Transformers: Scramble City - Plot

Plot

Beginning with a recap of the coming of the Transformers to Earth and the story of Devastator, the OVA then gets its original story underway, as the Autobots are shown to be in the midst of constructing the powerful "Scramble City", overseen by their newest arrival, Ultra Magnus. When the Decepticons learn of this, their combiner robots are deployed to attack, and a battle between them and their Autobot counterparts ensues, focusing on their "Scramble Power" - the interchangeability of the individual limbs - to the extent that at one point, Breakdown of the Stunticons connects to Superion to damage him. At the OVA's conclusion, Scramble City is activated and assumes its robot mode of Metroplex to rout the Decepticons. However, from the ocean depths, the Decepticons' own city, Trypticon, rises.

This cliffhanger was never resolved as no direct sequel was ever produced. An extended commercial, called Scramble City Toys but often mistakenly identified as Scramble City 2, was released, but rather than wrap up the cliffhanger, it retold the OVA through stop-motion animation of the toys themselves, with one addition - the introduction of Galvatron, erroneously presented as one of Megatron's troops, rather than the recreated Decepticon leader himself.

Read more about this topic:  Transformers: Scramble City

Famous quotes containing the word plot:

    There saw I how the secret felon wrought,
    And treason labouring in the traitor’s thought,
    And midwife Time the ripened plot to murder brought.
    Geoffrey Chaucer (1340?–1400)

    The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.
    Charles Dickens (1812–1870)

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)