and feared by his own team, the bots Optimus had come to see as family, Unicron grew angered. The chaos god understood their initial fear, but as he watched his only creation wallow and slowly fall to loneliness, his patience wore thin. This was his son, his glorious creation who had lowered himself to protect and care for Primus's lesser spawn, and now said spawn were rejecting that kindness. It was despicable.
The chaos god tried to reign in his anger for Optimus's sake. If nothing else the human vermin that had taken up residence on his frame were there to support his wayward creation. But days turned to weeks, and weeks into months until at last Unicron could take it no longer. One day after Optimus had struggled in vain to try and speak to any of his team only to be promptly ignored, Unicron at last snapped.
In a fit of rage, Unicron transferred power over to his creation unknowingly, causing Optimus to once again fall to the ground in agony as his frame rearranged itself to make up for the surplus of power. It was unintentional on Unicron's part, but as Optimus flailed and screamed, the waves of power emanating from him struck the children and the team. The team grew ill, most purging on the spot as Optimus pulled himself together and stood on shaky pedes, his spark once again exposed. But the children... they did not fare nearly as well.
They collapsed and convulsed. Jack became violently ill, throwing up as blood leaked from his eyes and ears. Miko started having a seizure that very nearly stopped her breathing altogether. And Rafael screamed and clawed at his face as the worst migraine he had ever gotten assaulted him. Before Optimus could do anything, Fowler was called in and the children were taken away for immediate hospitalization. The team left in Vehicle mode and parked in the hospital parking lot to keep a general optic on the children for fear that they might die while Optimus remained at base.
Left completely and utterly alone, Optimus cried. His frame once again shattered so thoroughly could not shed tears even if he tried, but the mixed dark and normal energon that leaked from his armor was enough of a testament to his grief. Otherworldly cries and wails echoed throughout the abandoned missile silo for hours as Optimus wept, hating himself and everything he was in that moment. The Matrix thrummed within him, trying to calm him and comfort its chosen bearer in its own odd way, but Optimus only composed himself nearly a day after being left alone to drown in his guilt. By the time the team came back, Optimus was no longer crying, but he was frantic for answers.
Optimus: The children, are they well?
Ratchet: *refusing to look at him*...
Optimus: Please, tell me their conditions!
Ratchet: *turning to leave* ...
Optimus: *grabbing his arm to keep him still* I can endure this silence no longer! Tell me what has befallen the children!
Ratchet: *snarling and ripping his arm away* They live, no thanks to you.
Optimus: Ratchet-
Ratchet: Save it! If this incident has proven anything, it is that you are dangerous, too dangerous to be kept near.
Optimus: Wait!
Ratchet: We are done. Take what you need and leave. You are no longer welcome here.
Optimus: Please don't do this-!
Ratchet: LEAVE!
The dooming declaration hung in the air as Optimus stopped dead in his tracks, the blazing motes of light that served as his optics flickering and wavering. His outstretched servo shook and his exposed spark pulsed in shock and horror. He looked at the rest of the team, desperate for it to be some cruel joke or perhaps a mistake. But as he met the fierce gazes of each of his former team, he knew the truth.
They feared him, and they wanted him gone.
The only one who didn't meet his pleading gaze was Bumblebee who instead opted to look away, unable to watch as Optimus was sent away. The Prime shook and energon leaked from his frame in his own version of tears as he sputtered in vain. However after a moment of silence, Optimus shuddered, turned away, and began gathering the few items he would take with him. He did not want to strip his family of anything important, after all, they still had a war to win. So all the Prime took was the few personal accessories he brought with him to earth, a singular first aid kit, and a whetstone for his in built blades.
He looked back pleadingly one last time as the ground bridge was fired up and prepared to send him halfway across the country. But as he was met with only cold and frigid glares by most, he tore his gaze away and said only one sentence before stepping through.
Optimus: If this is what you wish of me, I will honor it... but let it be known that I never intended for this to happen.
Optimus: ...
Optimus: I'm sorry.
He stepped through and the groundbridge closed behind him the moment he was out of sight. As soon as Optimus was gone, the team sighed collectively, not out of relief like they expected to, but out of grief for what they had done. But despite those feelings, they did not call Optimus back and instead each took time to themselves to think over the matter.
Arcee had been the one to hate Optimus most adamantly after the reveal, but as she lay in her berth, she found herself sorrowful. Optimus had been nothing but kind to her, caring for her and showing her the utmost sympathy and respect after the losses of her partners. He never yelled, he never harmed her, and he even willingly took hits for her more times than she could count. He was Unicron's creation, but he was the kindest mech she had ever met. She hated to admit it, but laying there after he left, she cried and tried to tell herself that it was for the best.
Bulkhead and Wheeljack were both very torn when it came to the matter of Optimus. Both respected him and looked up to him, even after the reveal they wanted to serve under him as they always had. After all, wreckers don't judge a mech so long as he does good. But with how dangerous he had proven to be, in their minds they could not afford to accept the risk that he posed, not when the children were in their care. As much as they loathed sending their Prime away, to them it was only right. It was what good wreckers would do...
Ratchet despised himself the moment he saw the look on Optimus's face after he ordered him to leave. He wished more than anything to take back those words, but his spark... his spark screamed in terror whenever his old friend looked at him. The sight of Optimus's blazing form and the feeling of his sickening spark waves washing over him were engraved into his memory. He couldn't look at Optimus the same way, not after all he had seen since Unicron's near awakening. He wanted to believe that what he was doing was right, that he was sending away a monster that had posed as Cybertronian like some sleeper agent for millions of years. But the pain in Optimus's glowing optics... it made Ratchet regret.
No monster could have looked so betrayed and so very broken at being sent away.
As for Bumblebee? He was left in a state of internal conflict. Much like Ratchet, he was terrified of his Sire's true form and nature, but like Arcee, he couldn't just ignore the fact that he had only ever been met with love and care from Optimus. The Prime had raised him, taken care of him, fought for him, and never once done a thing to harm him. Bumblebee wanted to think that he was cutting off a parasite or getting rid of a spy when he blocked off his bond with Optimus. But as he watched his Sire leave the base for what was likely the last time, Bumblebee felt empty and more alone than every before.
He had betrayed his Sire on every level and his spark knew it...
The children were not allowed back to base for over a week afterward as they recovered. Thankfully they did not suffer any serious damage and healed quickly. But upon entering base for the first time since the incident and seeing Bumblebee issuing orders instead of Optimus, they grew concerned. Immediately they tried to ask what had happened in their absence only to be met with silence from Fowler and June. Even when they turned to the team for answers, the bots simply dodged their questions, eventually up and lying by saying that Optimus was taking a few days to himself because he felt guilty.
The children were suspicious as pit, especially once they noticed the lack of avatars from Unicron and the mysterious disappearance of Optimus's plants, but they accepted it. The reasoning seemed plausible with Optimus's personality... so they waited.
Every day after school the children asked about Optimus. Bulkhead and Wheeljack only met their queries with guilty gazes and did their best to dodge the question. Arcee outright told the children to leave her alone every time they tried to talk with her about the absent Prime, only further rousing their suspicions. Ratchet straight up wouldn't even look at the children and tended to wander off muttering something whenever they tried going to him. And so lastly, after an additional week of prodding and begging for answers, Bumblebee stepped up as leader and gave them.
Jack: Where's Optimus? I know you said he was taking some time off, but it's been nearly two weeks!
Miko: It isn't like him!
Rafael: Optimus is always working and never takes breaks. Did something happen to him?
Bumblebee: ...
Rafael: Bee?
Bumblebee: For your safety, Optimus Prime has been stripped of his badge and exiled for harming innocents, associating with the enemy, and traitorous behavior.
The children: What!?!
The children were distraught but could do nothing once the truth was revealed. They could only make a fuss and give the team the silent treatment in retribution. The team did not take Optimus's absence and the children's reactions well... and neither did the Prime even with the distance between them.
Optimus set up camp in his alt-mode once his frame had healed from the power burst. He hid out in an old garage on some farmstead where a human male and his daughter lived. He stayed undercover for nearly a week in his alt-mode, both to allow his frame to recover and to wallow. He was absolutely spark broken at being sent away and most of his time in alt-mode was spent lamenting his losses.
But the Matrix has never been one to allow its bearer to remain inactive for long, and it swiftly pushed Optimus to move, to do something. As such Optimus resolved himself and left his makeshift base of operations with one goal in mind.
He would continue to fight for his Autobots, weather they wanted him to or not.
Unicron tried to reach out to his creation multiple times during the whole fiasco, but Optimus ignored him, angry at his father for destroying the delicate balance he had forged with his team. As such Optimus went at his work alone, using his remaining access to Autobot codes and signatures to track down his old team to assist where he could.
He would not stand idly by, not while Megatron still lurked.
185 notes
·
View notes
How Michael Met Neil
original direct link [MP3]
(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)
DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.
MICHAEL SHEEN: So this is what has brought us together.
DAVID: Yes.
MICHAEL: To the new love story for the 21st century.
DAVID: Exactly.
MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”
And I said, “No.” I mean, this is … what … '88? '88, '89. So it was … now I know that it was a period of time that was a big change, transformation going through comic books. Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.
DAVID: The kids who'd grown up reading comic books were now making comic books
MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.
And so this guy Gary said to me, "Do you read them?" And I said, "No." And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”
And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story. And I absolutely loved it.
So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.
And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”
And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy." Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick. Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.
Anyway, the interview came out about six months later, maybe. Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.
It says, From one fan to another, Neil Gaiman. And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.
DAVID: You'd never met him?
MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …
And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA. And he said, "I'll take you for a meal."
I said, “All right.”
He said, "Do you want to go somewhere posh, or somewhere interesting?”
I said, "Let's go somewhere interesting."
He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.
I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary.
And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."
So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.” You know, “This is eel. This is [blah].”
And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.
And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"
"Right, okay. We'll ask for the bill in a minute."
And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.
And me and Neil are like, "What on Earth is going on?"
And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*
[* - delivered in a perfect American ‘serious law agent’ accent/impression]
And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"
We'd finished, so we pay our bill. And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil. And we leave. We have no idea what happened.
DAVID: But you're assuming it's the mystery dish.
MICHAEL: Well, we're assuming that we can't be going to – we can't be – it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.
So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.
Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.
We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.
And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.
DAVID: That’s extraordinary.
MICHAEL: And we didn't find this out for months. So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"
"No, I haven't heard anything."
And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.
DAVID: And that was your first meeting with Neil Gaiman.
MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"
I said, "What are you talking about?" It's such a Neil Gaiman thing to say.
DAVID: Isn't it?
MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.
DAVID: Was there anything inside it?
MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...
DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.
MICHAEL: That's how it began. Yeah.
DAVID: And then he came to offer you the part in Good Omens.
MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...
DAVID: Were you involved at that point?
MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.
DAVID: Right.
MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.
And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course." I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.
But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.” But I just felt like I don't think I can play Crowley.
DAVID: Of course you can [play Crowley?].
MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.
DAVID: Sure, sure.
MICHAEL: I can do this.
DAVID: Yeah.
MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”
But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well. And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."
And neither of us would bring it up. And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.
And then all these extraordinary people started to join in. And then, and then off we went.
DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?
MICHAEL: “I emailed Jon Hamm.”
DAVID: Yeah.
MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.
DAVID: Yes.
MICHAEL: And had never been turned into anything.
DAVID: Yeah.
MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”
DAVID: Yes.
MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”
DAVID: Yeah.
MICHAEL: So I feel that responsibility as well.
DAVID: But we have Neil on site.
MICHAEL: Yes. Well, Neil being the showrunner …
DAVID: Yeah. I think it takes the curse off.
MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.
DAVID: Well, we think. Not that the world has seen it yet.
MICHAEL (grimly): No, I know.
DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.
MICHAEL: Oh my God. Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.
This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”. I think of it totally as us.
DAVID: Yeah.
MICHAEL: The two of us.
DAVID: Yes.
MICHAEL: Like they, what I do is defined by what you do.
DAVID: Yeah.
MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.
DAVID: Yeah. Well, I hope the world is as excited to see it as we are to talk about it, frankly.
MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.
And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard. I mean, you can, it can take you down at any point.
You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.
And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you.
Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.
DAVID: That's lovely. Michael, thank you so much.
MICHAEL: Thank you.
DAVID: For talking today and for being here.
MICHAEL: Oh, it's a pleasure. Thank you.
5K notes
·
View notes